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

Transcription

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

2 Contents Introduction and Overview... 3 Stage Directions... 5 Vocabulary... 6 Centre Technique... 7 Exercise 1 Plies with Use of the Upper Spine... 7 Exercise 2 Foot Articulation and Tendu Exercise 3 Rond de Jambe á Terre Exercise 4 Tendu and Grande Battement Exercise 5 Preparation for Turns Travelling Technique Exercise 1 Travelling Exercise 2 Falls Exercise 3 Petit Allegro Exercise 4 Allegro Dance A The Ugly Duckling Dance B Forces Training Exercises Training Exercise 1 Warm Ups and Cool Downs Training Exercise 2 Mobilisation of Joints and Lengthening of Soft Tissue Training Exercise 3 Floor Work & Use of Spine Training Exercise 4 Falls Strand B: Creative Strand A: Improvisation/Movement Generation B: Composition Strand C: Wider Learning Strand Credits Appendix A Appendix B Appendix C Additional Resources

3 Introduction and Overview About the Syllabus The Grade 2 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 for Grade 1 Contemporary Dance. 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. 3

4 The Specification Grade 2 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 2 Full details of the examination for Grade 2 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

5 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 5

6 Vocabulary The following French terms are used and/or introduced in Grade 2: Assemblé Demi Demi-plié Petit Plié Retiré Rond de jambe 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. 6

7 Centre Technique Exercise 1 Plies with Use of the Upper Spine Music: When You re Smiling Dean Martin Music Steps Arms Head Commence: Natural parallel Relaxed at sides Introduction Wait 8 counts 8 counts 1 Round head and shoulders forward keeping pelvis neutral Held naturally following the curve of the spine 2 Recover to standing 3 Curve head and shoulders to the R keeping the pelvis neutral Held naturally following the curve of the spine 4 Recover to standing 5 Round head and shoulder forward keeping pelvis neutral Held naturally following the curve of the spine 6 Recover to standing 7 Curve head and shoulder to L keeping the pelvis neutral Held naturally following the curve of the spine 8 Recover to standing 1-2 Demi plié, straighten knees 3-4 Rise, lower heels 5-6 Demi plié, straighten knees 7

8 7 Place R foot into 1 st position 8 Place L foot into 1 st position 1-8 Repeat first 8-counts 1-2 Demi plié, straighten knees May need to move wider to accommodate the plié 3-4 Rise, lower heels 5-6 Demi plié, straighten knees 7 Place R foot into 2 st position 8 Place L foot into 2 st position 1-8 Repeat first 8 counts 1-2 Demi plié, straighten knees 3-4 Rise, lower heels 5-6 Demi plié, straighten knees 7 Place R foot into natural parallel 8 Place L foot into natural parallel Teaching Tips Demonstrate rounding forward and curving sideways with as much lengthening in the neck as possible. Avoid crushing the chin to the chest or ears to the shoulder The demonstrator in the introduction on the associated film of the exercise denotes the timing of the counts The student s use of spine and depth of pliés should be to the range of that child without affecting balance. 8

9 Notes on Style In demi plié in 2 nd position allow the arms to relax in front of the thighs or alternatively, allow the arms to rest on the thighs as you plié. As per Grade 1 and throughout this syllabus the exercises should be performed with ease and continuation i.e. the movements should flow into each other unless there is a specified pause. 9

10 Centre Technique Exercise 2 Foot Articulation and Tendu Music: La Bamba Los Lobos and the Gypsy Kings Counts Steps Arms Head Commence: Natural parallel Relaxed at sides Introduction 8 counts Wait 8 counts 1-2 Lift R heel, lower R heel 3-4 Lift R heel, lower R heel 5-6 Lift R heel, stretch toes slightly off floor 7-8 Lower R toes with heel lifted, lower heel 1-2 Tendu R leg front 3-4 Close to natural parallel 5-6 Tendu R leg front 7-8 Close to natural parallel 1-2 Demi plié 3-4 Straighten knees 5-6 Rise 7-8 Lower heels 10

