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School Radio

Music for Dance - Summer 2011 Age 7-11

CDs: These programmes are available to order (for UK schools only) on pre-recorded CDs from:

BBC Schools’ Broadcast RecordingsTel: 08701 272 272 Monday to Friday 0800 to 1800

Or visit:www.bbc.co.uk/schoolradio/ordercd

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.

© This publication contains only BBC copyright material: its contents may be copied or reproduced for use in schools andcolleges without further permission.

Richard Lloyd King – presenter

Music for Dance


School Radio

Music for Dance – Summer 2011

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School Radio

These programmes are available as audio on demand from the School Radio website for 7 days following transmission. Refer to the transmission dates below to find out when each one is available.

Contents:

Introduction 3 Unit 1: Japan1. Old meets new 5AOD 03/05/2011

2. Manga mania 6AOD 10/05/2011

Unit 2: Australia3. Natural wonders 8AOD 17/05/2011

4. Surf city 10AOD 24/05/2011

Unit 3: Titanic5. Spirit of the age 12AOD 07/06/2011

6. Maiden voyage 14AOD 14/06/2011

Unit 4: 2012 Olympics7. London calling 16AOD 21/06/2011

8. Athletes compete 18AOD 28/06/2011


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Introduction Music for Dance aims to provide a resource bank of dance music and associated ideas for use by specialist and non-specialist teachers of dance. The programmes differ from current series as they have no instructions, just brief introductions.Instead, the programme time is devoted to providing a rich and varied music resource backed up by Teacher’s Notes covering potential movement content and ideas for composition.

The programmes are intended to be open-ended, enabling teachers to draw on them when relevant to different themes or ideas and also allowing pupils to respond in a way that encourages a variety of outcomes. This feature of the series may be particularly attractive to teachers with some dance experience. Several of the programmes are grouped together under popular topic headings, such as ‘The elements’.

Each programme usually includes:

• warm up and cool down music• several pieces of music, thematically linked

and of sufficient length to form the basis of a dance in themselves

• at least one specially edited mix of music already featured, providing the opportunity for a longer and more varied dance narrative

There is a huge range of music included – classical and chart hits, world music and film score excerpts, as well as a wide range of sound effects and sometimes archive recordings of specific events, all grouped thematically to provide the perfect accompaniment for your own dances.

How to use the series:

Choose a programme that is thematically suited to your project or class needs – the series can be dipped into at random.

Decide in advance whether to work with just one piece of programme music or to use the complete mix at the end of each programme, building towards a seamless dance performance.

Listen to the music, then discuss and select or combine the programme composition, grouping and movement ideas for each programme to develop your dance. Refine and adapt your material by adding your own ideas within the dance.

Evaluation and appreciation:

Dancers should be encouraged to view, describe and analyse their work during and at the end of each session.

• Did parts of the dance stand out and if so why?

• Where can movement quality be improved?• Was the dance interesting and worth

watching?• Discuss the overall form of the dance

including the use of repetition and development – did the dance have a clear beginning, middle and end?

• Was there a smooth transition between sections to link the dance?

The Curriculum:

The Curriculum in England and Wales requires that pupils should be taught:

• ‘to compose and control their movements by varying shape, size, direction, level, speed, tension and continuity’;

• ‘a number of dance forms from different times and places, including some traditional dances of the British Isles’;

• ‘to express feelings, moods and ideas, to respond to music, and to create simple characters and narratives in response to a range of stimuli, through dance’.


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table above for dates). The audio on demand is a reliable service on broadband that allows you to listen to the programmes ‘streamed’ over the internet. This means that you can play the programme to your class either:

• direct from a computer• from a hifi by connecting the output

of the computer into a suitable input on the amplifier (which offers enhanced sound quality)

• by connecting the computer to an InteractiveWhite Board. The audio files play from the media player in use throughout the BBC website - there is no need to download any other programor plug-in to listen to the audio files.

There is additional information available at our FAQpage on the School Radio website:

www.bbc.co.uk/schoolradio/faq

Using the audio on demand service is just as flexible as using a prerecorded 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.

Programmes in mp3 file format:

Programmes are also available in mp3 file format. The main advantage of ordering the resources this way is that you will also receive all the other resources for the term in question at no additional cost. The mp3 files be conveniently transferred to a media device, but please note that most CD players do not play mp3 files at the current time.

If you would like to order programmes in this way please tick the mp3 boxes on the order form.

Dance teaching involves the three strands of composing, performing and appreciating. Children need to be taught how to generate movement material, build dance phrases and structure their ideas into a dance. They need to develop technical skill in terms of action, space and dynamics and to develop a dance vocabulary that will enable them to respond discerningly when viewing dance.

