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Dance Workshop – Autumn 2006

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Dance Workshop

Autumn 2006

A series provided by the BBC at the request of the Educational Broadcasting Council for the United Kingdom Age: 9-11 These programmes are available to order (for UK schools only) on pre-recorded CDs or cassette from: BBC Schools’ Broadcast Recordings Tel: 08701 272 272 Monday to Friday 0800 to 1800 Or visit www.bbc.co.uk/schoolradio/howtoorder.shtml for more information Audio on demand. These programmes are also available as audio on demand from the School Radio website for 7 days following the original date of transmission. Refer to programme titles below to find out when programmes are available as audio on demand.

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Dance Workshop

Autumn 2006 These programmes are available as audio on demand from the School Radio website. Refer to dates below to find out when each one is available. Introduction 3 Unit 1: Roman invaders 5 1. Roman invasion 6 AOD 22/09/2006 – 28/09/2006 2. Roman games 10 AOD 29/09/2006 – 05/10/2006 3. Roman towns and buildings 13 AOD 06/10/2006 – 12/10/2006 4. Peaceful pastimes 17 AOD 13/10/2006 – 19/10/2006 5. Romans remembered 21 AOD 20/10/2006 – 26/10/2006 Unit 2: Shape up! 24 6. Angles and lines 24 AOD 03/11/2006 – 09/11/2006 7. Patterns and symmetry 26 AOD 10/11/2006 – 16/11/2006 Unit 3: A power for change 28 8. Global warning 28 AOD 17/11/2006 – 23/11/2006 9. Save it! 30 AOD 24/11/2006 – 30/11/2006 10. Water, wind and solar solutions 33 AOD 31/11/2006 – 06/12/2006

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Introduction

Aims of the series:

• To support non-specialist teachers who have no previous experience of teaching dance or movement

• In addition, to support specialist teachers by providing a rich supply of carefully structured movement ideas

• To give your group a wide and varied exploration of different types of movement

• To foster creativity so that children can respond through movement to music, poetry, story or their own emotions, using their own ideas

• To introduce children to a wide diversity of music • To encourage co-operation and group work within the class • To develop an aesthetic appreciation of dance as an art form. • To encourage better co-ordination, control and balance and other

movement skills • To practise listening, sequencing and movement memory.

Dance and the National Curriculum: Dance Workshop targets the dance objectives of the Physical Education curriculum at Key Stage 2. The National Curriculum outlines: Knowledge, skills and understanding: 1 b) perform actions and skills with more consistent control and quality 2 a) plan, use and adapt strategies, tactics and compositional ideas for individual, pair, small group and small team activities 3 a) identify what makes a performance effective Breadth of study: 6 a) create and perform dances using a range of movement patterns, including those from different times, places, and cultures Dance Workshop is an ideal means to provide these opportunities. Also links to Scotland 5 – 14, Expressive Arts: Physical Education, Levels C/D. Using the programmes: Programmes are available to order (for UK schools and other academic institutions only) on pre-recorded cassettes and CDs. Further information is available at this page of the School Radio website: http://www.bbc.co.uk/schoolradio/howtoorder.shtml Programmes are also available as audio on demand from the School Radio website for 7 days following transmission (check the contents table above for dates). The audio on demand is a reliable service that allows you to listen to the programme ‘streamed’ over the internet. This means that you can play the programme to your class direct from a computer, or from a hifi by connecting the output of the computer into a suitable input on the amplifier (which offers enhanced sound quality) or by connecting the computer to an interactive white-board.

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To listen to the audio files you will need to have installed ‘Realplayer’ on your computer. This commonly-used software is easy to download from the internet if you do not already have it. There are instructions on how to do so at the BBC School Radio website: http://www.bbc.co.uk/schoolradio/help.shtml Using the audio on demand service is just as flexible as using a pre-recorded cassette or CD of the programmes. You are able to pause the programme whenever you wish and also scroll forwards and backwards through a programme to locate other sections or to listen to sections again. Some tips for teachers:

• Get involved! Your enthusiasm and / or participation will make a huge difference to the children’s overall effort and response.

• Be familiar with the structure of the programmes. Read through these Teacher’s Notes before using a programme and, if possible, listen to the programme or sections of it before using it with the class.

• Listen carefully for instructions. The programmes include a number of pause points where you are encouraged to switch off the programme to either discuss or practise with your group. These pause points are clearly marked in the content grids for each programme (beginning with the words ‘Pause programme’ in bold lettering).

• Take control. Feel free to stop the programme as frequently as you’d like to repeat sections, extend ideas or focus on a particular sequence.

• Keep control. Discipline your class as you normally would a PE lesson or hall activity. Encourage real commitment to producing stylish and creative movement by the end of each session.

• Show off! The finished dances as assembly presentations or end of term performances.

Using these Teacher’s Notes: These Teacher’s Notes include a detailed content grid for each programme. The information includes: Lesson content – detailed information on the actual movements included in each sequence. Teacher guidance – offers practical advice on how to get the best out of the programmes with suggestions for assessment. Hall time: You will need considerably more hall time than the actual length of the programmes. About 40 minutes should be ideal. What to wear: Dress as if for PE: bare feet and shorts and T-shirt, or loose layers that can easily be peeled off.

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Unit one: Roman Invaders

Five programmes exploring aspects of Roman civilisation in Britain. Introduction: In 55BC, Julius Caesar tried to invade Britain. But it wasn’t until Claudius became emperor, in AD43, that the real invasion took place. About 50,000 highly trained and extremely fit Roman soldiers landed on the south coast of Britain and marched up through Kent. The disorganised tribes of Britain were no match for the highly trained Roman army who, over the next 35 years, conquered the country as far as the Scottish Highlands. Roman rule brought increasing benefits and gradually Britons started to enjoy Roman-style life. The Romans built new roads to connect towns, forts and farms, allowing people and goods to travel quickly and safely. They built new cities with impressive public buildings and facilities – clean water supplies, drainage and even heating systems. Most cities had a central market square or forum surrounded by a temple and basilica or law court. People enjoyed going to the public baths and watching entertainments in oval stadiums called amphitheatres. Between the second and fourth centuries, Britain became a peaceful province of the Roman Empire. The legacy of the Ancient Romans lives on in Britain today. We still use the Roman calendar, with its months named after Roman gods such as Mars (March), and rulers such as Augustus (August). We use the Roman alphabet, and thousands of the words we use are Latin in origin. Many grand buildings copy Roman architecture, and many modern highways follow the direct routes of Roman roads. We have lots of information about Roman civilisation in Britain because so much evidence has survived. Archaeologists have excavated the ruins of Roman towns and forts, with many buildings almost intact. Fragments of paintings, mosaics, pottery, items of jewellery, tools, toys and even leather shoes all help to create a picture of what life must have been like in Britain under Roman rule.