11 1-8 Repeat first 8-counts to L 1-2 Tendu L leg front 3-4 Close to natural parallel 5-6 Tendu L leg front 7-8 Close to natural parallel 1-2 Demi plié 3-4 Straighten knees 5-6 Place R foot into 1 st position 7-8 Place L foot into 1 st position 1-8 Repeat first 8-counts to R 1-2 Tendu R leg front 3-4 Close 1 st position 5-6 Tendu R leg front 7-8 Close 1 st position 1-2 Demi plié 2-4 Straighten knees 5-6 Rise 7-8 Lower heels 11

12 1-8 Repeat first 8 counts to L in 1 st position 1-2 Tendu L leg front 3-4 Close 1 st position 5-6 Tendu L leg front 7-8 Close to 1 st position 1-2 Demi plié 3-4 Straighten knees 5-6 Rise 7-8 Lower heels Lift arms through side of body to 2 nd position 1-8 Repeat first 8 counts to R in 1 st position 1-2 Tendu R leg side 3-4 Close to 1 st position 5-6 Tendu R leg side 7-8 Close to 1 st position 1-2 Demi plié 3-4 Straighten knees 5-6 Rise 12

13 7-8 Lower heels 1-8 Repeat first 8 counts to L in 1 st position 1-2 Tendu L leg side 3-4 Close to 1 st position 5-6 Tendu L leg side 7-8 Close to 1 st position 1-2 Demi plié 3-4 Straighten knees 5-6 Place R leg in natural parallel Lower R arm 7-8 Place L leg in natural parallel Lower L arm Teaching Tips Demonstrate foot articulation lifting from the floor only as high as the lengthening of the toes allows Do not flick the lower leg away. Instead, keep the tips of the toes pointing directly towards the floor Once the legs have been placed into 1 st position the rotation of the legs is sustained throughout these sections until the return to natural parallel. Note the complexity of the changes in the transitions and identify the pattern. The change in pace in the exercise from the foot articulation to the tendus and pliés aim to encourage a strong understanding of centre which will be further required throughout this genre. Notes on Style Consider that 2 nd position of the arms is lengthened through the elbows and palms more than in a classical 2 nd position, however be sure that the elbows do not become stiff or locked. 13

14 Centre Technique Exercise 3 Rond de Jambe á Terre Music: Your Song Ellie Goulding Counts Steps Arms Head Commence: Natural parallel Relaxed at sides Introduction 4 counts Wait 4 counts 1-2 Demi plié, tendu R leg front 3-4 Demi rond de jambe to side with gradual lengthening of supporting leg 5 Flex R foot 6 Stretch R foot 7-8 Close R leg to natural parallel 1-8 Repeat first 8-counts to L 1 Demi plié, tendu R leg front Arms lift to 1 st position 2-3 Demi rond de jambe to side with gradual lengthening of supporting leg Arms open to 2 nd position 4 Close R leg to natural parallel Arms lower to sides of body 5-8 Repeat previous 4-counts to L 1-2 Demi plié with release of upper spine Arms lift to 1 st position Curve head with the spine and look to the floor 14

15 3-4 Straighten knees and recover spine Arms lift to 5 th position 5-6 Place R foot into natural 1 st position Lower R arm to side through 2 nd position 7-8 Place L foot into natural 1 st position Lower L arm to side through 2 nd position 9-10 Roll both shoulders back 1-24 Repeat first 24-counts in rotation 1-2 Demi plié with release of upper spine Arms lift to 1 st position 3-4 Straighten knees and recover spine Arms lift to 5 th position 5-6 Place R foot into natural parallel Lower R arm to side through 2 nd position 7-8 Place L foot into natural parallel Lower L arm to side through 2 nd position 9-10 Roll both shoulders back Repeat the full exercise commencing with the L leg. Teaching Tips The shoulder roll on counts 9 and 10 should be omitted if alternate music is used Demonstrate the foot flexion and stretch without any weight on the toe when it s placed; it is designed to check that students have their weight correctly on their standing leg The length of the exercise is to develop muscular strength. Notes on Style Incorporate the neck and head with the release of the upper spine. 15

