The Blueprint for Teaching and Learning in Dance: Fully

The Blueprint for Teaching and Learning in Dance:

Fully Developed Units

Title of the Unit: Universal Human Rights, Alvin Ailey, and the

Body/What: Actions, Parts and Shapes

Benchmark: 2nd Grade

Teacher: Elvira Vaiana, P.S. 20Q

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Unit Template

Lesson Plans

Tools (Lesson 4)

Tools (Lesson 6)

We are grateful to the Arnhold Foundation for their generous support.

The Blueprint for Teaching and Learning in Dance: Sample Unit Planner Title of the Unit: Universal Human Rights, Alvin Ailey, and the Body/What: Actions, Parts and Shapes

Unit Dates: 2/4/15—4/2/15 Number of Class Sessions: 8

Dance Teacher Name: Elvira Vaiana School: PS20Q, John Bowne Elementary

Benchmark(s): Grade 2 Grade/Class: 3

Unit Description In this unit, students discuss a biography of Alvin Ailey focusing on evidence of discrimination and prejudice, social action and change. Students analyze Ailey’s choreography, using the Laban Movement Analysis (LMA) poster—Body/What: Actions, Parts, and Shapes. Students create a dance task using elements of Ailey’s choreography from, I Been ‘Buked.

Big Ideas of this Unit: Students will understand that:

Ailey’s life and choreography presents a history of Blacks in America and raises the issue of human rights.

Ailey’s I Been ‘Buked, provides specific examples of the components of Laban Movement Analysis —Body/What: Actions, Parts and Shapes.

Essential Questions of this Unit: Students will answer:

What is the concept of Universal Human Rights?

How did Ailey’s childhood impact his adult life?

What are the components of Laban Movement--Analysis’ Body/What: Actions, Parts, Shapes?

Indicators of Student Learning CONTENT—Students will know:

Alvin Ailey by Andrea Pinkney & Brian Pinkney

The LMA components of Body/What: Actions, Parts, Shapes

Examples of Afro‐Caribbean music

What is scratch‐art, and how drawing can support dance

The concept of universal rights described on the third grade social studies standard 3.8

Specific movements from selections of Ailey’s Revelations

SKILLS—Students will be able to:

Learn and Perform the first stanza of I Been ‘Buked

Demonstrate Egyptian Arms/turning, low level shapes and connected shapes seen in I Been ‘Buked

Make movement choices as an individual, and as part of a small group, to create a dance phrase

Draw/label movements from I Been ‘Buked using LMA

Discuss the concept of universal rights

Dance Blueprint Strands Addressed (Highlight ONLY the components being assessed)

Dance Making

Develop Skills and Techniques

Improvise

Choreograph

Perform

Developing Dance Literacy

Understand Dance as a Means of Expression and Communication

Apply Dance Vocabulary, Terminology and Symbols

Analyze, Critique and Communicate About Dance

Identify and Compare Dance Styles, Genres, Major Works and Artists

Making Connections

Understand Dance History and the Social and Cultural Significance of Dance (Theatrical, Ritual & Social Dances)

Connect Dance to Other Arts and Disciplines

Utilize Technology in Connection with Dance

Connect Dance to Health and Well‐Being

Working with Community and Cultural Resources

Engage with Community and Cultural Institutions,

Colleges and Universities

Use Dance Research Resources

Share Dance Experiences in and Between Schools

Exploring Careers and Lifelong Learning

Learn About Careers in and Related to Dance

Set and Work Toward Goals

Value Dance as a Source of Enjoyment and Lifelong Learning

Common Core Learning Standards Addressed They build strong content knowledge.

They comprehend as well as critique.

They value evidence.

They respond to the varying demands of audience, task, purpose, and discipline.

Learning Experiences (Briefly describe each experience)

Students will discuss the biography Alvin Ailey, watch “Rocka My Soul” from Revelations, explore its movements, and compare the biography to the dance on DVD.

Students will read and discuss the the concept of universal rights described on the third grade social studies standard 3.8

They will listen to an interview with Judith Jamison on Revelations, and watch I Been ‘Buked. Students will explore/replicate its movements.