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Programme 1: Roman invasion Introduction: The key to the success of the Roman army lay in discipline and good organisation. Soldiers were kept extremely fit by rigorous physical exercise, trained to march in step and to move as a single mass, obeying trumpet signals during battles. One famous Roman tactic was the testudo - or tortoise - a formation of 27 soldiers holding shields above their heads and out to the front and sides to protect them, like a tortoise’s shell, as they marched forwards to attack the enemy. The various British tribes were not organised to fight as one army, and were gradually defeated. The Roman writer Tacitus said: ‘It is rare that two or more British tribes will come together to repel a common danger. They fight separately and separately are defeated.’ To celebrate his successful invasion of Britain, the Emperor Claudius was awarded the title ‘Britannicus’ and given a ‘triumph’ or grand procession through Rome. Roman soldiers were skilled builders as well as fighters. They built camps, forts, bridges, roads and even some of the first towns. In AD122, the emperor Hadrian ordered the building of the largest structure ever made anywhere in the Roman Empire – a defensive wall or frontier running from one side of northern Britain to the other. Hadrian’s Wall took 8 years to build, was 120km long, 2 to 3 metres thick and up to 7 metres high, with look-out towers and forts at regular intervals. It’s still the best preserved Roman wall in existence today. Programme summary: 1. Warm-up

• Based on physical exercises used to keep Roman soldiers fit – small, light, running steps and swimming arm actions.

2. Sequence one: The Roman testudo or tortoise attack formation • Marching on the spot and in straight lines to gradually create 2 class

tortoise formations • marching alone, then join partner and march side by side • two pairs join to march in a line of 4 • two lines of four join, marching one line behind the other to make a group

of 8 • two groups of 8 join to march in a square formation of 16 • Trumpet cues both class tortoise formations to create protective shield or

shell by holding flat palms of hands above head and out to the front and sides

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3. Sequence two: Attack!

• One group stays in Roman tortoise formation, while the other group disperses around the sides of the room to represent the disorganised British tribes

• The tortoise formation marches in straight lines, changing direction with quick, accurate quarter or half turns

• Then, the British tribes-people dash through the spaces, alone or in small groups, spinning and turning with quick, free movements

• The Roman marching steps become louder and faster, while the dashing and spinning movements of the disorganised British tribes become quieter and slower

• A final trumpet cues everyone to freeze before marching triumphantly round the room, to celebrate the Roman victory

4. Sequence three: Roman defence and Hadrian’s Wall. • Working with a partner or in a small group to create a simple sequence

based on collaborative building actions – sawing (pushing and pulling), hammering (alternate swings), pulling ropes and carrying heavy rocks etc

• Link arms to create long class wall to finish 5. Cool down

• Walk to own space with slow, exhausted steps • Stretch, lie down and relax.

Movement focus:

• Moving to a beat or rhythm. • Group and spatial awareness. • Working in pairs, small and large groups. • • Moving together at the same time – in unison. • Moving one after the other. • Creating a simple sequence to repeat.

Music: Warm up: ‘Higher states of consciousness’ – Wink Sequence 1: ‘March to battle’ (A history of war and peace) Sequence 2: ‘March to battle’ and ‘Come with us’ – The Chemical Brothers Sequence 3: ‘Honestly OK’ – Dido Cool down: ‘The state we’re in’ – The Chemical Brothers

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1. Roman invasion

Lesson content Teacher guidance Evaluation

Warm-up Based on physical exercises used to keep Roman soldiers fit – small, light, running steps and strong, exaggerated, swimming arm actions.

Lift knees high and swing powerful runner’s arms. Keep with the beat of the music. Large, powerful, swimming arm movements – front crawl, backstroke, breaststroke and butterfly.

Could pupils co-ordinate runner’s arm and leg movements? Were the arm swimming actions really large and powerful? Were movements performed in time with the music?

Sequence one: The testudo or tortoise attack formation. Marching on the spot and in straight lines to gradually create 2 class tortoise formations: marching alone; join partner and march side by side; two pairs join to march in a line of 4; two lines of four join, marching one line behind the other to make a group of 8; two groups of 8 join to march in a square formation of 16. Trumpet cues both class tortoise formations to create protective shield or shell by holding flat palms of hands above head and out to the front and sides.

Divide the class into 2 equal groups positioned at opposite ends of the room. There should be about 16 people in each group but a few more or less won’t hurt! Take time to talk about how the groups are going to form their tortoise formations. It might help to practise without the music first. Pupils could march on the spot once they join the tortoise formation; this would make it easier for the rest of the group to join. Encourage swift, precise, group reaction to trumpets; everyone should move palms of hands quickly into position.

Could pupils gradually and smoothly form the tortoise formation without loosing the timing of the marching step? Did pupils maintain a strong, marching pose with forwards focus throughout? Did pupils co-operate to successfully create their group tortoise formation? Did the sequence look disciplined and controlled? Did they create the shield or shell with neat, precise hand and arm movements, at exactly the same time – in unison?

Continued over…

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Sequence two: Attack! One group stays in Roman tortoise formation, while the other group disperses around the sides of the room to represent the disorganised British tribes. The tortoise formation marches in straight lines, changing direction with quick, accurate quarter or half turns. The British tribes-people dash through the spaces, alone or in small groups, spinning and turning with quick, free movements. The Roman marching steps become louder and faster, while the dashing and spinning movements of the disorganised British tribes become quieter and slower. A final trumpet cues momentary freeze, then everyone marches triumphantly round the room, celebrating the Roman victory.

NB Both groups will have a chance to perform both sequences. When it’s not your group’s turn to move, keep really still and watch the performance closely. Roman tortoise formation moves as a single mass with strong, rhythmic marching steps and neat, precise turns. British tribes-people dash with small, light steps; spinning and turning chaotically through the spaces. Listen carefully and respond to the music. Hold momentary freeze really still before marching triumphantly with head high and shoulders back.

Did the tortoise formation group move as one single mass – marching and turning together, at the same time? Was there a clear contrast between the Romans’ strong, disciplined, marching sequence and the Britons’ disorganised dashing and turning sequence? Did pupils move with accurate timing; responding quickly to the music and sound effects? Was there a clear sense of victory during the final procession?

Sequence three: Roman defence and Hadrian’s Wall. Working with a partner or in a small group to create a simple sequence based on collaborative building actions – sawing (pushing and pulling), hammering (alternate swings), pulling ropes and carrying heavy rocks etc. Link arms to create long class wall to finish.

Co-ordinate timing of movements with partner and/or rest of small group. Practise, select and refine movements together. Use body tension and facial expression to convey strength, effort and exhaustion. Choose a confident person to start the class wall. That person travels through the spaces, gently touching peoples’ shoulders to cue them to join on by linking arms. The wall stretches out from one end of the room to the other.

Could partners / small groups work together to select and co-ordinate timing of movements? Did pupils perform their movements in time with the music? Was there a good variety of movements being performed at any one time? Were the actions developed beyond simple mime? Was there a clear sense of hard work and maximum effort? Did the class form the wall smoothly and sensibly?

Cool down Walk to own space with slow, exhausted steps. Stretch, lie down and relax.

Encourage tired, heavy steps with exhausted posture and body language.

Pupils should feel calm, relaxed and ready to return to class.