Glossary:

Some of the following words are used throughout these Notes:

Action – movements and gestures

Dynamic – speed and force or quality of movements and gestures (quick or slow, strong or gentle, direct or free-flowing)

Relationship – who or what you dance with, e.g. pair, group, prop

Space – where you dance, e.g. direction; level – high, middle, low; pathway – floor and air patterns moving through the space

Composition – various structures can be used, for example, unison – performing together at the same time

Canon – performing a movement or sequence one after the other question and answer or action and reaction follow-my-leader

Rondo – chorus and verse

Complementary – performing different but complementary moves

Audio on demand service:

Programmes are available to order (for UK schools and other academic institutions only) on CD. Further information is available at this page of the School Radio website:www.bbc.co.uk/schoolradio/ordercd

Programmes are also available as audio on demand from the School Radio website for 7 days following transmission (check the contents


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• Partners select and link their favourite moves to create a sequence that can be repeated.

Sequence 2: Tranquil gardens, busy streets – A dance sequence with two contrasting sections – a + b which are repeated.

Music: OVER THE LAKE / BLACK ICE

Music duration: 1 min 42 secs and 1 min 15 secs

Composition ideas: unison * complementary * question and answer

Grouping ideas: whole class * groups of about 10 – taking turns to perform or could slightly overlap (dancers should maintain still pose on the performance grid when it’s not their group’s turn to move)

Music a: Traditional, calm and relaxing – perhaps with trickling water fx

Movement ideas for section a:

• Fluid, relaxed steps along meandering pathway as if exploring the calm beauty of a Japanese garden. Occasionally dancers bend or stretch to admire a view, glimpse a reflection or watch fish swimming in the tranquil waters of a Japanese pond.

Music b: Sound FX mix of busy street over busy modern Japanese music

Movement ideas for section b:

• Contrast section a (above) with small, quick, busy steps and sudden, sharp turns along straight pathways forming imaginary street grid.

• Stop/start travelling steps to perform exaggerated everyday gestures – eg using a mobile phone, waving or bowing to a friend, putting up an umbrella, tying shoe laces etc.

Repeat sections a + b with the music.

Unit 1 – Japan1: Old meets new

Sequence 1: Kendo – The way of the sword – A Japanese martial art based on traditional swordsmanship

Music: CHAPPA AND THE TEMPLE

Music duration: 1 min 51 secs

Composition ideas: mirroring * action and reaction * canon * unison

Grouping ideas: solo * pairs

Movement ideas:

• Practise a few sword-fighting moves, focusing on transferring bodyweight from front to back, or back to front, or side to side (pupils should stand with feet quite wide apart – side by side or one behind the other – to provide a strong base for these weight transferring movements).

• Develop these moves by using different levels – for example, lunging imaginary sword forwards from a low to a high position, etc.

• Try adding a few turns – for example, swinging sword round from one side of the body to the other could lead the dancer into a series of turns.

• Stand opposite a partner and take turns to mirror one another’s sword-fighting movements (practised above).

• Partners take turns to dodge and avoid one another’s sword fighting lunges and thrusts (Action / Reaction). Again, these sword-fighting moves might lead the dancers into turns or body stretches / balances on different levels.

• Partners circle one another with slow, rhythmic steps and strong, direct focus.


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2: Manga mania

Sequence 1: Flip it!Traditional Japanese manga panels run from right to left on the page. So they are often flipped for European and American readers, creating a mirror image which runs from left

to right across the page.

Music: THE ORIENT


Composition ideas: unison * canon

Grouping ideas: pairs

Movement ideas:

• Partners stand next to one another, side by side. One partner moves their body into a clear shape stretching out to one side, and their partner ‘flips it’ by creating a mirror image of the same shape out to the opposite side. Partners move smoothly from one shape to the next, taking turns to lead or copy.

• Partners do the same thing with step patterns to create symmetrical pathways – for example, if partner one takes 2 sidesteps out to the right side, then partner two should take 2 sidesteps out to the left side. Partners could add variety by using jumping, sliding, small, large, tiptoe, stamping steps, etc.

• Partners stand opposite one another, face to face. Partner one uses slow, large, exaggerated drawing movements to trace the shape of either their favourite or an imaginary Manga character. Partner two watches closely and copies everything they do – drawing a mirror image of the same character. Partners swap roles and repeat the sequence.

• Partners select from all of the above movement ideas to create their own ‘flip it’ dance sequence.

Sequence 3: Hi tech robots

Music: DIGITAL GAME OVER by Michael Thibeau and Robert Gardner


Composition ideas: complementary * question and answer * canon

Grouping ideas: solo * whole class * small groups of 3 or 4

Music: Japanese techno with sharp, robotic feel

• On the spot – maintain direct, deadpan focus with blank facial expression while exploring small, rhythmic, robotic moves using isolated body parts (head, shoulders, upper body turning or twisting from the waist, legs, knees and feet).

• Link rhythmic, robotic moves to explore different ways of travelling across the floor – on feet / shuffling on bottom, sliding along on side of body, etc.

• Use robotic moves to travel from one level to another – e.g. from low, crouched position to stretched, high position.

