contemporary syllabus grade 3 · music: drumming song – florence and the machine counts steps...

Level 2 Award in Graded Examination in Dance

© bbodance 2018

CONTEMPORARY SYLLABUS

GRADE 3

2

Contents

Introduction and Overview ...................................................................................................................................................... 4

Stage Directions ...................................................................................................................................................................... 6

Vocabulary .............................................................................................................................................................................. 7

Centre Technique ................................................................................................................................................................... 8

Exercise 1 – Pliés with Full Use of the Spine ...................................................................................................................... 8

Exercise 2 – Foot Articulation and Tendu ......................................................................................................................... 10

Exercise 3 – Rond de Jambe with Spine Release ............................................................................................................ 12

Exercise 4 – Swings .......................................................................................................................................................... 14

Travelling Technique ............................................................................................................................................................. 16

Exercise 1 – Travelling Battements ................................................................................................................................... 16

Exercise 2 – Walks and Falls ............................................................................................................................................ 18

Exercise 3 – Petit Allegro .................................................................................................................................................. 20

Exercise 4 – Allegro .......................................................................................................................................................... 22

Dance .................................................................................................................................................................................... 24

Dance A – The Diary ......................................................................................................................................................... 24

Dance B – The Water Cycle .............................................................................................................................................. 29

Training Exercises ................................................................................................................................................................ 36

Training Exercise 1 – Warm Ups and Cool Downs ........................................................................................................... 36

Training Exercise 2 – Mobilisation of Joints and Lengthening of Soft Tissue ................................................................... 38

Training Exercise 3 – Awakening the Body ....................................................................................................................... 39

Training Exercise 4 – Floor Work & Use of Spine ............................................................................................................. 42

Training Exercise 5 – Battements ..................................................................................................................................... 44

Strand B: Creative Strand ..................................................................................................................................................... 45

A: Improvisation/Movement Generation ............................................................................................................................ 46

Task 1 (Preparation for Set Dance A): The Diary – An Emotional Understanding of the Narrative .............................. 46

Task 2 (Preparation for Set Dance B): The Water Cycle .............................................................................................. 46

B: Composition .................................................................................................................................................................. 47

Task 1 (Development of Set Dance Material and Student Bow) ................................................................................... 47

Strand C: Wider Learning Strand .......................................................................................................................................... 48

3

Appendix A ............................................................................................................................................................................ 50

Appendix B ............................................................................................................................................................................ 52

Appendix C – Additional Resources ..................................................................................................................................... 53

Credits ................................................................................................................................................................................... 54

4

Introduction and Overview

About the Syllabus

The Grade 3 Contemporary Dance syllabus should be approached as a complete course of study comprising

three strands:

Technique and Performance

Creative

Wider Learning

Technique and Performance consists of set exercises and dances, which are examined, and Training Exercises,

which support learning but are not part of the examination content. The inclusion of Creative and Wider Learning

strands marks a change in the ethos of bbodance syllabi at Graded Examination level. By engaging with these

strands from the outset, it is hoped that students will be encouraged to develop an individual and creative

response to the technical syllabus material.

The Syllabus Film is the definitive record of the syllabus. Any discrepancies or inconsistencies between the film

and written word should be brought to the attention of bbodance HQ for amendment by the Qualifications and

Awards Approval Board.

Technique and Performance

Comprises nine set exercises and two Set Dances (A and B). Only one Set Dance is required for examination

purposes, although teachers may decide to teach both. A range of training exercises including warm-ups has

been provided to support the delivery of the set syllabus. Please note that Training Exercises are for teaching

and learning purposes only and are not included in the examination.

Creative

This includes improvisation and composition. This work will collectively allow students to explore topics and

themes in the syllabus material and choreograph their own bow for the end of the examination. The tasks for

creative work are directly linked to each of the Set Dances and are supported by recommended online resources.

This work provides interest and motivation before teaching the actual Set Dance choreography and will

familiarise students with the themes and music for the Set Dances. In choreographing their own bow, students

may use themes or characters from one of the Set Dances, selecting steps and movements that they have

already created for the composition task.

Wider Learning

This strand is about gaining knowledge and understanding of Contemporary Dance and studying some of the

best-known shows from the repertoire (appropriate to the level and age range). Dance students should know

about their art form and be familiar with the repertoire, just like students of music, art or drama. In addition, the

study of repertoire is one of the best ways of encouraging performance style and quality. Students can be

inspired by watching (and listening to) great performances by leading professionals.

5

The Specification

Grade 3 continues a series of qualifications which are recognised in England and Wales and form part of the

Regulated Framework (RQF) at Level 1. Successful completion of the examination leads to the following

qualifications:

BBO Level 1 Award in Graded Examinations in Dance: Grade 3

Full details of the examination for Grade 3 in Contemporary Dance can be found in the Specification, including

duration, recommended uniform and assessment criteria. Please note that Specifications for all Graded and

Vocational Graded Examinations are available via the website.

Note on Examinations

This syllabus will come into effect from January 2019.

6

DSL

Down Stage Left

DSR

Down Stage Right

USR

Up Stage Right

USL

Up Stage Left

USC

Up Stage Centre

DSC Down Stage Centre

SC

Centre Stage De côté De côté

Stage Directions

FRONT

SL

Stage Left

SR

Stage Right

Derrière

En face

Devant

En avant

En arrière

7

Vocabulary

Grade 3

The following French terms are used and/or introduced in Grade 3:

Demi plié

Petit

Plié

Tendu

Natural Parallel (parallel 1s t 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.