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Programme 2: Roman games Introduction: The Romans built many impressive new towns and cities in Britain. Most of these had a huge oval stadium called an amphitheatre which was used for all kinds of sports and entertainments including military displays, chariot races and fight-to-the-death contests between specially trained slaves called gladiators. Programme summary: 1. Warm-up: based on a selection of Roman athletic exercises –

• energetic jogging steps • strong javelin or discus throwing actions

2. Sequence 1: Opening procession • Pupils process round the edge of the room in the style of their chosen

character – athlete, gladiator or entertainer (juggler or musician) • travelling forwards for 8 counts, then stopping to perform appropriate

actions or gestures on the spot for 8 counts • To finish, everyone freezes in a strong, victorious pose; saluting the

Emperor and cheering crowd 3. Sequence 2: Athletes

• Class divided into 3 performance groups that move in turn • Pupils develop warm-up actions into athletic sequence: small running

steps forwards lead into strong javelin throw; hold javelin throwing pose for a few moments then lower arms and swing body round on spot for powerful discus throwing action

• Hold final pose and watch other groups perform the same sequence 4. Sequence 3: Gladiators

• Pupils travel through the spaces with threatening, heavy stamping steps and strong, gladiator-style posture and upper body actions

• Then pupils practise sequence of blocking and attacking movements focusing on clear body shapes and contrasting speeds of movements

5. Cool down • Performing javelin and discus throwing actions in slow motion

Movement focus:

• Moving to a beat, and within the correct musical phrasing • Creating and refining a simple sequence of movements • Selecting appropriate movements, gestures, posture and facial

expressions to convey the qualities of different characters through dance • Contrasting speeds of movements • Developing a paired non-contact action-reaction sequence

Music: Warm-up: ‘Move your body’ – Expansions Sequence 1: ‘Coronation’ – film score of ‘El Cid’ Sequence 2: ‘You’re a superstar’ – Love Inc Sequence 3: ‘Gladiators’ – Storm Cool down: ‘Everywhen’ – Massive Attack

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2. Roman games


Warm-up Based on a selection of athletic exercises popular during Roman times – energetic running steps and strong javelin or discus throwing actions.

Running: Clench fists and swing bent arms in time with each step. Lift knees high for light, rhythmic steps. Javelin: Step right (or left if left handed) leg back with bent knee, and stretch right arm back behind head with bent elbow. Transfer weight from back to front foot as arm swings forwards to throw javelin. Discus: Stand with feet side by side, about a ruler’s width apart. Swing arms and upper body around to left side, so that weight is on left foot. Transfer weight from left foot to right foot as arms and upper body swing forwards and around to the right side to throw the discus.

Could pupils co-ordinate arm and leg movements when running? Did pupils move in time with the music? Did pupils use weight transferral and balanced body shape to maximise the power of each throw? Did pupils really stretch out their limbs with each throwing action?

Sequence 1: Opening procession. Pupils process round the edge of the room in the style of their chosen character – athlete, gladiator or entertainer (juggler or musician). They travel forwards for 8 counts, then stop to perform appropriate actions or gestures on the spot for 8 counts. To finish, everyone freezes in a strong, victorious pose; saluting the Emperor and cheering crowd.

Encourage pupils to select appropriate travelling steps, actions and gestures to convey the nature of their chosen character – e.g. athlete could travel with small, exaggerated jogging steps and then stop to perform series of muscle stretches. Think about posture, facial expression and movement quality. Listen carefully and count the beats of the music as you perform the sequence. Punch clenched fist into the air to salute the Emperor and crowd.

Did pupils select appropriate movements, posture, facial expressions? Could they remain in character throughout the sequence? Did they perform their sequence within the correct musical phrasing? Did everyone move into the final salute at the same time, and hold it really still?

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Sequence 2: Athletes. Class divided into 3 performance groups that move in turn – A, B and then C. Pupils develop warm-up actions into athletic sequence – small running steps forwards lead into strong javelin throw. Pupils hold javelin throwing pose for a few moments then lower arms and swing body round on spot for powerful discus throwing action. Hold final pose and watch other groups perform the same sequence.

Pupils hold a clear athletic pose and watch the performing group closely when it’s not their turn to move. Listen out for the presenter’s instructions and use the musical phrasing to predict when the next group will move. Encourage pupils to release the energy from the running steps into the strong javelin throwing action. Hold the javelin throwing pose very still before moving on to discus throwing action. Really extend limbs with each powerful throw. Encourage pupils to develop and stylise the movements beyond simple mime.

Did pupils use the musical phrasing to accurately predict when each group should move? Did the sequence flow smoothly; one group performing after the other, with the music? Did pupils perform the sequence with confidence and accurate timing? Could pupils personalise their sequence to develop the movements beyond simple mime?

Sequence 3: Gladiators. Pupils travel through the spaces with heavy, threatening, stamping steps and strong, gladiator-style posture and upper body actions. Pupils practise sequence of blocking and attacking movements focusing on clear body shapes and contrasting speeds of movements. The latter could be developed into paired non-contact action-reaction sequence.

Encourage pupils to think about the quality of their movements as well as their posture, focus and facial expression. Step forwards for attacking movements and backwards for blocking movements. Experiment by performing these attacking and blocking movements or actions using different speeds and combinations – e.g. attack block attack block / attack attack block block / attack attack attack block etc. Teachers! – You’ll need to allow plenty of time for partners to practise and refine their non-contact action-reaction sequence.

Did pupils successfully convey the powerful, aggressive nature of the gladiators? Did pupils use the music well as they practised and refined their sequence of blocking and attacking movements? Did they add their own ideas to develop the sequence? Could pupils experiment effectively with the timing and combination of movements? Was there a good mix of different movements being performed at any one time? Did partners co-operate to create effective action-reaction sequence together?

Cool down Performing javelin and discus throwing actions in slow motion.

Really concentrate on the gradual transfer of weight – from back to front or side to side – as each throwing action is performed in slow motion.

Were the throwing actions smooth, controlled and sustained?

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Programme 3: Roman towns and buildings Introduction: Roman towns were laid out in a grid-like pattern, with straight paved streets. At the centre of the town was an open market place, or forum, where people met to buy and sell goods, relax, socialise and play games. The Romans were great builders, engineers and architects: Arches - the Romans were famous for building arches, a form they had copied from the Etruscans. Arches were used in many ways: for windows and doorways, roofs, domes and vaults and for the famous Roman aqueducts and viaducts. Triumphal arches were commissioned by emperors to commemorate great Roman victories. These would have been decorated with battle scenes and topped with heroic statues. Columns or pillars - the Romans used these to hold up and support important buildings such as temples. They based their designs on Greek temples, but made them more impressive by raising them up on a platform and using more decoration on the pillars. Bridges - Roman engineers built many impressive bridges, viaducts and aqueducts, some spanning whole valleys. Roman palaces, villas and public buildings were decorated with fine paintings, sculpture, pottery and mosaics. Many mosaics survive to this day. Made from thousands of tiny cubes of marble, stone, glass or pottery - called tesserae - the mosaics often contained simple geometric patterns, as well as complicated scenes from myths and daily life. Programme summary: 1. Warm-up

• Fast and fun; a warm-up of clapping, jogging and jump-turning to get the mind and body warmed up

2. Sequence 1: Town planning • Build up a whole class dance based on the straight, grid-like layout of a

Roman town. The overall effect is a busy group dance, based on a square formation, with some criss-crossing the grid while others mark the corner points with a turn or with stillness.