16 Centre Technique Exercise 4 Tendu and Grande Battement Music: Ain t No Mountain High Enough Marvin Gaye & Tammi Terrell Counts Steps Arms Head Commence: Natural parallel Relaxed at sides Introduction 8 counts Wait 6 counts 7-8 Prepare arms to 1 st, open to 2 nd position 1 Tendu R leg front 2 Lift to 45 3 Lower R leg 4 Close to natural parallel 5-6 Tendu L leg front, lift to Lower L leg, close to natural parallel 1-8 Repeat first 8-counts taking tendu to side 1-8 Repeat first 8-counts taking tendu to back 1-2 Roll down through the spine maintaining neutral pelvic position Lower arms to sides of body 16

17 3-4 Demi plié and deepen the tilt of the torso from the hips 5-6 Straighten knees and recover upper body to standing 7 Place R leg into 1 st position Arms lift to 1 st position 8 Place L leg into 1 st position Arms open to 2 nd position 1-8, 1-8, 1-8, 1-6 Repeat entire exercise in 1 st position 7-8 Place R leg into natural parallel, place L leg into natural parallel Teaching Tips In support of this exercise, the following training exercises can be used: o Grade 2 Ballet, Exercise 3 o Grade 2 Ballet Barre Exercise 6A Notes on Style When lifting the leg to the back, lift the foot only slightly off the floor to 25 in order to maintain proper alignment of the body The lifting of the leg should be executed more slowly than a jeté or battement in the classical ballet syllabus. They should be executed with even counts between lifting and lowering, rather than the quicker nature of a jeté or battement. 17

18 Centre Technique Exercise 5 Preparation for Turns Music: Music Madonna Counts Steps Arms Head Commence: Natural parallel Relaxed at sides Introduction 8 counts Wait 8 counts 1 Tendu R leg side Arms lift through sides of body to 2 nd position 2 Demi rond de jambe to back 3 Bring R toe to inside of L ankle (low retiré) Arms to 1 st position 4 Lower R foot to natural parallel Lower arms to sides of body 5-8 Repeat first 4 counts to L + Bend the knees slightly in preparation for count 1 1 Step back to rise on R leg with stretched knee + Step back to rise on L leg with stretched knee 2 Step forward with R leg to parallel soft knees + Step forward with L leg to parallel soft knees 18

19 Repeat previous 2 counts Arms to high V, lower to sides step turn to R (R, L, R) + Bring L toe to inside of R ankle (low retiré) 8 Lower L leg to natural parallel 1-16 Repeat whole exercise to L Teaching Tips The low retiré should be taught, where possible, without any weight on the toes The final 8 counts of the exercise (stepping back to rise) should be taught and executed with a gentle sense of being off balance with the weight leaning forward. Notes on Style The students can focus the head and eyes wherever they choose for the 3-step turn. 19

20 Travelling Technique Exercise 1 Travelling Music: Signed, Sealed, Delivered, I m Yours Stevie Wonder Counts Steps Arms Head Commence: Begin in USL corner facing USL in natural parallel Relaxed at sides Introduction 16 counts Wait 12 counts Plié, shunt (chassé) L leg forward, straightening both knees with weight on L leg 1-4 Walk backwards on diagonal toward DSR (R, L, R, L) 5-6 Slide R leg to 2 nd position grand plié along diagonal facing DSL corner Arms lift to 2 nd position, palms forward 7-8 Transfer weight to R leg, straighten both knees, extend L leg to side Curve body to R and arms follow the line of the tilt creating a diagonal line Head turns R with focus looking past the R fingertips Facing DSR corner, shift on a slight side direction travelling forward with 3 syncopated low walks (L, R, L) Arms lower to sides Head on the back Facing DSR corner, shift on a slight side direction travelling forward with 3 syncopated low walks (R, L, R) 5 Step backwards towards USL with L leg 20

21 6 Turning over R shoulder to face USR, step R leg to side 7 Step L leg across R leg turning over R shoulder to face USL corner 8 Hold Repeat whole exercise if the studio space permits. The music will then be stopped and the students will demonstrate the full exercise from the USR corner commencing on the opposite side. Teaching Tips The exercise should have a natural flow and ease to the travelling. Notes on Style 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. 21