Students will practice the first stanza of ‘Buked, making connections to the LMA components of Body: Actions, Parts and Shapes.

Students will draw images from ‘Buked, and label them with LMA terminology: symmetrical, wide, connecting, leading part, etc.

Repeat the lesson a second week; students continue drawing/labeling; students who finish can choose to repeat their images on scratch‐art paper.

Students will define ‘utopia,’ and warm up to the musical selection, “In Search of Utopia” by Heritage O.P. — an example of Afro/Caribbean rhythms similar to those that attracted Ailey to the work of dancer/choreographer, Katherine Dunham.

Divide the class into two groups; assign a dance task: begin with ‘Buked, travel and divide into smaller groups, choose actions and shapes, and end connected.

Both groups of dancers rehearse their finished task; each group alternates as audience and performing ensemble, using full, center space when performing.

Repeat the lesson a second week, recording each group’s performance.

Students will watch and reflect on the recorded performances; groups may choose to re‐work a particular section, or an out‐of‐school student video can be viewed for further comparison and reflection of the overall unit.

Pre‐Assessment What do students already know and understand about this area of Dance Making?

Observation/recall/replication of dance on DVD

Understanding the rules of small group work

Use of LMA elements for choreography and discussion

What skills related to this unit have students already developed?

An understanding of the purpose, routine, and behavior of a dance class

Use of movement exploration to make individual or group choreographic choices

A growing sense of control and development of fine and large motor skills

Unit Assessments Examples: Performance task with checklist, peer observation with feedback protocol, student self‐assessment form videotape of student work with scoring rubric, test with grading system, student journal writing coded for vocabulary

Self‐Assessment

Dance task graphic organizer

Recorded group performance

Ailey Group Dance Rubric

Peer Assessment

Peer observation and feedback during practice performances

Response/discussion of recorded performances

Teacher Assessment

Drawings labeled with elements

Individual task graphic organizers

Recorded performances

Resources (Books, music, articles, websites, etc.)

Alvin Ailey, a biography by Andrea Pinkney and Brian Pinkney.

Revelations: The Autobiography of Alvin Ailey.

An Evening with the Alvin Ailey American Dance Theater. DVD.

Revelations. Soundtrack. CD.

When I Start To Play. Heritage O.P. CD.

Teacher Self‐Assessment / Reflection Strategies What worked well?

The elements of Body: Action, Parts, and Shape, were well explored and demonstrated by students throughout the unit. They enjoyed the opportunity to draw/label dance images and these created a wonderful display outside the dance room. The unit related to Black History Month and the third grade social studies standard 3.8.

What should be changed? Provide suggestions.

N/A

Drawings with LMA vocabulary. Photos taken by Elvira Vaiana at PS20Q

Ailey Group

Dance Rubric 4 3 2 1

Committed to

Memory I knew all the

steps in order. I think I missed

one step. I missed two

steps. I didn’t know

the order of the

steps. Timing I kept all the

correct timing. I lost the timing

on one step. I lost timing on

two steps. I lost timing on 3

or more steps.

Spacing I didn’t bump;

the audience

could see me;

my steps were

set up perfectly.

I had one pacing

problem.

I had two pacing

problems. I had more than

3 spacing

problems.

Focus My eyes moved

naturally from

my group to

audience.

I looked at my

group more than

the audience.

I only looked at

my group.

I lost focus and

began to laugh.

Low level shapes.

Connected shapes.

Photos taken by Elvira Vaiana at PS20Q.

Universal Human Rights, Alvin Ailey, and the Body/What: Actions, Parts, and Shapes

Teacher: Elvira Vaiana, P.S. 20Q

Lesson 1 Goal(s):

To read and discuss Alvin Ailey, a biography by Andrea and Brian Pinkney

To listen to “Rocka My Soul,” the music that which inspired Ailey’s choreography

To watch, describe, and replicate movements from the dance “Rocka My Soul” from Ailey’s Revelations

Learning Objective(s): Students will …

Know: o Who is Alvin Ailey and how he faced conditions of prejudice and discrimination

in his life o What is the music called “Rocka My Soul” o What is Ailey’s dance from Revelations called “Rocka My Soul”

Understand: o How the author and illustrator prepared for the writing of Ailey’s biography o How a childhood memory was used as a source of inspiration for creating a

dance o How actions and shapes can communicate emotions

Do: o Listen to and discuss the biography of Alvin Ailey; find evidence of social

injustices, and also social change o Explore/replicate the movements from “Rocka My Soul” o Follow a sequence of movements taken from the dance

NYCDOE Blueprint Strands Addressed:

Dance Making: Develop skills and techniques.