3. Sequence 2: Mosaics • Children work in groups of five or six • They use the musical introduction to jump onto two feet, in a single-Me

line formation • Then the leader's movements get passed down the line; stepping and

turning across the space, one after another, following a straight, angular, question mark floor pattern

• The music cues a faster section where the dancers turn round and follow their new leader (formerly at the back of the line) along a smooth, curving, wavy floor pattern with tiny, light running steps

• Finally, the dancers create a prearranged group ‘mosaic’ by lying on the floor

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4. Sequence 3: Roman architecture

• Partners work together to create three symmetrical shapes or balances - inspired by Roman columns, arches and bridges

• They develop smooth linking movements or transitions and repeat their sequence to the end of the music

5. Cool down • sitting down, children perform gentle arching movements to the back,

front and sides • A final circling of the torso brings the programme to a close

Movement focus:

• Working together in large groups, small groups and pairs • Spatial awareness in a large group • Following precise floor patterns • Making choices while dancing in a group - structured improvisation • Making symmetrical shapes, in pairs • Moving together at the same time - in unison • Moving one after the other - in cannon • Creating a simple sequence to repeat

Music: Warm-up: ‘Ooh la la’ - The Wiseguys Sequence 1: ‘Walk this way’ - Run DMC Sequence 2: ‘The entertainer’ – Scott Joplin Sequence 3: ‘Now we are free’ - Hans Zimmer and Lisa Gerrard, from the ‘Gladiator’ fllmscore) Cool down: ‘Novio’ – Moby


Warm-up Clapping rhythm: four lots of eight, with an emphasis on the eighth beat. Seven jogging steps on the spot, with a sharp, neat, quarter-turn on the eighth beat. Repeat the sequence to travel: seven jogging steps forward, then jump-turn on the spot to change direction.

Keep to the beat of the music with both clapping and jogging steps. Encourage sharp, neat, turns on the spot. Count the steps in your head as you go.

Do the children clap, jog and turn-jump with the beat of the music? Do the children turn in the right direction each time? Do the children use the music to accurately predict and perform the sequence.

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Sequence 1: Town planning Walking in time to the music, forwards for three or seven steps. On beat four dancers turn to face a new direction on the grid (quarter or half turn). Alternatively, a dancer may stand still for four or eight beats, on the spot (turning on beat four or eight, if they like). With the whole class walking, turning or standing still, the effect should be a busy scene. People can walk together or alone.

Start with the dancers spread throughout the room. This is structured improvisation where children have choices during the dance. They should be aware of the effect of their choices are having on the shape and dynamics of the dance as a whole. Walking steps should be rhythmical and turns accurate – 90 or 180 degrees. Encourage children to make choices that make the dance more interesting to watch (e.g. children should notice when they can walk alongside or behind one another).

Are the walking steps and turns in time? Are the children counting their steps and pauses accurately? Do children maintain the grid pattern? Are children successful in shaping the dance in relation to other dancers (e.g. walking or turning together)? Do the dancers make sensible choices about when to stand still (i.e. to avoid collisions)? Does the sequence look busy, but with moments of stillness, or is there too much stillness to resemble a busy city?

Sequence 2: Mosaics Each group of five or six starts in a loose cluster a step or two away from each other. Dancers use the musical introduction to take one or two steps and a jump from one foot to two feet (assemble) into a single file line; group leaders at the front. The leader’s movements get passed down the line; stepping and turning across the space, one after another, following a straight and angular question mark floor pattern. The music then cues a faster section in which dancers turn round and follow their new leader along a smooth, curving, floor pattern with light running steps. Finally the dancers create a prearranged group ‘mosaic’ by lying on the floor to create their chosen shape.

Aim for a surprise opening as the dancers jump into line, one after the other. Each group should find a hand position to accompany the stepping pattern (e.g. hands folded behind back). The square-sided question mark steps and turns should be neat and bouncy. Children must follow their leader’s step pattern accurately. In the wavy, turning section, keep the steps light and small and the pathway wiggly and neat. Look out for clear, well-defined shapes and patterns, and links between the dancers’ shapes with the final group mosaic. Encourage to look at other groups’ mosaic floor patterns.

Are the opening lines straight? Is there a clear contrast between the slow but bouncy square-sided floor pattern and the wavy floor pattern? Do the dancers join in one after the other, in time with the music? Is the final mosaic pattern created smoothly? Is the final pattern interesting and clear?

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Sequence 3: Roman architecture Work with a partner to create a sequence of three symmetrical shapes or balances inspired by Roman columns, arches and bridges. Columns: focus on a strong, upright supporting shape or balance. Partners should move into their shape at the same time – in unison. Arches: smooth, curving shapes (e.g. body arching backwards; leg and arm lifted to the front and curving forwards). Bridges: find horizontal, stretched shapes (e.g. standing on one leg with raised leg, body and arms, stretching along a horizontal plane).

Choose and practice the shapes and balances together in the pairs. Work out how to maintain the symmetry as you move from one shape to the next. Use the imagery of the architecture to make strong, stable shapes; each with a clear focus – upwards, outwards or downwards. Keep the linking movements between shapes simple, so you can perform them accurately at the same time as your partner. You need to hold each shape or balance for a few seconds, so don’t make them too tricky!

Do the pairs come up with a range of contrasting shapes and balances? Are the links simple and clear? Do the dancers work together with accuracy? Can you see the line of symmetry for each shape? Is the dance well-balanced with strong, controlled movements…or do the dancers flop and wobble?

Cool down Sit down with soles of the feet together, knees out to the sides. Stretch the torso up, leading from the top of the head, perform and arched curve back, forwards, to the sides and then circle the torso all around.

Make sure the knees are pointing to the sides and the body is stretched up. Keep the arches small and all the movements smooth.

Body and limbs should feel relaxed to finish.