• Practise 1 or 2 robotic motifs to repeat and possibly develop throughout the dance – e.g. a shoulder-circling move could be repeated; varying the speed, direction and size of the movement.

• In groups of 3 or 4, explore ways of moving one just after the other to create a robotic effect.

• Dancers could tag one another to showcase their own robotic street dance skills and ideas.


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set’ position, person 3 into a ‘go!’ position, person 4 into a ‘running hard’ position, person 5 into a ‘winning’ position, and person 6 into a celebratory ‘cup holding’ position etc.

Sequence 3: Super-hero to sci-fi!Manga is enjoyed by people of all ages and covers a broad range of subjects – including action-adventure, horror, science fiction, romance, comedy, sports, and super-heroes!

Music: MANGA PIXIES

Music duration: 1 min 44 secs Composition ideas: action and reaction * question and answer * complementary

Grouping ideas: solo * pairs * small groups

Movement ideas:

• Dancers respond to the different pieces of music – selecting appropriate body shape, facial expression, and movements to convey characteristics of each genre.

• Dancers could work in pairs or small groups to create a short dance story for each Manga genre, cued by the different music tracks.

Sequence 2: Animated MangaMany of the most popular Manga comic series have been turned into animated films or television series – such as Evangelion and Sazae-san. Also, animated Manga versions of existing cult films such as ‘Star Wars’ have been made.This step from comic panel to film frame has been easy because Manga artists use many cinematographic techniques – such as rapid zoom from distance to close-up, and showing detail of action like slow motion.

MUSIC: Happy Children (34 secs)Nishi Shinjuki (34 secs)Army of Undead (46 secs)Free Spirit (35 secs)

Composition ideas: canon * question and answer * complementary

Grouping ideas: groups of 5 or 6

Movement ideas:

• Rapid zoom.

1. In spread out group circles – one person performs a small movement which gradually gets bigger as it is passed round the circle from one person to the next. The movement could gradually get smaller again as it travels back round in the opposite direction.

2. One person in the group performs a small movement and then quickly chooses another person in their group to magnify it; performing the same movement, only much bigger, as if in close up.

• Slow motion

1. Standing side by side in a group line. Each person in the group line moves into and then freezes in a detailed action-frame. These action-frames combine to illustrate the complete picture sequence – like manga panels or film frames. E.g The race - person 1 would move into an ‘on your marks’ position, person two would move into a ‘get


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• Dancers could join a partner or small group in a follow-the-leader line and take turns to lead one another along their practised songline.

• Step patterns should reflect the rhythm of the music.

Sequence 2: The Australian Outback Australia’s vast interior desert, known as 'The Outback', makes up the biggest portion of land and is the World’s biggest area of desert after the Sahara.

Music: RED DESERT CALLING


Composition ideas: question and answer * unison * complementary

Grouping ideas: solo * partners * trios * small groups

Movement ideas:

• Ripples often form on the surface of the desert plains – use rippling hand movements to lead the body round this way and that, using different levels and directions.

• Send a rippling movement from one part of your body to another (e.g. from one hand, across body and out to other hand) – like a street dance ‘wave’ move.

• Develop these ideas with a partner or in a small group – passing the rippling moves on from one person to the next.

Sequence 3: Tropical rainforestThe North coast of Australia, being within 28 degrees south of the equator, is mainly tropical rainforest.

• Rainforests are home to half of all living animals and plant species on the planet, and are made up of 5 distinct layers:

• The emergent layer – very large trees which grow above the canopy.

Unit 2: Australia3. Natural wonders

Australia is the World’s flattest and driest landmass after Antarctica and the only country to occupy a single continent. The population is mostly concentrated along the fertile plains of the east coast, especially down in the temperate south east region, away from the tropical rainforests of the north and the vast desert plains of the interior.

Sequence 1: The Songlines Indigenous Australians believe the songlines are paths across the land or sky that mark the route followed by creators-beings who sang out the name of everything that crossed their path – birds, animals, plants, rocks, waterholes etc. The route of these paths was recorded in traditional songs, stories, dances and paintings, allowing the indigenous people to navigate across vast distances by singing the songs – and following the landmarks – in the appropriate sequence.

Music: DIDGIBONG


Composition ideas: complementary * follow the leader * one after the other

Grouping ideas: solo * pairs * small groups

Movement ideas:

• Use this as a transition sequence to link the other parts of the dance.

• Each dancer creates their own songline by travelling along a chosen pathway.

• Dancers use their hands and upper body to trace different patterns in the air as they travel along their songline pathway.

• As they progress along their pathway, dancers explore and select appropriate movements and/or gestures to show different landmarks along the way – such as a rock, waterhole, valley or cliff.


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logging – the sudden light encourages quick growth of dense, tangled vines and shrubs on the forest floor.

Composition ideas: action / reaction groups, performing one after the other.

Grouping ideas: class divided into 2 equally sized groups – one representing the forest canopy and the other representing the forest floor.