8

Centre Technique

Exercise 1 – Pliés with Full Use of the Spine

Music: Dream a Little Dream of Me – Doris Day

Music Steps Arms Head

Commence: Natural parallel facing DSR Relaxed at sides

Introduction:

16 counts

Wait 14 counts

15 - 16 Arms lift to 2nd position

1 - 2 Demi plié with curve of upper

spine

Arms close to 1st position

3 - 4 Straighten knees and recover

body to neutral spine

Arms open to 2nd position

5 - 8 Repeat

1 - 2 Rise with lift of the sternum

(solar plexus)

Arms lift to high V Focus lifts to high diagonal

3 - 4 Lower heels and recover

body to neutral spine

Arms lower through sides of

body

5 Turn out R foot to natural 1st

position

R arm circles outwards

starting by crossing in front of

body and lower to sides

6 Turn out L foot to natural 1st

position

L arm circles outwards

starting by crossing in front of

body and lower to sides

7 - 8 Arms open to 2nd position

1 - 16 Repeat in 1st position

Last 4 counts, transition from

1st to 2nd position placing feet

R, L

Arms lift to 2nd position

1 - 16 Repeat in 2nd position

9

Last 4 counts, lunge onto R

leg and push off the R leg to

pivot 90˚, bring R toe to L

ankle and lower to natural

parallel facing DSL

Arms lift to 2nd position

Repeat entire exercise to L

Teaching Tips

Training Exercise 3 from Grade 2 can be revisited to remind students of the use of the spine for a

curve.

Notes on Style

The lifting of the sternum (solar plexus) should be a small movement, which is supported by the

engagement of the abdominal muscles and maintains a vertical use of the lower spine and coccyx

The lifting of focus to a high diagonal should be demonstrated by the teacher and be achieved by the

student with length and support up the back of the neck.

10

Centre Technique

Exercise 2 – Foot Articulation and Tendu

Music: Drumming Song – Florence and the Machine

Counts Steps Arms Head

Commence: Natural parallel facing DSR Relaxed at sides

Introduction

8 counts

1 - 2 Lift R heel, lower heel

3 - 4 Repeat

5 - 8 Lift R heel, stretch toes lifting

foot slightly off the floor, lower

the toes to the floor, lower the

heel

1 - 2 Spring through R foot, lower

to parallel

3 - 4 Repeat

5 - 8 Tendu R leg to front, close

1 - 2 Tendu R leg front

3 Flex R foot

4 Point R foot

5 - 6 Close

7 - 8 Demi plié, straighten

1 - 24 Repeat on L

Last 2 counts, turn out L leg

and lower into 1st position,

changing to face DSL

Last 2 counts, arms lift to 2nd

position

1 - 48 Repeat in 1st position (R, L) Arms in 2nd position

11

Last 2 counts, transition to

face DSC in 1st position

1 - 48 Repeat in 1st position (R, L)

with tendu to side

Last 2 counts, transition to

natural parallel position facing

DSR

Teaching Tips

The students must allow the supporting foot to move with the body when transitioning between DSR,

DSL & DSC to establish a natural 1st position. Depending on your studio flooring this exercise may

require socks to be worn.

Notes on Style

The ‘spring’ through one foot, both at a slow speed and faster speed, should be executed with

precision and without embellishment in the knee and lower leg similarly to that in Grade 2. In some

contemporary technique classes it has become the ‘fashion’ to flick this movement and this is not

required in this syllabus.

The student should aim to demonstrate an understanding of the ‘squareness’ in the hips during the

tendu.

12

Centre Technique

Exercise 3 – Rond de Jambe with Spine Release

Music: Caravan of Love – The Housemartins


Commence: 1st position Relaxed at sides

Introduction

16 counts

1 - 2 Tendu R leg side Arms lift through 1st to 2nd

position

3 - 4 Close Arms lower to sides

5 - 8 Repeat

1 Tendu R leg front, plié L leg Arms lift to 1st position

2 - 3 Demi rond de jambe to side

with straightening of L knee

Arms open to 2nd position

4 Close R leg to 1st position Arms lower to sides

5 - 8 Repeat

1 Tendu R leg front, plié L leg Arms lift to 1st position

2 - 4 Full rond de jambe to back Arms open to 2nd position

5 Bring R leg to 1st position,

knees bent

6 Tendu R leg front, L knee

bent

7 - 8 Close R leg to 1st position,

straighten both knees

Arms lower

1 - 8 Repeat previous 8 counts

1 - 4 Turn in to natural parallel and

roll down into forward fold

Arms relax overhead Natural extension of the spine

13

5 - 6 Demi plié

7 - 8 Straighten knees

1 - 2 Demi plié and straighten

3 - 4 Roll up through the spine

dropping the coccyx into its

natural position

Recovers in accordance with

the spine

5 - 6 Lift of the sternum and

recover to neutral spine

Circle both arms crossing in

front of the body and

overhead, lower arms to sides

Natural extension of the spine

7 - 8 Rotate both legs into 1st

position

Repeat exercise on L side

Teaching Tips

If the student has tight hamstrings they may need to release their knees whilst they roll down through

the forward fold and then continue this softening into the first demi plié.

Notes on Style

The transitions between the parallel alignment and the use of turn out can be discussed and decided

upon between the teacher and student.

14

Centre Technique

Exercise 4 – Swings

Music: Hey There Delilah – Plain White T’s


Commence: Natural parallel Relaxed at sides Natural extension of the spine

throughout

Introduction

16 counts

Wait 12 counts

13 - 16 Lift arms through sides of

body to overhead

1 - 4 Drop swing forward, recover

with slightly soft knees

Arms swing forwards in

parallel ending behind the

torso. They then swing back

up to overhead






up to overhead






up to overhead

5 - 6 Circle arms back, down and

up through front of body

7 - 8 Lift sternum Circle arms back, down and

up through front of body

ending high

1 - 16 Repeat drop swings and arm

circles

1 - 2 Keeping hips square to front,

shift weight to R foot with soft

knees

Twist upper body to R and

allow arms to swing across

the body to the R

3 - 4 Repeat L Repeat L

15

5 - 8 Step turn step (R, L, R)

finishing in R side lunge

Arms swing open to side and

cross body to R in lunge

1 - 8 Repeat previous 8 counts to L As above

1 - 4 Face front in natural parallel Arms lift through sides of

body overhead and cross in

front of body and finish in 2nd

position

5 - 8 Shunt R leg forward and

return R leg to natural parallel

with soft knees

Arms swing down and lift in

front of the torso crossing at

the elbows, wrists are soft

1 - 4 Shunt L leg forward and

return L leg to natural parallel

with soft knees

Arms swing back through the

previous pathway to return to

2nd position

5 - 8 2 small steps (L, R) to face SL Lift arms through sides of

body to overhead

Repeat whole exercise in

profile facing SL

Teaching Tips

This exercise is designed to explore the use of gravity and suspension/resistance of gravity and should

have playfulness to the first learning of the exercise.

