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A. Develop self-confidence through the process of preparing assignment pertaining to the basic elements of design in movement.
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B. Develop capability to communicate ideas using movement and the human body as the tools of expression.
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C. Develop a sense of and appreciation for good design in dance.
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D. Develop ability to work, communicate and evaluate harmoniously and intellectually in a group.
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E. Develop ability to create expressive dance movement that is skillfully unique and artistically stimulating.
Each class will follow a planned order. This order could vary depending on material to be covered. Only in cases of class not involving movement should warm-up period be omitted. These should be kept to a minimum.
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1. Warm-up
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2. Review and practice of movements
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3. Presentation of new movements
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4. Movement combination using stage space
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5. Presentation of assignment
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6. Classroom time to experiment with assignment
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7. Presentation of homework assignments and fellow student evaluations
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8. Cool-down exercise or improvisation
Begin each class with a warm-up period. Dance is extremely physical and requires warming up as an athlete does before a workout or sports event. Failing to do this could result in strain or other injury. Slow, movements using large muscle groups should be done first. Swings, bounces, and plies with minimum force are good to begin warming up.
Confidence can be built with a slow transition from the known to the unknown. Begin with familiar movements from social or folk dances and break them down into locomotive and fundamental movements. From this basis new movement can be introduced with little frustration.
Stage space and terminology can also be effectively taught during the warm-up period. (See diagram and terminology list). Participation and observation of movement combinations across the floor will teach strong and weak areas and correct name for each area. The class should not move into the area of choreography until a strong dance vocabulary is established.
Assignments are included throughout the unit for each of the elements of design. The size of the class will dictate the number of class periods each assignment will need. This will also depend on the rate at which the majority of students grasp the basic concepts of the movement problem. This will also vary from class to class and lesson to lesson. The class should be paced, spending neither too much nor too little time on a given element. Too much time will result in boredom, too little time in frustration.
Experimentation, spontaneity, freedom and exploration should be strongly encouraged. To avoid embarrassment in the presentation of assignments as stated above, work from the known to the unknown. Have the class work on assignments as a whole, than small groups, with partners performing for each other and last, as solos before the class as an audience. Do not force performance—the main objective is that the students create the movements and understand the elements. The student who is uncomfortable performing could begin by choreographing movement for a fellow student.
Discussion and evaluation are essential elements of the learning process. As a word of caution do not spend more time in talk than is necessary. Dance is movement and a dance-class should be an activity class. Say what is important and necessary in the fewest words possible. This should also be encouraged of the students when evaluating each others assignments. Criticism should be discouraged and discussions should be conducted in a
positive
, constructive, and impartial manner. Encourage respect amongst the students for each others work.
End each class with a group exercise or improvisation. This could range from a breathing exercise, cool down stretches, to a theater game such as having the class move through the space with eyes closed not bumping into each other. Leave sufficient time for this so class will not be dismissed from a state of chaos.
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SUCCESSION
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OPPOSITION
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HIGH POINTS IN PHRASING
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(figure available in print form)
U—Up
C—Center
D—Down
L—Left
R—Right
US—Upstage
DS—Downstage
On Stage—within the performing area
Off Stage—outside the performing area
Wings—offstage right or left
Exist/Entrances—openings into performing area
Fly Space—area above stage, scenery may be flown in or out
Proscenium—opening between audience and stage
Apron—stage area which projects beyond curtain line
House—part of theater occupied by audience
Freeze—inconspicuous immobility
Cross—Movement between points on stage
Above — upstage of . . .
Below—downstage of . . .
Open Up—turn more toward audience