Developing Dance Literacy: Apply dance vocabulary and terminology.

Making Connections: Utilize technology in connection with dance.

Exploring Careers/Lifelong Learning: Learn about careers in/related to dance. Assessments:

Teacher observation

Materials/Music:

Book: Alvin Ailey, a biography by Andrea and Brian Pinkney;

CD: Revelations music soundtrack

DVD: Revelations, An Evening with the Alvin Ailey American Dance Theater

Laban Movement Analysis (LMA) poster by Dance Education Laboratory

A statement, handwritten on chart paper or an enlarged text copy, that presents the theme of

the lesson

Lesson Activities:

Presentation of Question/Topic/Theme

Ask: “Who is Alvin Ailey?”

Present the following statement: Alvin Ailey was a dancer and choreographer. He grew up at a

time of racial segregation. Blacks and people of color did not have the same opportunities for

education and career as did white people. Alvin used his talent as a dancer and choreographer

to inform the world about black history. With an integrated dance company, he created a

culture of respect for all.

(My school does a “Respect for All” campaign during the first half of February. I use the same

language whenever possible throughout this unit.)

Warm-Up:

A teacher-choreographed warm-up used every week.

o Seated: isolated body parts

o Standing: plie/releve/tendu/balance (Music: New Earth Music by Bruce Falconer)

o Jog/run/swings for heart rate (Music: Merrie Melodies by Cartoon Theme Players)

Development/Elaboration:

Begin the story by reading the list of sources used by the Pinkneys to research this biography;

particularly mention the six months of dance classes that the illustrator took in order to

accurately depict Ailey’s movement style.

Summarize the biography, choosing several selections to read verbatim.

Play the “Rocka My Soul” music when it is mentioned in the book to support the memory of the

song and the communal setting in which it takes place.

Discuss the evidence of prejudice and discrimination in Ailey’s life. Read the last page of the

biography, which tells of the awards and recognition that Ailey received as the creator of the

Alvin Ailey American Dance Theater.

Watch the dance “Rocka My Soul” on DVD; discuss how its actions and shapes communicate joy

and celebration, as it comes from a memory filled with the same emotions.

Ask for students to recall and demonstrate movements.

Construct and set a sequence of 32 counts using the movements recalled.

Arrange students in a rectangle, seated along the periphery of the space.

Each leg of the rectangle can practice the sequence in full, center space; the remaining seated students practice audience behavior.

Culmination/Sharing:

What is the emotional appeal of “Rocka My Soul”?

Do you feel a sense of celebration while watching this dance?

What movements left a lasting impression on you?

Cool Down:

Return to dance spots: breathing/stretches/reverence

Music: “Maid with the Flaxen Hair,” Richard Stoltzman (sample music from Windows Microsoft)

Lesson 2 Goal(s):

To look at the third grade Social Studies Standard 3.8, and discuss its meaning.

To listen to an interview with Judith Jamison, and gain further understanding of Ailey’s

Revelations.

To watch “I Been ‘Buked” and learn movements from the first stanza, identifying them using

LMA vocabulary

Learning Objective(s):

Students will …

Know:

o What is the third grade Social Studies Standard 3.8

o Who is Judith Jamison and how she describes Revelations and “I Been ‘Buked”

o What are the components and vocabulary of LMA for Body/What: Actions, Parts, and

Shapes

Understand:

o The importance of universal human rights, and fair treatment for all

o Religion was a unifying force in the black culture, and “I Been ‘Buked” was a popular

church song/spiritual.

o LMA vocabulary can be used to describe the key movements of “I Been ‘Buked.”