Movement ideas:

• In 2 equally sized groups – the rainforest canopy and the rainforest floor – performing one after the other in an action / reaction sequence. – Both groups react to one another, so

when the ‘canopy’ group collapses, the ‘forest floor’ group weaves through the spaces, extending their limbs and covering as much space as possible.

– Conversely, as members of the ‘canopy’ group gradually grow back up tall, members of the ‘forest floor’ group shrink back and curl up small on the floor – like plants deprived of sunlight.

– Swap groups and repeat.

Sequence 4: The Great Barrier Reef The Great Barrier Reef lies a short distance off the north-east coast of Australia in the Coral Sea. It’s the world’s largest coral reef, extending for over 2,000 kilometres, and supports a diverse range of life – from tiny tropical fish to enormous humpback whales.

Music: CARNIVAL OF THE ANIMALS by Saint Saens


Composition ideas: unison * canon * question and answer * complementary

• The canopy – evergreen, leafy trees which form the roof of the rainforest.

• The understory layer – plants with larger leaves to make the most of the decreasing sunlight.

• The shrub layer and the forest floor – both layers are very dark and therefore mainly consist of rotting vegetation (fallen leaves and branches etc.).

Music: TROPICAL RAINFOREST


Composition ideas: complementary * groups performing one after the other

Grouping ideas: class divided into 4 groups – each representing one of the above rainforest layers

Movement ideas:

• In 4 equally sized groups, rotate the following movements until each group has performed each section at least once:– Transfer weight from one side of body to

the other as you stretch alternate arms high above head – reach and stretch up as tall as possible. Travel to a different part of the performance space with light, tiptoe steps and repeat the tall, reaching arm movements.

– Stand straight with arms stretched up and out from the shoulders as you travel through the spaces, weaving between the other dancers.

– Tip and bend body from the waist, stretching arms straight out to the sides, reaching round in different directions. Travel to a different space and repeat.

– Crouch low, close to the floor to perform slow, shrinking movements – curling body into a smaller and smaller ball on the floor.

• Each time the rainforest canopy is destroyed or thinned – perhaps through


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4: Surf city

Although Canberra is the capital of Australia, Sydney – with its famous skyline, harbour and beaches – is the largest and most populated city, situated in the temperate south-east. Sydney has a vibrant, cosmopolitan feel with an international population from countries all over the world. It has been voted into the top 10 of the world’s best cities to live in.

Sequence 1: The Opera HouseDesigned by Danish architect Jorn Utzon, Sydney Opera House has become one of the most iconic buildings of the 20th Century and was declared a World Heritage Site in 2007. It’s design was inspired by the simple act of peeling an orange – the 14 shells of the building’s roof, if combined, would form a perfect sphere.

Music: DANCE 8 by Philip Glass Ensemble

Music duration: 56 secs

Composition ideas: unison * complementary * canon * action and reaction

Grouping ideas: Pairs * 2 or 3 pairs working together in small group

Movement ideas:

• Partners face one another and join hands to form the arched shell shapes of the roof.

• Two or three pairs could overlap or layer their shell shapes by stretching out on different levels and in different directions – one pair above the next.

• In same groups, develop a sequence inspired by the arched shell shape – focus on shape, level, direction and floor patterns.

Grouping ideas: Dancers explore different groupings throughout the sequence – sometimes performing alone and sometimes joining other dancers to move in groups – like shoals of fish.

Movement ideas:

• Tiny, tropical fish: Focus on quick, darting, dashing and flickering movements using different parts of body – fingers, head, shoulders etc.

• Sea weeds and grasses: Smooth, continuous swaying movements – as if being gently moved by the currents. The swaying motion could start in one part of the body, and then spread throughout the body. Explore different swaying motions on the spot or even travelling back and forth with light, gentle steps.

• Sea turtles and stingrays: Smooth, gliding movements, stretching high and bending low – as if flying through the water.

• Whales and dolphins: Big, powerful movements – twisting and turning, jumping and leaping, stretching and diving through the spaces.


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• Choose a new leader, turn to face the opposite direction and repeat the sequence.

Sequence 4: Sydney’s ancient rock engravingsSydney basin sandstone is relatively soft and many ancient aboriginal rock engravings have been found in the region. Experts believe that an outline was sketched on the surface of the sandstone before drilling a series of holes along the outline with a pointed stone or shell. Finally, the holes were joined by rubbing a sharp stone between them to create the engraved line.

Music: DANCE OF THE SPIRIT


Composition ideas: Question and answer * Mirroring * Unison

Grouping ideas: Partners

Movement ideas:

• Partners mirror one another as they use their hand/s to trace a clear outline in the air.

• Develop this tracing movement by letting it lead the body into controlled stretches, twists or turns using different levels and directions.

• Partners could perform their individual sequences one after the other, and then both together at the same time.