22 Travelling Technique Exercise 2 Falls Music: Breakaway Kelly Clarkson Counts Steps Arms Head Commence: Begin in USL corner facing DSR, in natural parallel Introduction Wait 12 counts 16 counts Tendu R leg side 1 Sway R on relaxed knees transferring full weight onto the R leg R arm extends to a low diagonal side Look to R fingertips 2 Sway L on relaxed knees L arm extends to a low diagonal side Look to L fingertips 3 Sway R on relaxed knees R arm extends through side of body to high V Look to R fingertips 4 Sway L on relaxed knees L arm extends through side of body to high V Look to L fingertips 5 Step DSR on naturally turned out R leg, demi rond de jambe L leg from side to front R arm lifts through side of body over head 6 Cross L leg over R, soften both knees and fold into the floor on the R side Place R hand on floor 7 + Roll to face US, bring knees together tucked into body and transfer onto L side of pelvis Hands on floor behind hips 22

23 8 Place R foot on floor DSR, keep L leg tucked under the body 1 Place R hand on floor 2 Place L foot on floor, knees soft Place L hand on floor Full curve of the spine 3-4 Roll up through the body, straighten knees Arms open through 2 nd to 5 th position 5-6 Arms cross overhead and lower through front of body ending with arms by sides 7 Rise heels 8 Lower heels + Tendu R leg to side Repeat whole exercise if the studio space permits. The music will then be stopped and the students will demonstrate the full exercise from the USR corner commencing on the opposite side. Teaching Tips Allow the students to explore a sense of gravity in preparation for the roll, i.e. counts 5 and 6 can be quickened if this feels more natural. Notes on Style In the sway, be sure to transfer the weight sufficiently between the feet in order for the toes to lengthen. 23

24 Travelling Technique Exercise 3 Petit Allegro Music: We Are Family Sister Sledge Counts Steps Arms Head Commence: Begin in USL corner facing DSR in natural parallel Introduction Wait 16 counts 16 counts jumps in parallel jumps in 1 st position jumps in 1 st position with each with a quarter turn spring runs (R, L, R) with relaxed back leg traveling towards DSR Swing naturally 8 Jump from one foot to two feet to natural parallel (assemblé) Repeat whole exercise if the studio space permits. The music will then be stopped and students will demonstrate the whole exercise commencing from the opposite side. Teaching Tips This exercise should be taught, learnt and executed with varying levels of elevation. Students can be mindful of safe use of the feet; starting smaller and progressing to higher jumps and springs where possible. 24

25 Travelling Technique Exercise 4 Allegro Music: Firework Katy Perry Counts Steps Arms Head Commence: Begin in USL corner facing DSR, 1 st position Introduction Wait 12 counts 16 counts Transfer weight to L leg, cross R leg behind L, onto a demi pointe with a slight relaxation of the knees Swing arms together to R side of body, continue overhead and finish both arms to L side 1-2 Step R, hop, L leg slightly bent to back Arms swing down and to the R 3-4 Step L, hop, R leg slightly bent to back Arms swing down and to the L 5-6 Run (R, L) 7-8 Leap R leg landing in plié with L left back and L knee straight Lift to an open 3 rd position with L arm forward and R arm side 1-3 Run backwards (L, R, L ) 4 Hop on L leg and touch R toe to side of the L knee (retiré) 5-6 Run forward (R, L) 7-8 Jump from one to two feet in natural parallel position DSL Open 4 th position Look over L fingertips 25

26 Repeat whole exercise to the L Teaching Tips A split line in the legs is not a requirement This exercise is aimed at allowing students to demonstrate buoyancy in movement and elevation as well as balance When teaching the leap in counts 7 & 8 in the initial phrase the students may place their back leg to the floor on count 8 if they have not found their balance. Note that they will then be required to step onto this leg at the beginning of the next phrase. Notes on Style The placement of the toe to the side of the knee is similar to that in Exercise 5: Preparation for Turns The jump from one foot to two feet (assemble) should include a soft brush of the floor and should travel on the diagonal of direction. 26

27 Dance Dance A The Ugly Duckling Music: Palladio for String Orchestra Karl Jenkins Counts Steps Arms Head Commence: Begin CS sitting on the floor facing USL, ankles crossed with R ankle on top, knees slightly bent Arms are overhead with bent elbows, fingers touching the back of the neck Head forwards Introduction Hold 8 counts 1-2 Uncross R foot to natural parallel 3-4 Adjust L foot to natural parallel 5-6 Circle R shoulder and elbow backwards, twist torso to R and recover 7-8 Circle L shoulder and elbow backwards, twist torso to L and recover 1-2 Release hands, slightly extend R arm palm facing up, circle R shoulder and elbow backwards, twist torso to R and recover Look to R hand 3-4 Slightly extend L arm palm facing up, circle L shoulder and elbow backwards, twist torso to L and recover Look to L hand 5 Lean towards the R side Place R hand on floor 27