Do:

o Read the Social Studies Standard 3.8.

o Listen to an interview with Judith Jamison on the Revelations soundtrack CD.

o Read the lyrics to “I Been ‘Buked,” watch the dance, and discuss the

choreography/music relationship.

o Look for the components of Body/What: Actions, Parts, and Shapes.

o Explore/replicate the movements. NYCDOE Blueprint Strands Addressed:



Making Connections: Connect dance to other disciplines.

Exploring Careers/Lifelong Learning: Learn about careers in/related to dance.

Assessments:

Teacher observation Materials/Music:

DVD: Revelations

CD: Revelations music soundtrack

LMA poster

Three charts, as follows: o Social Studies Standard 3.8 o Key phrases from Judith Jamison’s interview o Lyrics for “I Been ‘Buked”

Lesson Activities: Presentation of Question/Topic/Theme:

What is the song “I Been ‘Buked”? What are its lyrics? Can we describe the choreography using LMA vocabulary?

I Been ‘Buked

I’ve been ‘buked and I’ve been scorned, yes I’ve been ‘buked and I’ve been scorned, children

I’ve been ‘buked and I’ve been scorned, I’ve been talked about, show’s you born There is trouble all over this world, yes

There is trouble all over this world, children There is trouble all over this world There is trouble all over this world

Ain’t gonna lay my religion down, no Ain’t gonna lay my religion down, children

Ain’t gonna lay my religion down Ain’t gonna lay my religion down

I’ve been ‘buked and I’ve been scorned, yes I’ve been ‘buked and I’ve been scorned, children

I’ve been ‘buked and I’ve been scorned, I’ve been talked about, show’s you born

Warm-Up:

A self-choreographed warm-up used every week. (Music: “Rocka My Soul” from Revelations) o Seated: isolated body parts o Standing: plié/relevé/tendu/balance o Jog/run/swings for heart rate


Staying in their warm-up spots, dancers practice all together the first stanza of “I Been ‘Buked.”

Emphasize: the opening stillness, leading parts, symmetrical/asymmetrical and wide/narrow shapes, timing, and unison.


What is the emotional appeal of “I Been ‘Buked”?

Do you feel a sense of unity as you practice this dance?

What movements left a lasting impression on you? Cool Down:

Returning to dance spots: breathing/stretches/reverence


Third grade Social Studies Standard connected to the school’s Respect for All Week.

Key phrases taken from Judith Jamison’s interview on the Revelations soundtrack.

Lesson 3 Goal(s):

To experience the kinesthetic properties of the movements in “I Been ‘Buked”

To choose a movement from ‘Buked to draw, and label using terminology from LMA’s Body/What: Actions, Parts, and Shapes

Learning Objective(s): Students will …

Know: o Brian Pinkney took dance classes for six months to help him capture Ailey’s movement

style. o The medium used for the illustrations in the book is called “scratch art.” o Drawing movements can also be a part of the choreographer’s process.

Understand: o Practicing the shapes of movements creates a kinesthetic sense within a dancer’s body. o The experience of drawing movement can improve our ability to replicate the shapes.

Do: o Watch the DVD of “I Been ‘Buked” again; find images of movements that you can draw. o Practice the creating the movement several times to get a kinesthetic sense of its action,

parts, and shape. o Draw/label the movement using terminology from the LMA poster’s Body/What: Action,

Parts, and Shapes. o Repeat your image on scratch-art paper, if so desired.

Assessments:

Teacher observation NYCDOE Blueprint Strands Addressed:



Making Connections: Connect dance to other arts and disciplines; utilize technology. Materials/Music:

Revelations DVD and music soundtrack CD

LMA poster

The following drawing materials: o Half sheets of paper cut from 9 x 12 or 8 ½ x 11 drawing or copy paper o Six trays each containing crayons, pencils, and erasers for 4-5 students

Lesson Activities: Presentation of Question/Topic/Theme:

Can we draw a movement from “I Been ‘Buked” and label the elements of Body/What? Warm-Up:

A self-choreographed warm-up used every week. (Music: “Processional” from Revelations)

o seated: isolated body parts o standing: plie relevé/tendu/balance o jog/run/swings for heart rate


Ask students to gather in groups of 4-5 around a tray.