Notes on Style

By this exercise being repeated in profile it is designed to allow the teacher/examiner to assess the

understanding of the safe use of the spine and the alignment of the knees over the feet (toes) in

parallel.

The legs should not be snapped back at any point.

16

Travelling Technique

Exercise 1 – Travelling Battements

Music: Machines – Biffy Clyro


Commence: USL corner facing DSR, 1st

position

Relaxed at sides

Introduction

16 counts

Wait 12 counts

13 - 16 Tendu R leg behind Arms lift through sides of

body to 2nd position

1 - 2 Step R, brush L leg through

1st position to slightly off the

floor to front with straight legs

3 - 4 Repeat L

5 - 6 Repeat R

7 - 8 Repeat L

1 - 2 Lunge forward onto R leg

3 Straighten R leg Lower arms to sides of body

4 Lunge forward on R leg

5 - 7 Cross L leg back, step

forward R leg, step forward L

leg

8 Straighten legs and tendu R

leg behind

Arms lift through sides of

body to 2nd position

Repeat whole exercise

Teaching Tips

There should be an investigation to the rhythm and dynamics of the exercise and the legs should only

be lifted as high as is the range of that student.

17

Notes on Style

In the battement the height of the leg is not specified and it can be executed between 45-60 degrees,

ensuring that both knees are straight.

18


Exercise 2 – Walks and Falls

Music: Very Superstitious – Stevie Wonder


Commence: USL corner facing DSR,

natural parallel position

Introduction

16 counts

Wait 8 counts

9 - 12 Demi plié, stretch, rise, lower

heels

13 - 16 Peddle through the feet R, L,

R, lower R heel

1 - 2 Walk forward R, L Natural swing of the arms in

opposition

3 + 4 3 quick walks R, L, R Circle left arm though sides

of the body and over

5 - 6 Drop to the floor onto the L

side of the pelvis, roll across

the pelvis onto the R side

Place L hand on floor and

then the R hand

7 Cross L leg over R and stand

up facing DSR on L leg

8 Step back R

+1 Step L foot to R, feet together

2 - 3 Step back L to natural turned

out position, full rond de jambe

front to back with R leg

4 - 5 Step back R to natural turned

out position, full rond de jambe

front to back with L leg

19

6 Step back L, R foot lengthens

to tendu

7 Step forward R

8 Jump to 2 feet in natural

parallel

Repeat whole exercise on L

Teaching Tips

Training exercise T4 from Grade 2 and the simpler walk exercise for the same grade should be

revisited when first teaching this exercise.

Change the music to add interest, and the students could suggest this.

In this exercise the first walking phrase is completed on count 1 and the next phrase begins on count 2

which may be a new concept for many young dancers.

Notes on Style

The use of the arm and the sense of transference of weight throughout this exercise are designed to

aid the dancer’s sense of ‘falling’ with weight and gravity.

“Peddle through the feet”; lift the R heel to start, lift the L heel whilst simultaneously lowering the R

heel, lift the R heel whilst simultaneously lowering the L heel, lower R heel.

20


Exercise 3 – Petit Allegro

Music: Lights – Ellie Goulding




Introduction:

16 counts

1 - 4 4 bounces Arms lift through sides of

body to shoulder height

5 - 8 4 bounces with soft knees,

releasing heels from the floor

Arms lift to high V, palms

facing up, with lift of the

sternum (solar plexus)

1 - 4 4 jumps each with a quarter

turn clockwise

Palms flip to face down and

arms lower through sides of

body

5 - 6 Step R on slight diagonal,

jump 2 feet together

7 - 8 Step L on slight diagonal,


1 - 4 Step turn step (R, L, R) and


Repeat exercise on other side

Teaching Tips

The students may be hesitant to count themselves in and simple clapping to music exercises should improve

their musicality e.g.:

counting and clapping 4 even beats,

miss 1, clap 2, 3, 4,

clap 1, miss 2, clap 3, 4,

clap 1, 2, miss 3, clap 4,

clap 1 2, 3, miss 4,

21

This pattern can also be replicated with simple jumps. As an extension exercise you could ask the students (in

pairs) to work out the pattern in reverse. Then split your group and get students to face each other with one

side demonstrating the first pattern and the other side the reverse pattern.

Notes on Style

The allegro should be performed with a softness to the elevation and there should not be an over

extension of the legs in the jumps.

22


Exercise 4 – Allegro

Music: Cup Song – Anna Kendrick




Introduction:

16 counts

1 - 2 Run R, L Arms lift to 2nd position,

palms forward

3 - 4 Leap R

5 - 6 Run L, R

7 - 8 Leap L

1 - 2 Step back onto R foot with soft

knees, brush L leg through 1st

position with straight leg to the

back, hop R foot

R arm stays side, L arm lifts

up over head and travels to

front of body to open 3rd

position

3 - 4 Run L, R turning over L

shoulder to face USL

Natural arms

5 Step L US, demi rond de

jambe R leg back to front

6 Cross R to SR

7 Jump to 2 feet into natural

parallel position facing DS

8 Hold

1 - 2 Step R side and hop, with a

curve of the spine towards the

working leg, L toe to R knee

23

3 - 4 Step L side and hop, with a

curve of the spine towards the

working leg, R toe to L knee

R arm lifts through side of

body overhead and crosses

in front of body

5 - 7 Chassé R, L, R in parallel to

DSR

8 Transition weight fully onto R

leg

L arm lifts through side of

body overhead and crosses

in front of body

1 - 2 Lower to the floor and tuck L

leg behind and roll through L

hip

Place L hand on floor

3 - 4 Continue to roll onto R hip and

place L foot in front

Place R hand on floor

5 - 8 Step R leg back and step the

L leg to 1st position to USR,

rolling up through the spine

Repeat exercise to L

Teaching Tips

By this point in the grade students should be confident in the use of falls and there should be a sense

of suspension and release throughout.