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Programme 4: Peaceful pastimes Introduction: The public bathhouse was an important part of Roman life. People of all ages would meet there to wash and relax. It was also a place where Romans went to meet each other, play games, groom themselves and exercise - much like the gym or leisure centre is today. First, the bathers would work up a sweat by wrestling, weightlifting, fencing or playing games such as hoops. Next, they would clean their bodies with oil and scrape off the dirt with a curved stick - the strigil. They would then bathe in the differently heated baths and steam rooms. Sculpture was important in Roman times. Palaces, temples and important public buildings were decorated with statues of emperors, generals, gods and goddesses. Sculptures were made from stone, marble or bronze. Wealthy Romans liked to throw fine banquets. The guests would recline on couches while slaves served them food and wine. They ate with their fingers and could be served up to seven courses over ten hours! Between courses, the guests were entertained with dancers, poets and musicians. Programme summary: 1. Warm-up

• Clapping hands above head while bending and stretching knees to beat of music

• Travelling forwards and backwards in preparation for the wrestling sequence

2. Sequence 1: Roman baths • In pairs, children grasp one another's upper arms for a stylised wrestling

action • They take four steps forwards and four steps backwards, rocking their

body from side to side with each rhythmic step • When the music changes to a more lyrical section, pairs break strongly

apart and individual dancers perform circular hoop-spinning actions, on the spot and then travelling

3. Sequence 2: Sculpture • In the same pairs; one person curls up small with legs and head tightly

tucked in - like a piece of stone or marble • The other person is the sculptor, who slowly walks around and lightly taps

or manipulates different joints and body parts in the ‘sculpture’ so that they gradually rise into a standing position through a series of sculptural poses

• The final pose is calm, strong, muscular and heroic • The ‘sculptor’ walks around to admire the finished ‘sculpture’ • Children swap roles and repeat the sequence

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4. Sequence 3: The feast

• Children divide into four groups: musicians, dancers, slaves and masters • Two contrasting pieces of music guide children through the sequence • First, the lyre music cues the musicians and dancers to turn and twirl

around the reclining masters - either dancing or playing an imaginary musical instrument

• Next, the flute music cues the masters and slaves to perform an exaggerated, stylised mime to enact part of the feast

5. Cool down • Moving through the space as if carrying a jug on the head; first with arms

up, and then with arms down • Focus on the sensation of ‘growing taller’ through the top of the head,

while the spine straightens down towards the floor Movement focus:

• Contrasting movement dynamics from percussive to lyrical • Sensitivity to a partner's intention when moving together • Selecting appropriate movements, gestures, posture and facial

expressions to convey the qualities of different characters through dance • Playing a part in a group dance using music cues, freezes and action • Developing a visual awareness of how the individual dancer looks and

how the group dance looks in space. Music: Warm-up: ‘Sweet dreams my LA ex’ - Rachel Stevens Sequence 1: ‘Moving’ - Supergrass Sequence 2: ‘Earth’ - Hans Zimmer and Lisa Gerrard, from film ‘Gladiator’ Sequence 3: ‘Lyre story’ and ‘Biblical flute’ - P Lewis Cool down: ‘Lyre story’ - P Lewis


Warm-up Clap hands above head while bending and stretching knees to beat of music. Jogging forwards and backwards; four steps each way. Combine above movements to create energetic sequence.

Clap hands up high! Lively pace but relaxed style. Keep claps, knee bends and jogging steps to the beat of the music.

Is the clapping rhythmical? Do the children move in time to the music? Do the children use the correct number of steps?

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Sequence 1: Roman baths In pairs, children grasp each other’s upper arms (like wrestlers). Pairs take four steps forward and four backwards, to a regular beat. Bodies sway rhythmically from side to side with the steps, as if wrestling. Change to lyrical music cues. Partners break away from each other and perform smooth arm-circling actions, as if swinging or rolling a hoop. Small running steps in a gently curving circle, arm outstretched to the front, as if chasing a hoop. On the spot ‘hoop swinging’ actions with body parts (e.g. leg, waist, arm).

Movements should be strong and rhythmic – like the music. Make the break away sudden and energetic. Encourage children to show a contrasting free movement quality for the hoop section. Keep the running steps small and light – almost on tiptoe.

Do the pairs stay with the music? Is the hoop section graceful with freer, lighter movements? Do the children travel round in a smooth, curving circle – finishing back where they started? Do the children find a variety of ways to spin their imaginary hoops using different parts of the body?

Sequence 2: Sculpture Working in pairs, with former wrestling partner: one person to sculpt, the other to be the statue or sculpture. The sculpture starts sitting in a tight ball, with head and fee tucked in – like a ball of stone. The sculptor gently taps or manipulates partner’s limbs or joints, and the sculpture moves that body part in the direction of the impulse. Sculptors raise sculptures from sitting to standing, through a series of poses. Sculptors walk around to admire the sculpture. Swap roles and repeat the sequence.

The lead in this sequence switches between the two dancers; the sculptor provides an impulse and the sculpture then moves in that direction. The sculpture can choose the exact nature of the amount of movement. Sculptors can make their sculpture more interesting by putting a twist into the torso, by changing the focus of the head and face and by initiating movements from small and large joints (e.g. fingers, hips). Add variety by including some tiny and some large movements. Sculptures can also vary the speed of their movements; sometimes moving quickly to a new freeze, and other times moving gradually.

Does the sculpture evolve with a variety of movement: large and small, fast and slow? Do the dancers use a variety of body parts and planes to create an interesting sequence? Do partners collaborate well to make the dance interesting to watch? Does the sculptures final freeze look like a strong, heroic figure? Is there a sense of motion in the finished sculpture, or does it look a bit leaden?

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Sequence 3: The feast The class works in four groups: masters, slaves, dancers and musicians. Starting positions: masters lying down in a reclining position, as if at a Roman banquet; slaves spread around the edge of the room, as if carrying a pitcher of wine on their shoulders; dancers and musicians in appropriate pose, between masters and slaves. Musicians and dancers, in role, start spinning and turning through the spaces, weaving between the masters and slaves. The music changes and the masters and slaves perform stylized mime: masters beckon to slaves, who slowly approach and pour wine into outstretched goblets. Masters then drink the wine while the slaves retreat to the edge of the room with careful backwards steps, bowing slightly. Everyone freezes in role to finish.

Keep the mimetic movements exaggerated and stylized. Dancers should include hand movements and body sways. Musicians’ mimes should clearly show which instrument is being played – flute, lyre or tambourine. Masters look imperious in gesture, face and body position. Slaves need to keep their movements smooth as they glide towards their masters, without spilling any wine! Facial expressions should be deferential, with eyes lowered as you reach your master. Look for variety in the poses adopted for the different groups.

Can you clearly distinguish the different groups by their poses, facial gestures and style of movement? Do the dancers and musicians fill the space with joyful movements? Do the masters seem imperious and look powerful? Are the slaves’ movements smooth and deferential? Do the children listen and react quickly to the music cues?

Cool down Slow, graceful walking steps through the spaces, as if carrying a jug on the head – first with hands raised up, then with hands down by the side.

Can the children feel the spine lengthening through to the top of the head, as if pressing upwards against a weight?

Is the body held straight and is the walking motion graceful, not stiff?