28 6 Continue turning towards the R, place the L foot on the floor Place L hand on floor 7 Adjust R foot to end in low lunge, R knee on floor Both hands on floor 8 Lift head to look DSC 1-2 Straighten knees and come to standing Place fingertips on shoulders with elbows out to sides, circle R shoulder and elbow backwards, twist to R and recover 3-4 The torso turns to the DSR and the R leg moves forward into a wide parallel Repeat L 5-6 Relax knees count 6 Repeat R Turn to face USR, chassé side (R, L, R) to USL corner 1 Half turn, step L to face DSL Arms drop to sides + 2 R toe touches L knee, small hop on L leg Arms cross at elbows in front of body, R arm on top of L 3-4 Bend L leg and lower to the floor, tucking R foot under hips Place R hand on floor 5-6 Roll onto L hip, cross R leg over L and place R foot on floor Place L hand on floor by hips 7 Putting weight through R foot, come up to standing in a parallel lunge facing DSR with R leg forward and L leg back with bend of the knee and heel lifted from floor Lift arms to shoulder height, bend elbows and touch fingers to back of shoulders, elbows forward 28

29 8 Turn head L to look DSL 1 Step side DSL with L leg, R foot flexed with R heel touching L knee Drop arms to sides Look to L hand 2 Hop L leg L arm reaches side on a low diagonal, fingers spread 3 Travelling side along diagonal to DSL corner, cross R leg in front of L 4 Step side L leg to uncross legs Pivot turn to the R with use of natural turned out completing one full rotation with a natural spiral into the direction of the turn Arms lift in front of body with R arm slightly above the L with both palms facing out Follows natural spiral of the spine Repeat previous 8-counts to the R As above As above 1 Face DSR and traveling to USR corner step R, L foot flexed with L heel touching side of R knee L fingertips touch top of L shoulder, R arm loose at side of body USR 2 Hop on R leg 3-4 Step L crossing L leg in front of R leg, step side R leg to uncross legs 5 Quarter turn over L shoulder to face DSL travelling to USL corner, step L, R foot flexed with R heel touching side of L knee R fingers touch top of R shoulder, L arm loose at side of body USL 6 Hop on L leg and simultaneously stretch R leg to parallel side 29

30 7-8 Step R, crossing R leg in front of L leg, step side L leg to uncross legs 1 Slide R leg side towards SR and transfer weight R Arms open to 2 nd position 2 Turning towards R shoulder to complete a full turn, tuck L knee towards chest, spring from R leg and tuck R leg into chest with stretched feet landing on L leg (cannon ball jump) Arms wrap around torso, crossing at the elbows 3 Step out to SR on R leg Arms travel over the head to the starting position of the dance 4 Pivot on R leg to face USL corner in small parallel lunge with R leg forward 5-7 Wag tail from side to side and slowly bend the knees to lower into crouched position Fingers touch the top of shoulders Focus slowly lowers to floor 8 Hold 1-2 Twist to R and recover, slowly straighten knees Circle R shoulder and elbow backwards Look R 3-4 Twist to L and recover, slowly straighten the knees Circle L shoulder and elbow backwards Look L 5-6 Open R leg side to small parallel side lunge R, twist upper body R Extend R arm and circle arm backwards to recover at side of body Follow R hand 7-8 Open L leg side to small parallel lunge L, twist upper body R Extend L arm and circle arm backwards to recover at side of body Follow L hand 30