24

Dance

Dance A – The Diary

Music: Lux Aerterna, Requiem for a Dream – Clint Mansell


Commence: Laying on stomach facing DSR,

knees bent and ankles crossed

Upper body propped up on

forearms with a notebook on

floor under hands

Look at notebook

Introduction

Ankles uncross and re-cross with

the opposite foot in front. Repeat

3 more times

Pretend to write in the

notebook

Maintain focus on notebook

Place L hand on floor, roll through

L side of body to sit up facing

USL corner with R leg crossed

over L leg

Holding the notebook, arms

reach on high diagonal in

front of the body


Pretend to write in the

notebook

Twist upper body L, deepen the

cross of the R leg over the L,

place the R foot on the floor and

untwist the upper body to come to

a wide standing lunge facing DSR

R hand holds the notebook,

place the L hand on the

floor to assist coming to

standing, then both hands

hold the notebook with arms

extended, notebook in front

of body


1 Brush L leg through 1st position

keeping R leg in plié

Natural head alignment

2 - 4 Extend L leg to tendu and full

rond de jambe front to back whilst

straightening R leg

5 Bend R knee and bring L leg

through to 1st position to tendu

front

25

6 Demi rond de jambe L leg front to

side keeping R leg in plié

7 Step onto L leg

8 Bring R leg to L leg to face DSL

in natural parallel position and

spiral to the L

Bring hands and notebook

into heart

Look down and L towards

notebook

1 - 3 Step turn step (R, L, R) Arms extend in front of body

at shoulder height

4 Side lunge on R leg facing DSR,

L leg slightly bent with heel off the

floor

Upper body twists towards

USR, arms lift to high

diagonal

Look up at hands

5 - 7 Step turn step (L, R, L) Arms lower to shoulder

height

8 Bring R foot to L foot, turn over R

shoulder to face SR pivoting on L

foot

Arms sweep behind back to

hide the notebook

1 - 2 Lunge SR on L leg turning to face

US, R leg extends to tendu side,

both legs in parallel

Pass the notebook to R

hand and carry R arm

overhead through side of

the body, spine follows

movement of steps and

arms

Head follows R arm to high

diagonal towards SR

3 Cross R leg behind L leg and turn

over R shoulder to face SL with

soft curve of the spine

R arm lowers, crossing in

front of body; both arms

move to behind the back

4 Step L leg DS and continue

turning over R shoulder to face

DS

Both arms meet behind the

back and the notebook

switches from R to L hand

5 - 6 Lunge SR on R leg, L leg extends

to tendu side, both legs in parallel

Carry L arm overhead

through side of body

Head follows L arm to high

diagonal towards SR

7 Cross L leg behind R leg and turn

over L shoulder to face SL

L arm lowers, crossing in

front of body; both arms

move to behind the back

26

8 Step R leg US and continue

turning over L shoulder to face

US

Both arms meet behind

back; both hands hold the

notebook

1 Continue turning over L shoulder

to face DSR, step back on L leg,

brush R leg back through 1st

position, R leg stretches behind

body slightly off the floor, L leg

stays in plié

2 Small hop on L leg, keeping R leg

straight and to the back

3 + 4 Travelling from DSR to USL, step

back on R leg, chassé backwards

L, R

Arms stay behind back with

both hands holding the

notebook

5 Step along diagonal onto L leg to

turn to face DSL corner

Transfer notebook to R

hand

6 Hop on L leg, bringing R toe to L

knee

Circle R arm overhead


7 Tuck R leg behind and drop onto

floor on the R knee

L hand places on floor

8 Roll through R hip to seated

position and spin round towards

the L to face DS legs crossed

Carry arms behind the body

and place the notebook on

the floor behind the hips

1 - 2 Lean body to the R, allowing the

L hip to lift off the floor

Place R hand on floor next

to R hip

Look SR

3 - 4 Lean body to the L, allowing the

R hip to lift off the floor

Place L hand on floor next

to L hip

Look SL

5 - 7 Uncross legs, place feet on the

floor, lift hips and take several

tiny steps around the arm circling

clockwise to face DS, ending with

L foot on floor and R knee down

with toes tucked

Place R hand on floor with

finger tips facing US

8 Head lifts to look DS

1 - 2 Slowly stretch legs R arm reaches in front and

slightly across the body with

27

the lower part of the arm

facing up, fist clenched

3 - 4 Slowly stretch legs L arm repeats movement

stacking on top of R arm

with clenched fist

5 - 6 Slowly straighten legs to full

standing position

R arm retracts towards body

and stacks on top of L arm

with clenched fist

7 - 8 Head tilts back to look up to

the sky

+ 1 - 4 4 pivot steps stepping up onto the

ball of the L foot then stepping

into plié on the R foot travelling

backwards

Both arms circle down, back

behind the body, overhead

and forward to the height of

the shoulders in parallel

5 - 6 Lunge L leg side in parallel, R leg

extends to parallel side tendu,

upper body twists L to DSL

R arm reaches out from R

shoulder and crosses body

to extend on high diagonal

towards DSL corner with

palm facing up

Look over the R fingertips

7 - 8 Repeat to the R Keep R arm extended

across the body and thread

the L arm on top and across

the body so the arms are

crossed at the elbows on a

high diagonal

1 Turn to face DSR, step back on L

leg, brush R leg through 1st

position to back and lift slightly off

the floor with a straight knee

Arms lower through centre

of body and down by the

hips

2 Hop on L leg Both arms circle back

behind body and overhead

keeping the elbows straight

3 + 4 Travelling from DSR to USL, step

back on R leg, chassé backwards

(L, R)

5 Step along diagonal onto L leg to

turn to face DSL corner

Transfer notebook to R

hand

28

6 Hop on L leg, bringing R toe to L

knee

Bring R arm overhead


7 + 8 Turn to face USL and travelling

towards DSR corner, chassé

backwards (R, L, R)