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Programme 5: Romans remembered Introduction: This programme recaps four sequences from previous programmes, working out smooth, linking transitions to create a complete dance. Children work towards a really polished performance, focusing on the quality and timing of their movements. At the end of the programme, the music is repeated without the presenter's voice - suitable for a ‘Roman invaders’ performance to another class or to the rest of the school. Programme summary: 1. Warm-up

• Energetic marching and jogging! Rhythmic marching steps on the spot • Travelling around the room: taking seven jogging steps forwards, then

stopping to jump-turn on the spot to change direction. 2. Sequence 1: Tortoise formation

• Marching on the spot and in straight lines to gradually create two class tortoise formations

3. Sequence 2: Town planning • Walking in time to the music, forwards for three or seven steps • On beat four or eight, dancers turn to face a new direction on the grid

(quarter or half a turn) 4. Sequence 3: Sculpture

• In pairs, one person curls up small with legs and head tightly tucked in - like a piece of stone or marble

• The other is the sculptor, who slowly walks around and lightly taps or manipulates different joints and body parts in the ‘sculpture’ so that it gradually rises into a standing position through a series of sculptural poses

5. Sequence 4: Gladiators • Children travel through the spaces with threatening, heavy stamping

steps and strong, gladiator-style posture and upper body actions • Children practise sequence of blocking and attacking movements,

focusing on clear body shapes and contrasting speed of movements 6. Cool down

• Lying down relaxation exercise 7. Music repeated

• Without the presenter's voice - for performance use Movement focus:

• Working together in large groups, small groups and pairs • Spatial awareness in a large group • Developing characters in movement • Rhythmic accuracy • Group spatial organisation • Performing in unison • Performing four contrasting sequences • Creating smooth linking movements or transitions

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5. Romans remembered


Warm-up Rhythmic marching steps on the spot. Travelling around the room; taking seven jogging steps forward, then stopping to jump-turn on the spot to change direction.

Lift knees high and swing arms. Keep to the beat of the music. Count the steps in your head as you go. Turns should be accurate and neat.

Do children move to the beat? Are the movements focused and energetic? Do children perform the sequence with confidence and accuracy?

Sequence 1: Tortoise formation Refer to programme 1 for detailed information on this sequence. Links: Use the first few steps to move away from your tortoise formation and spread out evenly on the imaginary grid-like layout of the Roman town.

See programme 1 for details. Performance tips: Aim for the sequence to convey the power, confidence and discipline of the Roman army.

See programme 1 for details.

Sequence 2: Town planning Refer to programme 3 for detailed information on this sequence. Links: Use the first part of the music to walk to your partner and get into position; one of you curled up small on the floor like a piece of stone and the other standing next to him or her.

See programme 3 for details. Performance tips: Keep the sequence busy and varied.


Sequence 3: Sculpture Refer to programme 4 for detailed information about this sequence. Links: Move away from your partner with strong, gladiator-style steps and upper body actions.

See programme 4 for details. Performance tips: This sequence should be slow, gentle and controlled.


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Sequence 4: Gladiator Refer to programme 2 for detailed information about this sequence. Links: End the sequence and the dance in a clear, strong, gladiator pose.

See programme 2 for details. Performance tips: You can’t overplay this! Encourage strong focus with clear, aggressive posture and movements.


Cool down Lying on your back, with straight legs and arms by your sides; close eyes and relax.

Really relax muscles – let the tension go.

Body and limbs should feel loose and heavy.

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Unit 2: Shape up!

Introduction: The two programmes in this unit explore linear and angular design and symmetry in body shape and pathways. Ideas are adapted from classical Indian dance styles and performed to contemporary Indian music to achieve a fresh, dynamic feel. To enrich their experience the pupils could look at symmetrical designs in Rangoli patterns and find images of Indian dance on the internet. Movement focus:

• Body parts on isolation and co-ordination, especially arm gestures co-ordinating with steps

• Body tension and control • Linking body shapes to form sequences by adding different actions (steps,

turns, gestures and jumps) • Linear, angular and symmetrical shapes and pathways • Dynamic contrast: smooth and flowing with sudden and percussive • Partner work - unison and mirroring

Programme 6: Angles and lines Lesson summary: 1. Warm-up

• steps and claps in different directions (forwards, backwards, sideways and diagonally)

2. Exploring shapes • individually explore linear and angular shapes and positions with arms

and hands • then legs and feet

3. On reflection • select 2 or 3 contrasting shapes or positions and in pairs • copy each other’s • together choose 3 different positions to practise

4. Teamwork • combine the shapes in a sequence by adding actions such as gestures,

steps, turns and small jumps • work on dynamic contrast

5. Mirror image • perform the sequence in symmetry

6. Cool down • circling different body parts and tracing large circles in the air

Music: ‘Shakin’ Shankar’ - Dance Music Federation featuring Premi & Bindu ‘Ever so lonely’ - Monsoon

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6. Angles and lines


Warm up: Sequence of 3 steps and a jump/clap forwards, backwards, to each side, then steps and jumps in a zig-zag pattern.

Point out the floor pattern (pathway) of lines and angles. Practise and repeat.

Do they show an awareness of space? Can they keep time with the beat?

Exploring shape: Pupils make lines and angles with arms by bending and straightening elbows and flexing hands. Pupils make lines and angles by bending and straightening one or both knees and by flexing feet.

E.g. diamonds, horizontal and diagonal lines from fingertip to fingertip, parallel arms, one arm bent and the other straight. Stress upright posture. Keep movements smooth and strong. Transfer weight from foot to foot, free foot rests lightly on floor or is held in the air.

Do they have good body tension, extension and posture? Are the shapes clear to see? Do they have poise and balance when holding different positions?

On reflection: Pupils select 2 or 3 contrasting shapes/positions and mirror these with a partner.

Focus where to look - e.g. follow one hand with eyes. Face each other and take it in turns to lead.

Is there enough contrast between the shapes/positions? Can they copy exactly?

Teamwork: Pairs select 3 shapes to perform in unison. Link the positions with smooth movements and include different actions Include repetition at some point. Enhance the dynamics

Contrast level, direction, symmetry, asymmetry. Practice makes perfect! Options: arm gestures, steps, turns, small jumps. e.g. repeat an action 3 or 4 times to make a rhythm, such as a reach to the left, then right, then left. Try contrasting slow/sudden and smooth/sharp.

Can they improve their work? Can they find appropriate linking actions? Do they perform with good timing and rhythm?

Mirror image: Partners work together to make their design symmetric.

Both face the same front (audience). If one dancer moves to the left the other moves to the right.

Try different arrangements to see which works best. Ask another pair for their opinion.

Cool down: Pupils circle different body parts then draw large circles in the space around them to stretch and extend.

E.g. shoulders, arms, hands, head, hips, knees, ankles. Draw big circles on different planes.

Point out the contrast between lines/angles and circular designs.

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Programme 7: Patterns and symmetry Lesson summary: 1. Warm up

• Steps, jumps and claps in different directions • Repeat to the other side

2. Step this way • Find own steps to travel in different directions in Indian style • Co-ordinate arms with steps to make different upper body shapes

3. Two at a time • With same partners as previous programme, plan a clear floor pattern

comprising lines and angles • Add arm positions. Perform in unison.

4. Symmetric tricks • Make the pathway symmetric – dancers move in opposite directions

5. Mirror image • Partners recall and practise shape sequence from previous programme

6. Form and structure • Pairs decide how to combine their shape and travel sequences (ABA or

BAB)

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7. Patterns and symmetry


Warm-up As programme 6 – steps, jumps and clap sequence. Performed to each side.

Practise and repeat several times. Split the class in two to see how the symmetry works.

Are they warmed up ready to dance?

Step this way Pupils explore different directions using steps derived from Indian dance. They add arm gestures/positions.

Forwards, backwards, sideways, diagonally, zig-zag. Focus on angular pathways. Knees are relaxed, lead with heels. Steps are small and either smooth or bouncy. Upright posture.

