Creative Dance

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Creative Dance/Movement From Text

Team names: Maggie McCausland and Sage Staples

I. Standards

A. Utah State Core Curriculum Standard(s) (Both Dance and Science)

Dance Strand: CREATE (3.D.CR.): Students will conceptualize, generate, develop and 
     organize artistic ideas and work. They will complete and refine dance works (Standards 
     3.D.CR.1–4).
          -Standard 3.D.CR.1: Demonstrate willingness to take turns leading and following when 
           creating dance with others.
          -Standard 3.D.CR.2: Experiment with a variety of self-identified stimuli for movement, and 
           explore a given movement problem by improvising, selecting, and demonstrating possible 
           solutions.
          -Standard 3.D.CR.3: Improvise and create a dance phrase, alone or with others, that 
           expresses and communicates an idea or feeling.
          -Standard 3.D.CR.4: Identify and experiment with ways to manipulate a dance phrase, 
           discuss the effect of movement choices, and revise in response to feedback.

Strand: RESPOND (3.D.R.):Students will perceive and analyze artistic work and process. They
will interpret intent and meaning and apply criteria to evaluate artistic work and process
(Standards 3.D.R.1–2).

-Standard 3.D.R.1: Use basic terminology to describe movement characteristics and
patterns, select specific movement cues, and explain how they relate to the main idea of
the dance.

Science Core Standard 3rd Grade:
Standard 2: Students will understand that organisms depend on living and nonliving things
within their environment.

Objective 1: Classify living and nonliving things in an environment.

B. Central Focus

a. Students will have a deeper understand of the literary text through the use of movement.

II. Intended Learning Outcomes

A. Lesson Objective: Students will be able to describe the interaction between living and nonliving things through the use of their body and movement.

B. Learning Target/Indicator: Students will show their understanding through a short writing the key details of the story.

III. Assessment of Student Progress

A. Pre-assessment: Hold a class discussion on what they know about the relationship between living and nonliving organisms.

B. Ongoing Formative Assessment: Assess students through their movements and verbally through several class discussions.

C. Final Formative Assessment (as needed): They will write a short paragraph or draw a comic strip on the important ideas they learned through the text and through the use of movement by putting the whole text together.   

IV. Preparation

A. Students’ prior knowledge and skills: the rules to participate in dance and the basic terminology of dance.

B. Teacher preparation.

a. Materials: Planting the Wild Garden by Kathryn O. Galbraith

C. Plan for Differentiation:  Encourage students to participate at their own level of personal ability.

D. Academic Language

a. Language Function: identify, describe, respond

b. Language Demand

i. Syntax:  Beginning shape/movement solution/ending shape, paragraph

ii. Vocabulary: Thistle, strewn, yarrow, cockleburs, body, energy, space, time, axial,
locomotor, levels, shape, pattern, pathway,

iii. Discourse: Group discussion
c. Language Support: modeling and discussion
E. Technology Use and Purpose: youtube, will be used as background noise to help with the
flow and to create the scene.

Link: https://www.youtube.com/playlist?list=PLirfAew0zgceTI1WcASzzxY6hKZP3CNb4
F. Student preparation (if applicable): no student preparation needed.

V. Instructional Procedures (including differentiation)

1. Instructional model(s)
1. Begin class by going over, or holding a review of, the rules and terminology of dance with students.
2. Warm-Up: Movement circuit with the words jump, stomp, spin, and hop around the room that will help students be prepared for the dance movements that will be used when reading and performing the book.
3. Introduce the book by showing the first two pages and hold a discussion on what they see.
4. Discuss the movement of seeds and how they spread through the world and interact with other living and nonliving organisms.  
5. Starting on page 2, re-read and continue reading for the next few pages having students listen for and think about the different verbs being used in the book.
6. Re-read the same pages from step (e) but more slowly so that students can dance the verbs being used in the book to retell the story through appropriate movement, while we use background music and props.  
7. Discuss with the class where the seeds started and where some of them are now, talking about the different interactions they have had with nonliving and living things throughout their change and growth.
8. Continue reading the story, having students thinking about verbs and displaying the different verbs through the use of appropriate movement.
9. Stop on page 7 and have students shout out the different prepositional phrases, verbs, etc. that they can act out.
10. Re-read from page 3-7 having students act out the different scenes.
11. Stop to have a discussion on what is going on and where the seeds are and how they have dispersed making sure students are understanding the concept of living and nonliving things dispersing the seeds.  
12. Read from pages 7-11 reviewing what we have so far encountered through the book emphasizing nonliving and living things.
13. Read the last two pages and as they are being read aloud direct students to dance and make movements of the wind, water, birds, animals, plants, and people while slowly coming together to form a circle holding hands.
14. Once the circle is formed re-read the last two pages emphasizing the word “together”.
15. Have a discussion about what they learned from the book and through the use of movement of the interaction of living and nonliving things in the circle letting students express what they have learned vocally.
16. Re-read the book with music letting the students put their different dance movements together through the book, putting it all together to form one dance with the literary text.
17. As a final assessment have students write a short paragraph or draw a comic strip of the interactions between the living and nonliving that we have explored through the book.