Sequence 5: Sydney Harbour and bridgeSydney harbour is the largest natural harbour in the world. Sydney Bridge – known locally as ‘the coathanger’ because of its arched design – opened in 1932, linking the north shore with the rest of the city.

Music: FIVE MILE SMILE

Music duration: 1 min

Composition ideas: complementary * unison

Sequence 2: Bondi beachMusic: LET’S GO SURFING by The Drums


Small groups develop energetic, upbeat sequences based on the popular pastimes of one of Sydney’s most popular beaches.

• Surfing – Strong arm paddling movements– Quick, neat jumping actions from a lying

flat position, to a crouched low position with knees bent, to a standing ‘surfing’ position with arms stretched out to balance.

– Riding the wave – bend and straighten legs while moving outstretched arms to balance.

• Beach posing– Strutting through the spaces with cool,

confident steps – stopping occasionally to pose on the spot, look around, or flex muscles.

• Beach games– Group sequences inspired by popular

beach games like volleyball or Frisbee – stretching, reaching, jumping etc.

Sequence 3: The monorailSydney’s raised monorail runs on a loop around the shopping district and the popular tourist destination of Darling Harbour.

Music: BIRD LIST by Michael Nyman


Composition ideas: follow-the-leader * unison

Grouping ideas: groups of 7 or 8 standing one behind the other in a long follow-the-leader line

Movement ideas:

• Choose a confident leader for each group to lead their follow-the-leader line through the spaces along a large looping pathway. Leaders must stop and go with the music and match their step pattern to the rhythm of the music.


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Unit 3: Titanic5. Spirit of the age

The beginning of the 20th Century was described as the lost golden age – an excessive, extravagant period of rapid progress and discovery when it seemed that anything was possible. RMS Titanic, the biggest and most luxurious passenger steamship in the world, symbolized that extravagant opulence and ambitious, pioneering spirit. This made it even more shocking and ironic when she sank on the 15th April 1912, on her maiden voyage from Southampton to New York, after hitting an iceberg in the Atlantic Ocean.

Sequence 1: Bigger, better, faster, stronger!Titanic was designed by the best engineers using the most advanced technologies available at the time. She was built at the Harland and Wolff shipyard in Belfast, Northern Ireland.

Music: HARDER BETTER FASTER STRONGER by Daftpunk


Composition ideas: unison * canon * complementary * question and answer

Grouping ideas: solo * pairs * group of 5 or 6

Movement ideas:

• Work-gangs of 5 or 6 perform lifting, pulling, pushing, hammering, passing movements – sometimes moving together at the same time, and sometimes moving one after the other.

• Members within each group explore different ways of linking together to create strong, imposing shapes. Groups should also focus on transitions – thinking about how they move from one shape to the next.

Grouping ideas: Work together as a class group – focus on effective use of the performance space as different dancers meet or cluster together before separating and moving away again.

Movement ideas:

• Contrast quick, busy steps and actions, weaving in and out of the spaces, to convey the constant hustle bustle activity of the harbour (boats, ferries, busy commuters or restaurant staff etc.) with calm, relaxed movements or strolling steps to the gentle sounds of lapping water.

• Working in small groups, explore different ways to link together or support one another to create arched or straight bridge shapes. Move smoothly from one shape to the next to develop a smooth flowing, continuous sequence.


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or one after the other to create different patterns. Add a few diving movements to move from one level to another and repeat the sequence.

• Pairs or groups of 4 develop an action-reaction sequence based on squash playing moves – stretching arms back for over or underarm shots; quick, little steps to travel forwards, backwards or sideways; leaning body out in different directions as if pre-empting where an opponent’s shot will land; add humorous moments e.g. locked on focus following trajectory of missed ball or excited jumps / gestures after a winning shot, etc.

• Performance ideas: each group practises and perfects a dance sequence based on one of the above themes. The different groups spread out around the room – ready to perform at different times (one after the other, or two at a time) to give everyone the opportunity to watch and consider each other’s performance. To finish the dance, all the groups could perform their sequences together at the same time to convey the busy, energetic feel of the gym, pool or squash court.

Sequence 3: Rich and famous passengersOn the maiden voyage of Titanic some of the most prominent people of the day were travelling in first class. Among them were John Jacob Astor IV, industrialist John Benjamin Guggenheim, millionairess Molly Brown, Sir and Lady Duff-Gordon, the Countess of Rothes, author and socialite Helen Churchill Candee, and silent film actress Dorothy Gibson.

Music: SOIREE

Music duration: 2 mins 8 secs

Composition ideas: unison * canon * varying the size of a movement * action and reaction

Grouping ideas: solo * pairs * groups of 4, 5 or 6

• Pairs or groups of dancers imagine they are travelling through different sections of the ship as it is being built. They help one another to climb over or under, around or between imaginary obstructions, and to crawl or squeeze through a confined space into an enormous, open space.

• Combine a selection of the ideas above to create a group sequence with the music.