Can they change direction? Select good examples to demonstrate. Do they perform with style?

Two at a time Partners plan a short travel sequence with a clear angular floor pattern. They add arm positions

Keep same partners as programme 6. e.g. squares, diamonds, T’s, L’s, Z’s.

Can they look at another pair and describe the pathway?

This way and that Pupils make the pathway symmetric by moving in opposite directions.

Model this with one pair – show the different possibilities (meet & part, pass etc.)

Look for interesting relationships.

Mirror image Practise the sequence of shapes and linking actions from previous programme.

Stress the symmetry. Remember the dynamics and the rhythmic patterns.

Can they memorise and perform their sequences?

Final form Pupils link together their shape sequence (A) and their travel sequence (B) to make a ‘dance sandwich’

Ternary form i.e. A B A or B A B

Perform to another pair – can they identify the order?

Cool down Circle body parts and trace large circles in the air.

Rotate limbs and joints, bend, stretch and twist whole body.

Pupils should feel relaxed.

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Unit 3: A power for change

Three programmes exploring a range of dance ideas inspired by environmental and conservation issues. Movement focus:

• Travelling using different levels and pathways • Direction and size of movement • Contrasting movement dynamics (e.g. slow and controlled verses fast and

direct; continuous flow verses interrupted flow) • Developing appropriate movement sequences

Programme 8: Global warning Programme summary: 1. Warm-up: Radiant sun

• On the spot – straight stretching movements with different body parts leading

• Travelling – powerful, direct, striding steps with sudden explosive star jumps on the spot

2. Sequence 1 – Poisonous, polluting smoke • Moving by spiralling from low to high in individual space • Travelling at different levels using coiling, twisting, turning, rolling,

slithering and sliding actions • Develop into a sequence to portray smoke and gases, invading and

escaping 3. Sequence 2 – Escape and restrain

• • Imagining the heat from the earth attempting to escape but being

restrained by gases in the atmosphere • Working in pairs – A stretches up to escape, B then responds with a

controlling downward movement that causes B to turn to a low position • The sequence is repeated and refined • Partners travel together with slow, heavy steps, then stop to repeat the

first sequence, reversing roles. 4. Sequence 3 – Flooding

• Class divides into two groups, taking turns to watch or perform • Children travel quickly and freely through the spaces: running, leaping,

jumping, turning and rolling with boundless energy to convey the power of the flood

5. Cool down – Drought • Slow, hot, tired, steps and gestures • Slow, controlled collapse gently down to the floor

Music: Warm-up: ‘The sun is shining’ – DTB Project Sequence 1: ‘Breathe’ – Prodigy Sequence 2: ‘Lost in thought’ – Jon Hopkins Sequence 3: ‘Firestarter’ – Prodigy Cool down: ‘Souvenir’ – OMD, remixed by Moby

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8. Global warning


Warm-up In individual space, practice direct stretching movements using different parts of the body. Travelling sequence: four strong striding steps following a straight pathway, then stop to perform four energetic star jumps on the spot.

Encourage the children to extend fully when stretching and to focus on the part of the body that is leading the action. Make sure the focus is forward and outward as they stride directly through the space. Explosive, spring star jumps with soft bouncy knees and fists punching out to the sides or up above the head.

Do the children extend fully with each stretching action? Are they travelling in straight lines? Do they keep with the beat of the music? Are the star jumps strong and energetic?

Sequence 1: Poisonous, polluting smoke Spiralling from low to high in individual space. Travelling at a high level, coiling, twisting and turning, using the arms to gesture and lead. Travelling at a low level by rolling, slithering and sliding. Combine to make a continuous sequence using changes of shape, direction and level.

Encourage children to think about the starting and finishing points of their chosen sequence. Focus on a relaxed body with constant flow of movement (like gas escaping). Make sure the movement continually changes direction.

Do the children create a sequence with clear starting and finishing points? Does the movement smoothly change shape, direction and level?

Sequence 2: Escape and restrain Partner work (action and reaction). Partners’ starting positions: A’s crouching low by the floor, B’s standing tall; facing one another. Partner A stretches, reaches and holds a clear position. Partner B responds with a controlling, downward, pushing movement and holds a clear position. Partner A reacts by returning to a low level. Repeat three times. Partners travel together with slow, heavy, steps. Swap roles and repeat ‘escape and restrain’ sequence.

A’s should watch and follow their hands as they reach slowly up to the ceiling. B’s then put palms of hands on shoulders and very gently push downwards. Look for a variety of ways to move from one level to another. Choose good examples to demonstrate. Encourage a clear contrast in focus and quality as the children stretch upwards or push powerfully downwards.

Do partners cooperate and work well together? Is there a clear contrast in focus and quality between the escaping and restraining movements? Do dancers listen carefully and follow the music?

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Sequence 3: Flooding Divide the class into two groups. Travelling sequence: running, leaping, jumping, turning and rolling around the room, being aware of others.

Walk through the spaces, next to partner, with hot, tired steps. Awareness of others is essential here to avoid collisions. Small, quick, running steps. Encourage the dancers to use all of the space as they run, lead and roll. This sequence should look free-flowing and energetic.

Do partners step with the beat of the music? Does the quality of their movements convey the mood of exhaustion? Is there a clear contrast in the quality and speed of the movements at the beginning of the sequence and at the end? Can the children travel safely, being aware of others? Do they link the movements smoothly, without interrupting the flow?

Cool down: Drought Starting in a stretched position, move with controlled downward movements to a low position.

Encourage smooth, sustained movement. Focus on deep breathing.

Are the children relaxed and ready to return to class?

Programme 9: Save it! Programme summary: 1. Warm up: Mountains of rubbish

• Strong arm-pushing movements in different directions (discarded rubbish being pushed away)

• Develop into a travelling sequence: jogging steps forwards, then stop to perform strong arm-pushing actions in different directions

2. Sequence 1: Recycle! • Working individually and then in groups to portray recycling machines • Twisting and turning, stretching and bending as cogs and pistons • Slicing the space with different body parts as cutters • Working in groups to produce robotic, machine-like sequences

3. Sequence 2: Exhaust the exhaust (Focus on reducing pollution by sharing transport)

• Travelling individually and speedily using fast steps, turns and no pauses • Working in groups to produce a sequence using follow-my-leader

movements in unison and then in cannon (one after the other) with pauses

4. Sequence 3: Rainforest retreat. (Inspired by the life of the rainforest) • Using contrasting movements (large and small), qualities (sustained and

sudden) and levels (high, medium and low, relating to the layers of the rainforest) to create a movement sequence to convey the magic and mystery of the forest

• A chainsaw sound effect will cue sudden freezes of terror 5. Cool down

• Relaxing the muscles and controlled breathing.

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9. Save it!


Warm-up: Mountains of rubbish Practise strong pushing movements in different directions using flat palms. (Imagine a dumper truck pushing rubbish into enormous piles). Develop into a travelling sequence: take seven jogging steps forwards, then stop and push flat palms forwards to straighten arms. Push palms out in different directions each time.