On count 8, head looks over

R shoulder to DS

1 - 2 Shift body to face DSL and sway

onto L foot, both legs in wide

parallel position with a curved

spine to the L

Head sways to L; L ear

dropping towards the L

shoulder

3 - 4 Sway to the R with a curved

spine to the R

Head sways R

5 - 6 Step L, leap and land on R leg

turning over L shoulder to

complete a full turn

7 - 8 Step L to face USL, R leg straight

and to the back

Arms lift in front of body on

a high diagonal with

clenched fists and arms

crossed at the wrist

Look up towards hands

1 - 4 Pivot to face DSR and slowly

kneel to the L knee into a

crouched position

Arms stay crossed at the

wrists and carry overhead to

end covering the top of the

head

Tuck the chin towards the

chest and look down

1 - 32 The final part of the dance should

be created by the students, and

tasks to achieve this are outlined

in Strand B: Creative strand

Teaching Tips

Remember to start by working on the tasks from the Creative and Wider Learning strands to help

develop characterisation and build the set dances in manageable sections.

Students will require a notebook as a prop.

Notes on Style

The dance should be performed with an understanding of the narrative, and this should be discussed

with students in conjecture with their knowledge of the historical events of WWII and can be developed

contextually by discussing current affairs that affect children. Expressions will be expected to change

throughout the dance to reflect the narrative and these could also be reflected in the dynamic qualities

of the movements.

There are no set counts for the beginning. Instead, students are encouraged to find their own rhythm

29

Dance

Dance B – The Water Cycle

Music: Weather Storm – Massive Attack


Commence: Facing the outside of the circle

(see notes on style) in a wide

parallel 2nd position, slight bend in

L leg

R arm lifts across the body

to a L high diagonal, palm

facing down. L arm relaxed

at side.

Introduction

16 counts

Hold Hold 8 + 2

3 - 8 wiggle R fingers

1 - 3 Lower R arm on a diagonal

across the body to extend to

a low diagonal to the R,

bending the elbow as it

passes through the centre

of the body. Fingers wiggle

to create rain.

4 Reach L arm across the

body to a R high diagonal

5 - 7 Lower L arm on a diagonal


a low diagonal to the L,




to create rain.

8 Reach R arm across the

body to a L high diagonal

1 - 3 Gallop to the R (R, L R) Circle R arm down, out

through sides and across

body

4 Stretch L arm across the

body to a high diagonal

5 - 8 Repeat previous 4 counts on

opposite side

Repeat previous 4 counts

on opposite side

30

1 - 3 Step turn step (R, L, R) turning

over the R shoulder and travelling

along the perimeter of the circle

Lower R arm on a diagonal


a low diagonal to the R,




to create rain.

4 Squat down so hips are on the

heels

Reach R arm to the side,

placing R hand on the floor

along the perimeter of the

circle, relax L arm to side of

body

5 + 6 Walk around the R arm (L, R, L)

to face the inside of the circle

7 Tilt body from the R to the L Lift the R hand from the

floor and place the L hand

on floor along the perimeter

of the circle

8 + 1 Walk around the L arm (R, L) to

face the outside of the circle

2 Tilt body from L to R Lift L hand from the floor

and place the R hand on

floor along the perimeter of

the circle

3 Facing the outside of the circle,

extend the R leg to rest the foot

on the floor

Balance on R arm

4 - 5 Extend the L leg and stack it on

top of the R leg to a side plank

balancing on the R arm

L arm extends and circles


overhead

6 Move to a kneeling position to sit

on the heels facing the outside of

the circle

L arm continues to circle

overhead crossing over R

side of body to rest on

thighs with palm facing up

Follow curve of the spine

31

7 - 8 Lift R arm through side of

body and circle overhead,

cross arm in front of body

and rest on top of L hand

with palm facing up


1 - 3 Lift up through hips Circle hands spiralling

upwards

Lift up through hips

4 Extend L leg to the side Reach cupped hands up

5 - 7 Roll through R hip onto L hip Place hands on floor behind

hips

8 Extend R leg to the side Reach cupped hands up

1 - 4 Repeat previous 4 counts to the

other side

1 Place L foot on floor in front of R

knee travelling back along circle

Fall to waist height still

outstretched

2 - 4 Step 180˚ onto R foot, place L leg

behind in a forward lunge facing

direction of the circle with both

feet along the perimeter of the

circle

Arms extend in parallel in

front of the body

5 - 6 Circle torso to R into high release

Both arms circle to R and

overhead (straight arms)


7 - 8 Continue circle of torso from high

release to L side bend

Maintain arms overhead

and carry to L side with side

bend

1 + 2 Travelling clockwise around the

perimeter of the circle, chassé in

plié (R, L, R)

Arms lower to sides of body

3 - 4 Step L, jump both feet together to


Swing R arm up through

2nd position to above the

head and lightly swing it

diagonally down and across

towards the L hip

32

5 Spiral over L shoulder 180˚ to

travel backwards along the circle

6 - 8 Step backwards, chassé (L, R, L)

+ Turn over L shoulder 180˚ to

travel forwards along the circle,

turning on R foot and keeping L

leg in front of body

1 + 2 Travelling forwards along the

perimeter of the circle chassé (L,

R, L)

3 - 4 Step R, jump both feet together to


Swing L arm up through 2nd

position to above the head

and lightly swing it

diagonally down and across

towards the R side at waist

height

5 Turn over R shoulder 180˚ to

travel backwards along the circle

6 - 8 Travelling backwards along the

perimeter of the circle, chassé

backwards (R, L, R)

1 - 8 Repeat this travelling sequence

on the R as previous

1 - 2 Turn over the R shoulder, step R,

and spring L completing a full turn

and returning to face outside of

the circle

Arms lift through sides of

the body to 5th position

3 - 4 Spiral up through the R

shoulder

5 - 8 Stretch out arms and wiggle

fingers down and sweep the

R forearm in front and L

forearm behind the body,

arms bent at the elbows

33

1 + 2 Turn to face direction of the

circle, travelling forward along the

perimeter of the circle 3 steps (R,

L, R)