• Attach any supplementary materials you will use in your lesson.

VI. Accommodations: Allow students who are blind to have a partner to help guide them through the room.

Dance Warm-ups:

BrainDance

Anne Green Gilbert ‑ www.creativedance.org

BrainDance for ages 5 ‑ Adults

Put together movements from‑the 8 patterns below starting with breath and ending with vestibular stimulation. You can do the BrainDance standing, traveling through space or lying on a bare floor. I prefer the "5 minute Standing BrainDance" described below for a quick warm‑up before tests, performances, presentations, and during computer work and TV watching for brain integration, recuperation and oxygenation, a whole body/brain warm‑up, centering and to wake‑up or calm‑down.

Breath ‑ 4‑5 deep breaths through the nose and out the mouth filling the belly, diaphragm and lungs.

Tactile ‑ First squeeze strongly each arm and each leg and the torso, back, head (whole body). Then tap lightly whole body, then slap sharply whole body and then brush smoothly whole body. It is best to do topside and bottom side of arms and hands, face, neck and front torso and down legs and feet then head, neck and back torso and back of legs.

Core‑Distal movement ‑ movement that moves from the center out, through and beyond the fingers, toes, head and tail. Movement that grows and shrinks, stretches and curls in big "X"s and little "o"s is great!

Head‑Tail movement ‑ movement that connects the head and tail (lowest part of spine or coccyx). Play with movement that brings head and tail together curving forward and backward and side to side. Keeping the knees bent helps to release the tail. End with a spine wiggle.

Upper‑Lower Connection ‑ ground the lower half of body by pressing legs into floor with a slight knee bend. Swing arms in different directions and stretch and dance upper body in different ways. Ground upper half by reaching arms out into space with energy as though you were hugging the earth. Dance with lower half ‑ try marching in place, simple knee bends, jumps, leg brushes and other actions.

Body‑Side Connection ‑ Make a big X with your body. Dance with the left side of your body while keeping the right side stabile (still). Then keep the left stabile and dance with the right side. With knees and elbows slightly bent like a "W" bring the left half of the body over to meet the right half and vice versa (like a book opening and closing). Follow your thumb with your eyes as it moves right to left and left to right.  Do the lizard crawl with arms and legs open to the sides ‑ one side bent and the other stretching like a lizard crawling up a wall. Move your eyes right to left and left to right (looking at the thumb near your mouth helps) to develop horizontal eye tracking.

Cross‑Lateral Connection ‑ Do a parallel standing crawl with legs and arms in front of you. Let your eyes travel up and down looking at one thumb as it reaches high and low for vertical eye tracking. Do a cross‑lateral boogie dance finding as many ways of moving cross‑laterally as possible such as touching right knee to left elbow, left hand to right foot, right hand to left knee, left hand to right hip, skipping.

Vestibular Stimulation ‑ swing upper body and head up and down and side to side. Make sure head is "upside down." Spin 15 seconds one way, breathe and rest 15 seconds, then spin 15 seconds the other way.  Take 3‑4 deep breaths to center yourself after spinning!

Resources:

Smart Moves, Carla Hannaford. Arlington, VA: Great Ocean Publishers, 1995.

Teaching With The Brain in Mind, Eric Jensen. ASCD, Alexandria, VA, 1998. 800‑933‑2723

Arts with the Brain in Mind, Eric Jensen. A4CD, Alexandria, VA, 2041. www.ascd.org

Sparks of Genius: The Thirteen Thinking Tools of the World's Most Creative People, Robert and Michele Root‑Bernstein. Houghton Mifflin, 1999.

Learning and Memory: The Brain In Action, Marilee Sprenger. ASCD, Alexandrai, VA 1999, www. ascd.org

Connections, Total Body Integration through Bartenieff Fundamentals, Peggy Hackney. Gordon Breach Publishers (available in paperback from amazon.com).

Brain Gym, Paul and Gail Dennison. Edu‑Kinesthetics PO BOX 3396, Ventura, California 93006.

Ph: 805‑650‑3303, Fax: 805‑650‑0524.

lOl Questions Your Brain Has Asked About Itself But Couldn't Answer Until Now, Faith Hickman Brynie, Mihbrook Press, Brookfield, CT, 1998

The Learning Revolution, Goraon Dryden &Dr. Jeannette Vos, The Learning Web, 800‑637‑6893

Knowing Dance, Marion Gough, Dance Books Ltd, London 1999. (best practices philosophy)

Resources:

1. Creative Art Lesson Resources 2. Constellation Dance

3. Text Space Dance 4. Weight in Words

5. Dance to the Story 6. Dance

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