Distribute papers to each group.

Have the LMA poster in clear view. Consider duplicating the Body/What section to place on the opposite side of the room to avoid everyone crowding at the same place to check for labels and spelling.


Did you enjoy the drawing experience?

Did it make you notice more about the choreography?

Did it change the way you performed the movement? Cool Down:



Drawings with LMA vocabulary.

Scratch Art

Lesson 4 Goal(s):

To define utopia and the importance of always trying to do one’s best

To combine individual choices and group choices in a dance task

To complete a dance task using traveling, actions, and shapes seen in “I Been ‘Buked” Learning Objectives(s): Students will …

Know: o Utopia , dictionary.com: A community of people possessing highly desirable or near perfect traits o Ailey’s use of the following choreographic elements: triangular spacing, stillness, individual vs. small-group action, whole-group connected shapes

Understand: o We search for utopia when we do our best. o The requirements of the dance task and how to use the graphic organizer

Do: o Plan and perform a dance task. o Combine individual choreography with small group choreography.


Dance Making: Develop skills and techniques, choreograph, perform.


Making Connections: Connect dance to other arts and disciplines.

Assessments:

Teacher observation

Dance Task Graphic Organizer Materials/Music:

Revelations soundtrack music CD

Music from Heritage O.P., “In Search of Utopia” from When I Start to Play

Copies of Dance Task Graphic Organizer for each student

Three charts to support the dance task Lesson Activities: Presentation of Question/Topic/Theme:

Individuals have a responsibility to self and to others in their group.

Review the social studies standard from Lesson 2, including the Respect for All statement.

Warm-Up:

A teacher-choreographed warm-up used every week. (Music: Heritage O.P., “In Search of Utopia” from When I Start to Play) o Seated: isolated body parts o Standing: plié/relevé/tendu o Jog/run/swings for heart rate


Begin with the two groups of 12-14 dancers; each group’s workspace is one half of the room.

Students will arrange themselves in the triangular position seen in the opening of “I Been ‘Buked.” Leaders will emerge within each group naturally to organize the dancers.

Simultaneously, both groups practice the first stanza from “I Been ‘Buked” with the music.

Place three poly spots in each half of the room.

Dancers will divide themselves into three small groups of 4-5 members and gather around one of the poly spots.

Dancers can now sit with their small group for the next discussion.

Discuss the three posters: 1) Breakaway Traveling Movements; 2) Small-Group Actions; 3) Low-Level Shapes.

Pass out the Dance Task Graphic Organizers; dancers will record their choices on the task papers.

Traveling movements are individual choices; each of the 12-14 dancers chooses how they will travel to the meeting spots.

At the meeting spots, small groups work together to design their small-group action.

Each individual chooses a low-level shape and connects to another dancer for the ending.

General percussion music is played to provide a constant beat throughout.

Collect the graphic organizers. Culmination/Sharing:

Describe how it feels to be part of a large group, 12-14, so closely spaced—do you feel a sense of unity? Then, individually, you scatter away in order to create a smaller group. Did you like being on your own? Was it easy to make decisions as a small group? How does it feel when the smaller group is connected at the end?

Cool Down:



Ailey Dance Task Graphic Organizer

Name: _____________________________________ Class: _______________

BODY/WHAT: ACTIONS, PARTS, SHAPES

1. Group A B

2. My break away action: __________________________________________

3. Our small-group action: _________________________________________

4. My low-level shape: ____________________________________________

5. I connected to: ________________________________________________

Ailey Dance Task Graphic Organizer

Name _____________________________________ Class _________________

BODY/WHAT: ACTIONS, PARTS, SHAPES

1. Group A B

2. My break away action: ____________________________________________

3. Our small group action: ___________________________________________

4. My low-level shape: _____________________________________________

5. I connected to: _________________________________________________

Lesson 5

Goal(s):

To practice our group work, perform for each other, and provide feedback

To record and view our performances

Learning Objective(s):

Students will …

Know:

o What is “performance focus”?

o What is “audience focus”?

o What are the requirements for performing for the camera?