31 1-2 Transfer weight to R leg keeping L leg back turn over R shoulder 180 to face DSR corner Both arms relax at sides of body 3-4 Place L leg on floor behind body into a small forward parallel lunge with R leg front 5-6 Slightly straighten both knees bringing weight to R leg, bend both knees dropping the weight back into the L leg whilst placing it farther behind Arms slowly lift through 2 nd position, slightly bent with fingertips down and elbows lifting Head turns to look DS 7-8 Repeat previous 2 counts and chest (upper spine) lifts to a slight high release Bring arms into high V slightly behind the body Follows line of the spine to a high position 1 Step R to DSR on naturally turned out leg Head continues to look DS 2 Hop R leg with L leg straight and to the back Arms lower through 2 nd position pushing palms towards the ground 3 Step L traveling DSR 4 Brush R leg front, jump and land two feet together in natural parallel (assemble) Arms lift through 2 nd position to high V Lift eyeline to high diagonal 5-8 Repeat previous 4 counts travelling to DSL corner 1-6 Run in a small circle clockwise over R shoulder to finish facing DSR Round R arm in front of body with palm facing out and push with the heel of the hand whilst running Head looks over R shoulder 7-8 Step to wide parallel lunge with R leg forward Lift arms through 2 nd position to high V with arms slightly behind the body Head looks DS 31

32 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. Notes on Style The dance should be performed with an understanding of the narrative through projection of the emotions; of not being welcomed or not having a sense of belonging initially There is then the transformation in the dance when the full 'wings' are unfurled followed by the creative ending choreographed by the student. 32

33 Dance Dance B Forces Music: Fall Daft Punk Counts Steps Arms Head Commence: Begin in USR corner facing DSL, natural parallel Introduction 16 Counts Wait 4 counts 5 + Lift R heel, lower Lift R arm to low side diagonal, palm facing down 6 + Lift R heel, lower Lift R arm through 2 nd position to below shoulder, palm facing down 7 + Rise, lower Hold 8 + Rise, lower 9-12 Repeat previous 4 counts Continue to lift R arm to slightly above R shoulder on high diagonal Repeat previous 4 counts Continue to lift R arm to overhead run forward (R, L, R) with each run lowering into a deeper plié Slice R arm in front of body and bend the arms to 90 with fingers spread and swing arms in opposition of runs 4 Hold the position of the final run forward in a parallel lunge with back L knee bent 33

34 5-8 Stretch back knee, deepen plié on R leg and incline upper body into high diagonal with flat back Extend arms over head with heels of hands pushing forward 1-2 Step back L, tendu R leg front Externally rotate arms and pull elbows into sides of body with 90 bend and fists clenched 3-4 Step back R, tendu L leg front Continue to pull elbows into side of body 5-7 Run (L, R, L) towards USL Bend the arms to 90 with fingers spread and swing arms in opposition of runs 8 Brush R leg front, jump turning over L shoulder and land facing DSR corner with feet together in natural parallel R arm stretches and circle back, up overhead and slices in front of body 1-3 Run forward on diagonal to DSR (L, R, L) with each run lowering deeper into plié Bend arms to 90 angle with fingers spread and swing arms in opposition of the runs 4 Jump and turn towards R shoulder to face USL keeping the legs in the positioning from the previous runs to end with the R leg in front 5-8 Straighten back knee, deepen plié on R leg and incline upper body into high diagonal with flat back Extend arms over head with heels of hands pressing forward 1-2 Step back L, tendu R leg front Rotate arms under and pull elbows into sides of body with 90 bend and fists clenched 34

35 3-4 Step back R, tendu L leg front Continue to pull elbows into side of body 5 Step side on L leg towards USR corner and twist upper body L Begin to reach the R arm towards the floor near the L foot 6 Tuck R knee under and lower to R hip Place R hand on floor 7 Roll from R hip to L hip towards USR, cross R leg over L, place R foot on floor and come up to standing Place both hands on floor behind hips to help facilitate roll 8 Stand up to face DSC and bring both feet together to natural parallel Relax arms at sides of body 1-4 Step side onto L leg with straight knee and lift R leg side slightly off the floor with straight leg and flexed foot Slowly lean to L while finding a short balance Reach L arm on low diagonal and slowly lifts to just below the shoulder with fingers spread and palm facing forward Look over L shoulder + Step R leg in front of L 5-8 & Repeat previous 4 counts on same side Reach L arm to high diagonal Look over L shoulder 1-4 Step L and pivot in a turned out position, turning over L shoulder with L leg in front, rising on ball of R foot and lowering in plié on L foot Flip the palm down and slowly lower the arm through side of body Look over L shoulder 5-7 Run in small circle over L shoulder and continue running towards SR Swing arms naturally 35