Arms open out to sides and

scoop forward with slight

curve in the elbows to

slightly below shoulder

height, palms up

3 + 4 3 steps backwards (L, R, L) Arms drop to sides and lift

behind body, elbows

reaching up, arms slightly

curved

5 - 6 Pause

7 + 8 3 steps forwards (R, L, R) Arms scoop forward and lift

slightly above shoulders

1 + 2 3 steps backwards (L, R, L) Arms drop to sides and

elbows lift behind body with

slight curve of the arms

3 - 4 Pause

5 + 6 3 steps forwards (R, L, R), finish

with R foot in front, both heels off

the ground

Arms scoop forward and lift

slightly above shoulders

7 - 8 Pause

1-4 Bring L leg through and step, turn

onto the R and step onto L leg

into a long lunge with use of

natural turnout

Arms circle across body and

through the sides to a high

V with palms up and elbows

slightly curved

5 - 6 Spiral to the R and face into the

circle

Arms stay on the back and

twist with the body

Follows curve of the spine

7 - 8 Repeat spiral L away from the

centre

Follows curve of the spine

1-4 Circle the R arm over and

across body to its SP

34

5-7 Circle the L arm over and

across body to its SP

8 Transfer weight back onto L leg

and extend the R leg

Drop the rams

1-3 Step onto R leg, cut under with

the L and step again onto the R

Swing R arm over

4-7 Place L leg under and drop to

floor and roll to the other side and

step up onto L leg to recover to

standing

Place L hand on the floor

8 Transfer weight back onto R leg

and extend the lolled

1-7 Repeat the previous 7 counts

starting by stepping onto the L leg

8 Transfer weight onto the L leg in

a side lunge

R arm stretches across on a

high diagonal across the L

side of the body, palm

facing down. L arm relaxed

at side.

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

All movements from the dance have been covered throughout the technical exercises and aim to

develop these creatively.

Notes on Style

35

The dance should mainly be performed with a flowing and often indirect dynamic as suggested by the

music. The dancer should demonstrate a composed style through out the performance. The timing of

the steps with the aural accompaniment are designed to fully realise the potential of with the aural a

capable and technical dancer.

This dance travels in a circle and dancers can start anywhere along the perimeter of the circle.

36

Training Exercises

Training Exercise 1 – Warm Ups and Cool Downs

Training exercises 1 and 2 are outlined at Grade 1 and 2 and should continue to be used with the suggested

extensions to create an enjoyable learning environment whilst developing social interaction.

A) Counted Gallops

Student holds hands in a circle, weight on L leg, R foot stretched out. Gallop to the R x 8, gallop to the L x 8,

gallop to the R x 4, gallop to the L x 4, gallop to the R x 2, and gallop to the L x 2, Skip (R, L, R, L). Repeat or

reverse.

Top Tips: As this warm up activity cognitively engages students, it is suitable for 7-17 year olds. If you have a

large group, you can utilise two circles travelling in opposing directions.

B) Walks, Runs, Gallops

An effective and quick warm up could be a series of walks, runs and gallops that additionally incorporates the

use of arms and body. Depending on space, this could be performed with a set circle, or much freer,

encouraging the students to make directional decisions to engage them cognitively. This warm up could then

be further developed by the students suggesting actions that could also be incorporated.

Top Tips: You can assign numbers to the movements to correlate with the movement. You can ask students to

suggest movements and also give students responsibility for calling out the numbers. Use a slower track and

choose movements with a softer dynamic to utilise this exercise as a cool down. These movements should

include slower dynamics.

C) Walk – Run – Melt – Shock

Each instruction has a corresponding action. The melt action should also include a recovery.

Top Tips: To develop cognitive thinking, the actions can then be switched;

Walk = Run

Run = Walk

Melt = Shock

Shock = Melt (and recover)

Top Tips: Ask the students to suggest a trigger word and a corresponding action to develop this movement

game. Remind them that all the actions should be performed in silence or this can get rowdy.

D) Crab Pool

37

This warm up game is great for getting students warmed up via a fun game. As it is fast paced, it develops

agility and spatial awareness, which is specifically important for large group dances.

Mark off a large area in the studio.

One or two students start as ‘crabs’ - in a cross-legged position, they place their arms down to lift their torso.

They then must move like that. They travel around the ‘pool’, and if they tap a student via their arm or leg, that

student also must join them as a ‘crab’.

The standing students must try and avoid the crabs by running around the pool

They automatically become a ‘crab’ if;

They step out of the pool

They make a noise (this is usually a squeal as they are so excited)

They bump into anyone they both become ‘crabs’

The last student standing is the winner

Top Tips: Play this game a few times to ensure that the focus is not the ‘winner’. Reiterate that it is not worth

getting hurt, i.e. students trying to wildly jump over the crabs. Play with bare feet - so the risk of injury is

reduced. Ask for volunteer ‘crabs’ rather than you choosing them.

38

Training Exercises

Training Exercise 2 – Mobilisation of Joints and Lengthening of Soft Tissue


Commence: Natural parallel

Introduction

8 counts

Body scan to check alignment

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

1 - 8 4 x circles of R arm forwards

1 - 16 Repeat arm circles with L

1 - 4 Step into a natural 2nd position Arms lift into 2nd 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

39

1 - 4 Stretch forward between the

legs

Arms fall towards the floor

5 - 8 Stretch over to the R leg Arms fall towards the floor or

may hold leg

1 - 4 Side stretch to the R and

stretch the L side

L arm lifts over the head to

follow line of the stretch

5 - 8 Recover spine back to centre L arm lowers to 2nd and the R

arm lifts to 2nd position

1 - 24 Repeat stretching sequence

starting on the opposite side.