Sequence 2: Luxury and opulenceRMS Titanic was designed to be the most luxurious ship in the world. The first-class areas were adorned with ornate wood panelling, crystal chandeliers and the finest furniture and decorations. There was an on-board swimming pool, a gymnasium, a squash court, libraries, and even a Parisien Café with sunlit veranda.

Music: CAPRICCIO


Composition ideas: unison * canon * varying the size of a movement * action and reaction

Grouping ideas: solo * pairs * groups of 4

Movement ideas:

• Explore a range of gymnastic exercises – e.g. sit with straight back, stretching arms and upper body forward, then pulling back with strong rowing actions; lie on back for energetic cycling leg actions, spin round on bottom then lie back and repeat the cycling actions; a series of keep-fit body stretches / twists and bends etc. Select 2 or 3 of these movements and find ways to develop, stylize and/or exaggerate them to create a dance. Again, take time to work out smooth transitions between one movement and the next.

• Practise strong, rhythmic swimming arm actions – breaststroke, front-crawl, backstroke, butterfly. Synchronise your movements with a partner or even in a small group – performing moves together


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6: Maiden voyage

Titanic set off on her maiden voyage from Southampton to New York on the 10th April 1912. She crossed the English Channel to pick up additional passengers in Cherbourg, France. She stopped again the next day at Queenstown, Ireland where, because of her enormous size, embarking passengers were ferried out to her in small boats. Then, she set off across the Atlantic on her journey to New York. At 23.40, on the night of Sunday, 14th April, lookouts Fredrick Fleet and Reginald Lee spotted a large iceberg directly ahead of the ship.

Sequence 1: Leaving SouthamptonProvisions including 40 tonnes of potatoes, 35,000 eggs, 1.5 thousand bottles of wine, and the equivalent of 96,000 teabags were loaded onto Titanic to cater for the 2,240 passengers and crew.

Music: ELITE SYNCOPATIONS by Scott Joplin


Composition ideas: action and reaction * canon * complementary * unison * question and answer

Grouping ideas: Various groupings to represent waving crowds, band musicians, porters, dock-workers, passengers, ship’s crew etc.

Movement ideas:

• Busy, bustling, preparation sequence: porters carrying passenger’s luggage (heavy suitcases and trunks etc) aboard while dock workers unload and stow the ship’s provisions – pushing/pulling trolleys, lowering heavy crates using ropes and pulleys, heaving heavy sacks of flour, sugar etc.

• Excited crowds of relatives and well-wishers waving, taking photos, cheering excitedly, leaning and stretching to get better view as Titanic leaves Southampton docks.

Movement ideas:

• The elaborate high society fashions of La Belle Epoque (1895-1914) required the assistance of a ladies maid or manservant. In master/servant pairs, take turns to explore appropriate movements to convey the nature of these contrasting roles.

Half of the class walk through the spaces with a refined, self-important air – head held high, shoulders back – occasionally nodding politely at one another or raising a hand to summon a servant etc. The other half move through the spaces with small, quick, busy steps and a respectful / obedient air – carrying trays, serving food, fetching and carrying for their masters.


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Sequence 3: Snowballs!After colliding with the iceberg, the extent of the damage was not immediately apparent and some of the first class passengers played snowballs with the ice that had landed on the ship’s deck.

Music: SWING THAT SHOE


Composition ideas: question and answer * action and reaction * complementary

Grouping ideas: Pairs * Small groups

Movement ideas:

• Light-hearted sequence of playful dance steps and/or snowball throwing and dodging actions.

• Contrast above with urgent, serious movements of the ship’s crew as they assess the damage to the ship.

• The ship’s bell cues the end of the sequence – everyone holds their position perfectly still – like a photograph – as they realize the ship’s inevitable fate.

• Excited passengers waving; children exploring the ship; ship’s crew saluting / performing slick, regimental movements.

Sequence 2: Titanic’s radio operatorsMarconi employed two radio operators, Jack Phillips and Harold Bride, to relay messages to and from Titanic’s passengers. That Sunday at 13.45, a message from the steamer America warned that large icebergs lay in Titanic’s path. Later that evening, another report of numerous large icebergs came from the ship Mesaba. Neither of these ‘non-essential’ messages were relayed to Titanic’s bridge.

After the collision, Harold Bride radioed the then relatively new distress call – SOS – as well as Marconi’s standard distress call – CQD. The 3 letters, SOS, were chosen solely for their simplicity in Morse Code – 3 dots, 3 dashes, 3 dots.

Had the nearby ship Californian kept her wireless on that night, she would have heard Titanic’s distress calls and been able to assist.

After Titanic sank, ships were required to have a 24 hour radio watch.

Music and FX: DARK AND DANGEROUS


Composition ideas: unison * canon * question and answer

Grouping ideas: Solo * Pairs * Groups of 3

Movement ideas:

• Body percussion (clapping or tapping different parts of body / the floor) or step patterns following Morse Code SOS – e.g. 3 quick jumps, 3 long strides, 3 quick jumps

• Explore different ways to generate the SOS pattern with a partner or in a group of 3, using the composition ideas suggested above.