36 8 Step L and jump and land on L leg while kicking both legs in the air Arms thrash in any direction from shoulders + Land in wide position with legs facing DSR 1-3 Turn to face SR in wide parallel lunge with R leg forward Touch palms together with bent arms, hands in front of eyes Rub hands together to create friction Look to hands 4 + Flip arms so R palm is on top of L palm with elbows down, separate hands slightly to hold an invisible energy ball Look to hands 5-8 Keeping palms facing each other, circle R palm anticlockwise and circle L palm clockwise Look to hands 1-2 Pivot body and legs to lunge SL Change orientation of arms to the L hand is on top and R hand on bottom with palms facing each other Look to hands 3-4 Step R leg forward to stand in wide parallel 2 nd position facing DSL Rotate the arms so the elbows are out to the sides with fingertips facing up and lift above shoulders still holding the imaginary energy ball Look to hands 5-6 Bend R knee keeping L leg straight Lower energy ball slightly and shift to R side of body Look to hands 7 Bend L knee and straighten R leg Lower energy ball to shoulder height and shift to L side of body Look to hands 36

37 8 Bend R knee and straighten L leg Lower energy ball slightly and shift to R side of body 1-32 The final part of the dance should be created by the students. 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 The dance should mainly be performed with a strong dynamic as suggested by the music. This strong dynamic should be interspersed by the moments of balance and focus as suggested by the set choreography. 37

38 Training Exercises Training Exercise 1 Warm Ups and Cool Downs These training exercises are outlined at Grade 1 and should continue to be used with the suggested extensions to create an enjoyable learning environment whilst developing social interaction. Note that the training exercises 2-4 should also be revisited. 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. 38

39 D) Crab Pool 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. 39

40 Training Exercises Training Exercise 2 Mobilisation of Joints and Lengthening of Soft Tissue Counts Steps Arms Head Commence: Natural parallel Introduction 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 40

41 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 R arm lifts over the head to follow line of the stretch 5-8 Tilt from the hips to stretch the torso over to the L leg Arms fall towards the floor or may hold leg 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 41

42 Training Exercises Training Exercise 3 Floor Work & Use of Spine Counts Steps Arms Head Commence: Sitting cross-legged on the floor, with an elongated spine, R leg crossed on top Hands placed lightly to the sides Introduction 1-8 Breathe and feel the continuous lengthening of the spine Follows natural line of the spine throughout 1-4 Curve the upper spine forward 5-8 Recover 1-4 Curve the upper spine to R side 5-8 Recover 1-4 Curve the upper spine forward 5-8 Recover 1-4 Curve the upper spine to L side 5-8 Recover 1-4 Spiral through the spine to the R Place L hand onto L thigh and reach the R hand along floor 5-8 Recover Hands return to sides 42

43 1-8 Repeat spiral to the L 1-16 Repeat spirals to R & L Stretch both the legs forward and give them a shake/wiggle and then replace them to have the other leg on top in the cross-legged position and repeat the exercise. 43

44 Training Exercises Training Exercise 4 Falls Counts Steps Arms Head Commence: Natural parallel Introduction Walk (this may be on a diagonal or horizontal across the studio) (R, L, R, L) Gentle swing of the arms 5-8 Step DSR on naturally turned out R leg, demi rond de jambe L leg from side to front R arm lifts through side of body over head 1-2 Cross L leg over R, soften both knees and fold into the floor on the R side Place R hand on floor 3-4 Roll onto sitting bones to face US, bring knees together tucked into body and transfer onto L side of pelvis Hands on floor behind hips 5 Place R foot on floor DSR, keep L leg tucked under 6-8 Place L foot on floor, knees soft and curl up through the spine Place R hand on floor Repeat whole exercise on other side 44

45 Strand B: Creative Strand The following information relates to the Creative Strand of the Grade 2 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 and PSHE. Set Dance B will cover PSHE and Science. PSHE should aim to develop skills and attributes such as resilience, self-esteem, risk-management, team working and critical thinking in the context of learning. PSHE education contributes to schools' statutory duties as outlined in the Education Act 2002 and the Academies Act 2010 to provide a balanced and broad curriculum and is essential to Ofsted judgements in relation to personal development, behaviour, welfare and safeguarding. 45