Understand:

o Performing for an audience requires a keen performer’s focus.

o Audiences will provide feedback in a positive manner.

o Dancers will self-assess based on the experience.

Do:

o Rehearse and perform the dance task.

o Receive audience receive feedback and self-assess.

o Perform the dance a second time for recording purposes.




Making Connections: Connect dance to other disciplines.

Exploring Careers/Lifelong Learning: Learn about careers in/related to dance.

Assessments:

Audience feedback

Self-assessment

Materials/Music:

Dance Task Graphic Organizers

Revelations soundtrack music CD

Music from Heritage O.P., “In Search of Utopia” from When I Start to Play

Lesson Activities:

Presentation of Question/Topic/Theme:

What are the responsibilities of performer? Audience members?

Warm-Up:

A self-choreographed warm-up used every week. (Music: Heritage O.P., “In Search of Utopia”

from When I Start to Play)


o Standing: plié/relevé/tendu/balance

o Jog/run/swings for heart rate


Both groups run through the dance task with music; dancers can refer to their task organizers if

necessary.

Each group has an opportunity to rehearse in the full center space.

Record each group.


How did you feel about your performance as a dancer? Do you feel stronger with the larger

group or the smaller group? Explain.

As an audience member do you get a sense of unity among the dancers—like they belong

together?

Cool Down:


Music: “Maid with the Flaxen Hair, Richard Stoltzman (sample music from Windows Microsoft)

Lesson 6

Goal(s):

To increase our understanding of dance by watching our videotaped performances.

To practice positive critiquing.

To compare and contrast the choreographic choices made by individual dancers and groups.

Learning Objective(s): Students will ...

Know:

o How to offer constructive feedback after watching another group’s performance

o How to self-reflect on one’s own performance

Understand:

o Videotape is an instructional tool that allows performers to view their performance from an

audience perspective.

o All comments must be positive and constructive.

Do:

o Watch the recorded dances respectfully.

o Offer positive comments about yourself and your peers.


Dance Making: Replicate and recall movements and patterns.


Making Connections: Utilize technology in connection with dance.

Assessments:

Self-assessment

Performance rubric

Peer feedback

Materials/Music:

Dance task papers

Performance rubric

Revelations music soundtrack CD

Music from Chata Addy and Susuma, “Che Che Kule” from This Is What I Feel

Lesson Activities:

Presentation of Question/Topic/Theme:

What are the responsibilities of audience members?

Can we use video to self-assess in a positive way?

Warm-Up:

A self-choreographed warm-up used every week. (Music: “Che Che Kule,” Chata Addy &

Susuma, from This Is What I Feel)


o Standing: plie/releve/tendu/balance

o Jog/run/swings for heart rate


Each group’s video is viewed and reviewed.

Sections may be reworked immediately if desired.

A third video from another class can offer further study and insight into the performance aspect

of our dance task.

CULMINATION/SHARING:

“I Been ‘Buked” is about a sense of community, of people who stand strong together. But there

is also the opportunity to go out on your own and connect to smaller groups. There is a balance

between group activity and individual activity. Did you feel a responsibility to always do your

best in each situation? Did you learn something about yourself as a dancer by watching the

video?

Cool Down:

Returning to dance spots: breathing/stretches/reverence Music: “Maid with the Flaxen Hair,” Richard Stoltzman (sample music from Windows

Microsoft)

Ailey Group Dance Rubric

4 3 2 1

Committed to Memory

I knew all the steps in order.

I think I missed one step.

I missed two steps.

I didn’t know the order of the steps.

Timing I kept all the correct timing.

I lost the timing on one step.

I lost timing on two steps.

I lost timing on three or more steps.

Spacing

I didn’t bump; the audience could see me; my steps were set up perfectly.

I had one spacing problem.

I had two spacing problems.

I had more than three spacing problems.

Focus

My eyes moved naturally from my group to audience.

I looked at my group more than the audience.

I only looked at my group.

I lost focus and began to laugh.

Small-Group Action

Low-Level Shapes

Connected Shapes

Practicing the first stanza of “I Been ‘Buked”

Documents

The Blueprint for Teaching and Learning in Dance: Fully