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• Horse Guards Parade – Small groups of 3 or 4 develop a sequence using sharp, accurate, rhythmic steps and movements with upright body position and tensed muscles. Develop the idea of creating symmetrical shapes (above) by exploring symmetrical pathways or floor patterns.

• Big Ben & Houses of Parliament – Move away from group with quick, busy travelling steps along ever-changing, direct pathways interspersed with sudden freezes to the chimes of Big Ben.

• City Parks – Meet back in same groups of 3 or 4 as for Horse Guards Parade sequence above. Contrast the previous busy / tense sequences with relaxed, free movements inspired by the idea of relaxing in the park – playing games such as football, catch or chase, feeding ducks, rowing a boat, having a picnic, etc.

• Oxford Street – Groups of about 10, weave in between and around one another like a crowd of busy shoppers. Occasionally, dancers freeze, face to face, before turning away quickly to rejoin the bustling crowd.

• River Thames – Solo dancers perform free flowing, fluid movements along meandering pathways. Occasionally, dancers meet to perform pushing, pulling, lifting, passing movements inspired by the constant loading or unloading of boats along the riverbank. Alternatively, dancers could link together to create bridge shapes or barriers and explore strong blocking or releasing movements together – inspired by the opening and closing movements of London Bridge or the Thames Barrier.

• Greenwich Olympic Village – Pupils aim to convey a focused, busy atmosphere with movements inspired by training athletes, coaches, officials, organisers, etc.

Unit 4: 2012 Olympics

7: London callingIntroduction

Baron de Coubertin founded the first modern Olympic Games in 1896. Appropriately, they were held in Athens, Greece – where the original ancient sporting games of Olympia were held. The Olympics have become the world’s most famous sporting competitions where, every four years, the best athletes compete for the ultimate honour of winning a gold medal for their country.

London will become the first city to have hosted the Olympic Games three times – 1908, 1948 and 2012.

Sequence 1: London callingA sequence of contrasting movements inspired by a soundscape tour of famous London landmarks.

Music: A selection of atmospheric sound effect mixes transport pupils around London – from the military air of Horse Guards Parade to the bustling crowds of Oxford Street. Soundscape: Buckingham Palace – Horse Guards Parade – Big Ben & Houses of Parliament – City Parks – Oxford Street – River Thames – Greenwich Olympic Village.

Composition ideas: Question and answer * Action and reaction * Complementary * Unison

Grouping ideas: Solo * Pairs * Small groups of 3 or 4 * Bigger groups of about 10

Movement ideas:

• Buckingham Palace – Partners link together or support one another to create imposing, symmetrical shapes to convey the building’s elegant, regal design.


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Sequence 3: Olympic motto Citius, Altius, Fortius – Latin for Faster, Higher, Stronger.

Music: ME AND YOU by NeroMusic duration: 2 mins 6 secs

Composition ideas: Unison * Canon * Complementary

Grouping ideas: Pairs * Small groups of 3 or 4

Movement ideas:

• Each pair or small group chooses 3 or 4 key moves to create their sequence – e.g. a turn, a jump, a kick, a simple step pattern.

• Dancers add contrast by varying the speed, size and strength of these moves as the sequence progresses.

• Each person in the group could focus on one element of the Olympic motto – speed, size or strength – then select and colour their movements accordingly.

• Members of each group should consider visually effective ways to interact with one another to highlight contrasts and build connections between the different elements.

Sequence 2: Olympic mascots Wenlock and Mandeville – created from the last two drops of steel used for the 2012 Olympic Stadium.

Wenlock – named after Much Wenlock in Shropshire where Baron de Coubertin was invited to watch their annual games.

Mandeville – named after Stoke Mandeville in Buckinghamshire where in 1948 Sir Ludwig Guttman held the first Paralympics for World War 2 soldiers with spinal injuries.

Music: JUMP A LITTLE HIGHER


Composition ideas: Mirroring * Question and answer * Complementary

Grouping ideas: Partners

Movement ideas:

• Both mascots are made from shiny steel to reflect the people they meet and the places and things they see. Partners develop a mirroring sequence – taking turns to reflect one another’s slow motion sports based movements.

• Both mascots have a central eye symbolising a camera lens. Partners take turns to be the photographer/film crew operator or athlete; recording or performing sports based actions or poses.

• Both mascots symbolise energy, determination and excitement. Partners work together to create a short sequence to convey these qualities and characteristics. Partners will need to discuss and select appropriate movements and then decide how they should be performed (fast/slow, strong/gentle, free//restrained etc).


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– Occasionally, join palm to palm with a partner – bend and stretch together, exploring the surrounding space like a flickering flame.

– Push against one another’s palms to break away and continue travelling steps and spins with flicking fingers (above).