46 A: Improvisation/Movement Generation Task 1 (Preparation for Set Dance A): The Ugly Duckling 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. Task 2 (Preparation for Set Dance B): Forces 1) How many scientific forces can you identity from the movement in the dance? Provide a worksheet (see Appendix B) to complete this for at least 6 scientific forces. 2) Ask students to use these 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 Set Dance A. For both tasks there should be an opportunity for the 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. 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. 46

47 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 narratives used in dance? 1) A facilitated discussion to create a diagnostic assessment of what dance works the students know in any genre that are based on literature (either a story, a fairy or folk tale). Choreographers often make use of fairy and folk tales as a stimulus. Many companies/choreographers have used the same story and sometimes musical scores to create very different versions of a story e.g.; Giselle The Royal Ballet: Akram Khan for English National Ballet: Swan Lake The Royal Ballet: Matthew Bourne: 2) Put the students into groups and looking at the different versions ask: a) what similarities they notice b) what differences they notice c) which version do they prefer and why? You may wish to prepare and provide workshops for students to complete with given headers e.g. gender roles, costume, music, movement etc. 3) Create a mood board that includes images to support students learning where you write down their 47

48 comments and they can then pin these to the board. 4) View Northern Ballet s Ugly Ducking: Discussion points: How does this dance differ from the Set Dance A you have learnt? What do you prefer about the ballet version? What do you prefer about the version in your syllabus? B) Dance and Science Discussion points; Push/Pull Speed Direction Shape Balanced force Stationary Friction Moment Turning effect pivot Effort see-saw Deformation Stretching Compression Choose a few of these (3-4) to cover in each session. What movements can they create based on these words. This will also link to movements that have been included in Set Dance B that have been generated from these terms. Some of the terms will lead naturally to duets and group work e.g. a see-saw as a duet and stretching and compression as a group. Useful Resources: BBC Bitesize: 48

49 Credits Syllabus devised by: Sam Le Bihan assisted by Ben Warbis and Edd Mitton Project Co-ordinator: Sam Le Bihan (bbodance Head of Teaching Qualifications and Level 3 Dance) Educational Advisor: Libby Costello (bbodance Regulatory and Quality Assurance Advisor) Dr. Carol Martin Editorial Team: Kate Vandivier (bbodance Teaching Qualifications & Student Course Administrator) Debbie Pellett (bbodance Operations Manager) Vicki Rice (bbodance Examinations and Awards Manager) Video Tutor: Ben Warbis assisted by bbodance Level 3 students A Special Thank You: The codification and use of language that has been used throughout the Level 1 syllabi has taken some considerable discussion and I wish to thank Ben Warbis and Kate Vandivier for their professional opinion on how to make this accessible to teachers and students whilst preparing students for the language that is in current use in professional contemporary dance training and companies. Sam Le Bihan 49

50 Appendix A Task 1 (Preparation for Set Dance A): The Ugly Duckling An Emotional Understanding of the Narrative Use words or draw a picture to show the movement Use words or draw a picture to show the feelings

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52 Appendix B Task 2 (Preparation for Set Dance B): Forces Use words or draw a picture to show the movement Use words or draw a picture to identify the scientific force

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54 Appendix C Additional Resources The International Association for Dance Medicine & Science (IADMS) promotes medical, scientific and educational activities aimed at enhancing the treatment and training of dancers with the ultimate goal of improving dancers health, well-being and performance. The following Resource Papers can be found on: at no charge. Bone Health and Female Dancers: Physical and Nutritional Guidelines The Challenge of the Adolescent Dancer Dance Fitness Dance pedagogy: Myth versus reality First Aid for Dancers The Importance of a Good Warm-Up: Are you warm enough to start dancing? Nutrition (2016 updated version) Perfectionism Stretching for Dancers Turnout for Dancers: Hip Anatomy and Factors Affecting Turnout Turnout for Dancers: Supplemental Training IADMS encourages dissemination of the Resource Papers. IADMS owns the copyright for these Resource Papers unless otherwise noted. The PDF versions may be reproduced in hard (paper) copy for educational purposes, providing acknowledgement is given to the International Association for Dance Medicine & Science. 54