Make sure the arms are fully extended. Make sure they use all of the space and are aware of the others. Push arms out in different directions each time. Convey a sense of effort with each pushing action.

Do the children fully extend their arms? Do they perform the sequence in time with the music?

Sequence 1: Recycle (Contrasting machines) Work individually using twisting and turning, stretching and sinking actions to suggest cogs and pistons. Slice using different parts of the body to suggest cutters and shredders. Work in groups of three or four to create robotic movement machine sequence.

Make sure there is a contrast between the levels and directions as they twist and turn, stretch and sink. Encourage the use of different parts of the body as they slice with machine precision. Make sure each person starts at a different level and the sequence is performed with machine-like repetition and rhythm.

Is there a clear contrast between levels and directions? Is the movement performed with a sharp quality? Do the groups’ members work well together? Are they able to remember and repeat the sequence?

Sequence 2: Exhaust the exhaust (Focus on reducing pollution by sharing transport). Travel individually with speed, stepping and turning, using lots of energy with no pauses. Working in groups to create a travelling sequence that involves follow-my-leader work as the group moves in unison and cannon (one after the other). Include pauses to suggest saving energy.

The first part of the sequence should feel busy and congested. Make sure the leader is confident. The group line should be formed smoothly, without any fuss. Choose good examples to demonstrate.

Can they travel at speed with clarity and control? Does the group work well together, showing clear contrasts in the sequence?

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Lesson content

Teacher guidance Evaluation

Sequence 3: Rainforest retreat (Working on contrasting movement and qualities inspired by the creatures and plants of the rainforest.) Small and large movements. Sudden and sustained movements. Different levels. Exploring High level – sudden, quick movements to suggest flight and slow, stretching, opening movements to portray the canopy. Sudden freezes of the whole scene cued by a chainsaw sound effect. Medium level – twisting, gnarled trees and creeping vines and plants – body shape and contact work. Low level – scurrying quickly and slithering slowly as insects and snakes.

Make sure the children move freely using all the space. Encourage clear contrast in the size of their movements, levels and qualities. Make sure the freezes are still filled with tension as the children imagine destruction. Encourage use of facial expression to suggest fear.

Is there a clear contrast between levels and directions? Can the children move expressively? Can they hold a still position and portray fear and anxiety? Does the sequence convey the magic and mystery of the rainforest?

Cool down Relax muscles, breathing deeply and smoothly.

Release muscle tension. Encourage the children to breath evenly and calmly.

Children should feel relaxed and ready to return to class.

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Programme 10: Water, wind and solar solutions Programme summary: 1. Warm-up: Endless energy

• Travelling through the spaces with an energetic jog-and-punch sequence 2. Sequence 1: Solar power

• Moving in individual space from a tall stretched position to a medium, wide-open position, with the arms leading

• Freeze-frame and then travel by leaping and spiralling to suggest energy release. It's 8 jogging steps forwards, then stop to perform four strong fist-punching actions

3. Sequence 2: Wind power • Coordinating large alternate arm-circling actions with smooth sliding step

or lunge to travel through the spaces 4. Sequence 3: Hydroelectric power

• High- to low-level travelling using slow turning and tumbling and rolling to suggest water falling down a mountain

• ‘The dam’: Whole class in a large circle with outstretched arms, palms touching. Pushing gently, moving one way and then the other to suggest a strong barrier. Slowly reaching with palms facing upwards to portray the opening. Return to starting position

• ‘The dam opens’: The class is divided into two groups. Group A remains in smaller class circle and repeats the exercises above. Group B (every alternate person in class circle) breaks away to perform free-flowing 'turn-drop-roll' sequence to travel through the spaces

• Groups swap roles and repeat sequence 5. Cool down

• Slowly sinking to the floor • Breathing calmly to relax and release muscle tension

Music: Warm-up: ‘Dip it low’ - Christina Milian Sequence 1: ‘Sun is shining’ - DTB Project Sequence 2: ‘By the way’ - Red Hot Chilli Peppers Sequence 3: ‘Narayan’ - Prodigy Cool down: ‘La femme d'argent’ - Air

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10. Water, wind and solar solutions


Warm-up: Endless energy Travel through the spaces with energetic jog-and-punch sequence: it’s eight jogging steps forwards, then stop to perform four strong alternate fist-punching actions out in front of you.

Light, spring jogging steps with soft, bouncy knees. Make sure the fist-punching actions are strong and direct. You’ll need plenty of space to perform fist-punching actions safely, away from other people.

Do the dancers keep with the music, performing with accurate timing? Are they warm and ready for action?

Sequence 1: Alternative solutions – solar power Moving on the spot from a tall, stretched position to a medium, wide-open, position, with arms leading (the powerful rays). Freeze-frame as if storing energy, then release by travelling: eight energetic jogging steps, then stop to perform four explosive star jumps on the spot. Repeat.

Make sure the children use powerful arms to push downwards and outwards. Encourage the children to have strong starting and finishing positions with clear body shapes. Make sure the movement is continuous and energetic.

Is the movement direct, strong and powerful? Can they move continuously with power?

Sequence 2: Alternative solutions – wind power Practise arm movements: smoothly swing your arms back and around in large, sweeping circles by your sides. Swing one arm first, then the other – as if doing backstroke. Add smooth, sliding step to large arm-circling actions: it’s one sliding step for each arm circle.

Make sure the movement is soft, smooth and continuous. Encourage the children to move with a controlled, sustained quality. Decide which arm is leading the circling action; then get the opposite foot ready to take the first sliding step.

Do children manage to co-ordinate the sliding steps with the arm-circling actions? The sequence should look smooth, yet powerful.

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Sequence 3: Alternative solutions – hydroelectric power The dam: spread out to form a big class circle; standing palm to palm to link everyone in the circle together. Push gently against your neighbour’s palms, sway your body slowly from side to side. Pushing gently as you slowly bend knees to lower body down towards the floor. Then slowly straighten legs to come back up to standing. The dam opens: half class stay in circle shape to form dam and repeat exercises above, while the other half breaks away to travel through the spaces, repeating their own turn-drop-roll sequence. Swap groups and repeat.

Lift arms up to shoulder height and press flat palms of your hands against the flat palms of the people on either side of you. Teacher to show which direction to swing first. Keep the movements slow, strong and controlled. Every second person leaves the class circle to perform the travelling sequence. Turn smoothly, drop down carefully and use both hands to push your body round as you roll safely across the floor and back up to standing. Make sure the children keep contact and work co-operatively. Practise turning, falling and rolling using soft, slow movements and emphasizing safety issues. Encourage the travelling group to move freely, being aware of others around them.

Is the focus strong and clear? Are their movements strong and controlled, to suggest the strength of the dam? Can children perform and remember sequences? Do they use all the space being aware of each other? Can they travel freely with fluid movements? Does the quality of the travelling sequence suggest the force and free-flowing nature of water?

Cool down Sit and relax with controlled breathing; store your energy.

Breathe calmly and evenly.

Are the children relaxed and ready to return to class?

dance workshop autumn 2006 - bbcdownloads.bbc.co.uk/schoolradio/pdfs/dance_workshop_autumn_20… ·...

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