On the final 4 counts move

feet back into natural parallel

1 - 8 Lift R knee towards mid-torso

height

Hold knee

1 - 8 Lift R ankle behind the hips Hold ankle

1 - 8 Place R leg back into a long

lunge

Place hand lightly on knee

1 - 8 Rotate 90˚ into side lunge Place hands onto floor

1 - 4 Rotate back to the front and

curl up through the spine

1 - 36 Repeat from lifting of the knee

with L leg

Training Exercises

Training Exercise 3 – Awakening the Body


Commence: Natural parallel position Arms by sides

Introduction

8 counts

Body scan to check alignment

1 + - 4 + Soften knees x 8 Shake arms and hands down

x 8

40

5 + - 8 + Alternating shoulder rolls x 8

1 + - 4 + Soften knees x 8 Shake arms and hands to the

side x 8

5 + - 8 + Soften knees x 8

1 + - 4 + Alternating shoulder rolls x 8 Shake arms and hands down

x 8

5 + - 8 + Alternating shoulder rolls x 8

1 - 2 Roll spine forward with soft

knees and recover

Roll shoulders

3 - 4 Roll spine forward with soft

knees and recover

Swing arms forward, around

and to a high position

5 - 8 Roll forwards through the

spine

Relax arms forwards and aim

to place hands on floor

1 - 4 Recover through spine


spine

Place hands on the floor and

walk them forward slightly

1 - 4 Recover through spine


spine

Place hands on the floor and

walk them forward into plank

1 - 4 Hold

5 - 8 Walk hands back to

downward dog (inverted V

with stretched back, arms and

legs)

1 - 4 Lift R leg

5 - 8 Bend R knee and swing

forward to a lunge

1 - 4 Straighten R leg

5 - 8 Lunge

41

1 - 4 Rotate 90˚ to side lunge

5 - 8 Transfer weight to L side

1 - 4 Transfer weight back to R

5 - 8 Rotate 90˚ to front lunge

1 - 2 Step L leg forward into

parallel and roll up through

spine

3 - 4 Step back R, L

Repeat the whole exercise

with the L leg being lifted from

downward dog

Teaching Tips

Training Exercise 2 and 3 can be used together to create an effective 6 minute warm-up which is useful

when preparing for performances whether for show or for examinations.

To maintain interest vary the music used including suggestions by students

You could also vary the use of front in the studio or include some changes of directions as this will

prepare students for the technical exercises. For example, once the students know the exercise you

could introduce the use of a ¼ turn in the first 3 x 8’s.

42

Training Exercises

Training Exercise 4 – Floor Work & Use of Spine


Commence: Sitting cross-legged on the

floor, on sitting bones with an

elongated spine, R leg

crossed on top

Hands placed lightly to the

sides, only the fingertips to be

on the floor

Follows natural line of the

spine throughout

Introduction

8 counts

Breathe and feel the

continuous lengthening of the

spine stretch up through the

ankles and feet

1 - 4 Curve the upper spine

forward

5 - 8 Recover

1 - 4 Curve the upper spine to R

5 - 8 Recover

1 - 4 Curve the upper spine

forward

5 - 8 Recover

1 - 4 Curve the upper spine to L

5 - 8 Recover

1 - 4 Spiral through the spine to the

R

Place L hand onto L thigh and

reach the R fingertips along

floor

5 - 8 Recover Recover

1 - 8 Repeat spiral to the L

1 - 16 Repeat spirals to R and L

1 - 4 Stretch out R leg then L to 2nd

position (straddle)

43

1 - 4 Stretch over to the L side R arm reaches through sides

of body to over the head, L

arm stretches in the opposite

direction

5 - 8 Stretch the torso forwards Arms stretch out from

shoulders and fingertips are

placed on the floor

1 - 4 Stretch over to the R side L arm reaches through sides

of body to over the head, R

arm stretches in the opposite

direction

5 - 8 Bring the torso to centre Open up the L arm and bring

up the R arm to stretch out to

the sides

1 - 16 Repeat stretching to the R

side to start

1 - 4 Fold into R leg and the L leg

5 - 8 Breathe

Repeat whole exercise on

other side

44

Training Exercises

Training Exercise 5 – Battements


Commence: Natural 1st position

Introduction

8 counts

On counts 7-8 tendu R leg

behind

On counts 7-8 lift through

sides of the body to 2nd

position

1 - 2 Step forward R, brush L leg

through 1st position, with soft

knees, to slightly off the floor

to front with straight knees

Repeat with L and then

alternate across the room

Teaching Tips

Initially you want to ensure that the students are retaining their posture during the battement and many

students find this very difficult. To increase understanding replicate the exercise lying on the floor. Nno

you can’t tendu behind! But, you can lift the legs to the same counts as in the training exercise and ask

students how the movement affects their pelvis and arms. Then ask them to identify (name or point to)

the muscles that they think they should engage to retain their alignment.

When students are confident with their placing you can then experiment with levels, e.g. 2 x with a soft

knee on the supporting legs, then 2 x with a straight supporting leg, and then 2 x on a rise.

When students are practicing this exercise as a group ensure that they are counting themselves in and

coming across the room rapidly.

If you have a large group you need to identify a task for them whilst they are waiting and not the next

group to go e.g. can they stand on one leg and wait in silence, they must then note when the group in

front has commenced and prepare for their turn. This will increase students’ cognitive involvement with

a task.

45

Strand B: Creative Strand

The following information relates to the Creative Strand of the Grade 3 syllabus. The content is not directly

assessed in the examination, but it will help candidates to develop the characterisation and elements of

presentation necessary to achieve the highest grades.

The Creative Strand is divided into two sections:

A: Improvisation/Movement Generation

B: Composition

We have included some tasks, which will get you started on delivering this content, but teachers are encouraged

to tailor and develop these tasks and are free to add additional tasks as they see fit.

We would strongly recommend undertaking the Improvisation/Movement Generation tasks before learning the

set dances, as this will encourage the candidates to develop their own characterisation and personality which

they can bring to the choreography, rather than copying the nuances from the written syllabus and filmed

recording.

Teaching Tips

At Grades 2 and 3, Set Dances A and B will introduce students to a greater range of complexities in genres of

music as indicative of professional contemporary dances. Additionally, the final 32 counts will be choreographed

by students as the end sequence for the set dances incorporating the bow. This will support the ethos of creativity

in the dance studio. As in Grade 1 these dances will have a narrative to enable them to be fully accessible to

this age 7-12 whilst additionally fulfilling the Learning Outcomes of mainstream education at Key Stage 2. Key

Stage 2 is the legal term for the four years maintained in England and Wales normally known as Years 3- 6

where pupils are aged 7-11. The term is applied differently in Northern Ireland P5-P7 aged 8-11 years.

Depending on the age of your students you will be covering subject matter that they are currently covering in

mainstream education or you will be deepening their knowledge and understanding of the subjects that have

already been covered i.e. Year 7+.

Set Dance A covers the Learning Outcomes required in mainstream education and offers a cross-curriculum

learning opportunity of Literature WWII and British History. Set Dance B covers geography and the natural world

at KS2 and this is also part of KS3 geography, therefore it is a great dance to use with year 7, 8 and 9 students.

46

A: Improvisation/Movement Generation

Task 1 (Preparation for Set Dance A): The Diary – An Emotional Understanding of the Narrative

1) Identity 8 moments in the dance to describe and/or draw the movement and associated feelings?

Provide a worksheet (see Appendix A) to complete this for the 8 chosen moments

Ask students to reorder the moments to create a new piece of dance. This could be achieved as a solo

or a duet and could also lead to a peer-teaching task e.g. each student could create 16 counts and then

peer-teach this in duets so that they have phrase 1 and phrase 2 to complete 32 counts.

2) Faster, Slower, Stillness

Once the phrase has been completed ask students to relook at the timings of their chosen movements

and ask them to apply the terms faster, slower, stillness to their finished dance

Students may have to further edit the dance to ensure that they still have 32 counts.

3) Low, Middle High

Ask students to consider the use of levels. Suggest that they apply these three terms to specific steps or

phrases in the dance; this may also affect their speed.

Whilst students are generating these phrases it would be really useful to video them at the different stages and

ask the students to review these to lead to a discussion on how and why the phrases have improved?

Task 2 (Preparation for Set Dance B): The Water Cycle

1) Can they name the 4 stages of the water cycle? Provide a worksheet (see Appendix B) to complete this.

2) Ask the students to use the 4 stages to create a new piece of dance. Again, this could be achieved as a solo

or a duet and then could lead to a peer-teaching task as described for Dance A.

3) Are there other weather occurrences that they think would work well as a piece of choreography? You could

provide a variety of music to suggest other states e.g. Vivaldi’s Storm.

For both tasks there should be an opportunity for students to perform their choreography and receive feedback.

This could be ipsative from viewing a recording or from their peers:

1) Name one aspect of the new choreography that they liked

2) Name one aspect that needs further development.

47

B: Composition

Task 1 (Development of Set Dance Material and Student Bow)

From the improvisation tasks, students should be able to choreograph the last 32 counts of their chosen Set

Dance and this should include a bow to the examiner/audience. Depending on the age and ability of students,

they may be supported on this task. For example, it may be created via a group task with students choosing

their last 8 counts.

48

Strand C: Wider Learning Strand

The Wider Learning Strand is about gaining knowledge and understanding of Contemporary Dance and studying

some of the best-known shows from the repertoire (appropriate to the level and age range). Dance students

should know about their art form and be familiar with the repertoire, just like students of music, art or drama. In

addition, the study of repertoire is one of the best ways of encouraging performance style and quality. Students

can be inspired by watching (and listening to) great performances by leading professionals.

Teachers Notes:

A) How and why are props used in dance?

1) A facilitated discussion to understand the use of props in dance. This may also include any knowledge they

have on props used in a wide range of dance genres. Dance and choreographers often make use of props, why?

Examples:

Jiri Kylian Petite Mort: https://vimeo.com/113243967 (Only up to the first 2m25s)

Sutra - Sidi Larbi & Antony Gormley with the Shaolin Monks: https://www.youtube.com/watch?v=I_cMBDeIGAE

Are the ‘boxes” a prop or scenery?

Matilda The Musical! | Semi-Finals | BGT: https://www.youtube.com/watch?v=NwOhMsPY_5U

Matthew Bourne's NUTCRACKER (Official promo montage): https://www.youtube.com/watch?v=fXzVujXUJp8

a) Put students into duets or groups– can they list all the props they can notice in the Nutcracker! Promo

video? Why do they think Bourne makes use of props in this way?

b) Discuss whether they think there is a difference to how props are used across dance genres?

c) To what extend do they enjoy using a prop?

d) Have they been involved in other dances where a prop was used, how successful was this and why?

As in the previous grade it would be interesting to create a mood board or a display with images and comments on to identify the students’ learning.

https://vimeo.com/113243967

https://www.youtube.com/watch?v=I_cMBDeIGAE

https://www.youtube.com/watch?v=NwOhMsPY_5U

https://www.youtube.com/watch?v=fXzVujXUJp8

49

B) Dance and Science

What is meant by these four stages?

1) Precipitation?

Where does this happen more often?

2) Collection & Transpiration?

How does the water collect on earth?

3) Evaporation

What causes this?

4) Condensation?

How can we see this?

Why is it called a cycle?

Resources

The water cycle (KS2): https://www.bbc.com/bitesize/clips/z8qtfg8

The water cycle and river terminology (KS3): https://www.bbc.com/bitesize/guides/z4bk7ty/revision/1

https://www.bbc.com/bitesize/clips/z8qtfg8

https://www.bbc.com/bitesize/guides/z4bk7ty/revision/1

50

Appendix A

Task 1 (Preparation for Set Dance A): A Diary – An Emotional Understanding of the Narrative

Use words or draw a picture to show the

movement


feelings

1 1

2 2

3 3

4 4

51

5 5

6 6

7 7

8 8

52

Appendix B

Task 2 (Preparation for Set Dance B): The Water Cycle


movement

Use words or draw a picture to identify the

stage of the Cycle

1 1

2 2

3 3

4 4

53

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: https://www.iadms.org/page/186 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.

https://www.iadms.org/page/186

54

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

contemporary syllabus grade 3 · music: drumming song – florence and the machine counts steps...

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