• Peace, unity and friendship

– The original aim of the Olympics was to bring the countries of the World together and to prevent wars.

– Create a sequence based on the idea of meeting, sharing or performing a movement together, and then parting again.

– Follow the same theme but using different size groups.

– Partners or small groups could work out simple and safe balances, counter-balances or supports – moving smoothly in a controlled, continuous sequence.

Sequence 2: Track and field Many of these events date back to the ancient sporting games of Olympia and remain a crucial part of modern Olympic Games today. The name comes from the competition venue – usually an oval running track surrounding a central grassy area where throwing and jumping events take place.

Music: RED SKY


Composition ideas: Canon * Unison * Complementary

Grouping ideas: Divide the class into 3 equally sized performance groups – running, jumping, throwing. The running group should spread out round the edge of the performance space, while the jumping and throwing groups take half of the central performance space each.

8: Athletes compete

Sequence 1: Opening ceremonyThe Opening Ceremony will be watched by 80,000 people in the Olympic Stadium, and approximately 4 billion people around the world!

The Olympic torch – lit in a traditional ceremony among the ruins of the original Olympic stadium in Greece – arrives in the UK on the 18th May, 2012 to begin its 70 day journey around the country. This enduring symbol of peace, unity and friendship will be carried by 8,000 torchbearers and will come within an hour by public transport of 95% of the UK population. The relay ends on 27 July when the torch enters the Olympic Stadium to mark the official opening of the 2012 Games.

Music: SUMMON THE HEROES by John Williams


Composition ideas: Unison * Canon * Complementary

Grouping ideas: Processional lines * Groups of about 8-10 * Whole class

Movement ideas:

• Olympic torch relay

– Torchbearer travels through crowds, holding imaginary torch high above head.

– Torch passes from one torchbearer to another – positioned at intervals throughout the performance space.

– In smaller groups, dancers could develop this idea by selecting and passing on a chosen movement, step pattern or gesture.

• Olympic flame

– Quick, light, free-flowing steps and spins through the spaces with sudden finger flicking movements – stretching high, low and all around.


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• Throwing

– Javelin – gain momentum by running to predetermined spot. Forward overhand throw (must not rotate body) over shoulder or upper arm. Stand with flat right foot and on ball of left foot – weight evenly distributed between feet.

– Discus – Stand on flat right foot, on the ball of your left foot, keep your weight evenly distributed between your feet. There are 6 key stages or moves: wind up (rotate body round and back); move in rhythm; balance; right leg engine (use leg strength to push body round into orbiting turns); orbit – rotate body round through one and a half turns to gain speed for throw; throw.

– Hammer – Imagine that you’re swinging a heavy metal ball attached to a wire and handle above your head in a circular motion. Turn whole body round in a circle to gain speed (1-4 turns allowed) and then throw.

– Shotput – Imagine that you’re throwing a heavy metal ball with a pushing motion – start with the ball held under chin, then push ball forward to throw.

Sequence 3: Team eventsPupils develop dance sequences inspired by some of the most popular team events of the Olympic Games – sailing, rowing, basketball and synchronized swimming. Music: OLYMPIC TORCH


Composition ideas:

Sailing: Unison * Canon * Action and reaction Rowing: Unison * CanonBasketball: Question and answer * Complementary * CanonSynchronized swimming: Unison * Canon * follow-the-leader

Members of individual groups need to work together to develop their sequence while remaining aware of what the other 2 groups are doing and how effective the overall performance looks.

If there’s time, groups may choose to swap/rotate positions to develop sequences around all three types of event.

Movement ideas:

Each group discusses and selects appropriate movements inspired by their designated type of event – please see below for detail. Next, they need to consider the who, how, when, where questions to develop their selected moves into a dance sequence.

Who performs the moves – solo, pair, trio etc. How they are performed – strength, speed, flow etc.

When they are performed – unison (together at the same time), canon (one after the other), repeated or developed as a motif etc.

Where they are performed – direction, level, pathway etc.

Dancers should aim to develop the moves beyond simple mime and make the sequence visually interesting by varying the speed, strength, direction and size of the moves, steps and gestures.

• Running

– Sprint, middle & long distance– Relay– Hurdle

• Jumping

– Long– High– Triple – hop (land on take-off foot), take

one step onto other foot, then jump


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– Create lines and angles with arms and legs.– Sculling hand movements

Sequence 4: Victory parade and closing ceremonyAfter the final celebrations as the winning athletes parade around the stadium, the Olympic flame is extinguished to mark the official end of the games.

Factfile: Nike trainers are named after the Greek Goddess of victory!

Music: THE OLYMPIC SPIRIT by John WilliamsMusic duration: 1 min 32 secs

Composition ideas: follow-the-leader * question and answer * unison

Grouping ideas: processional group lines of about 4

Movement ideas:

Victory parade

• Organize the class into processional lines (each line with about 4 pupils standing side by side). Explore different processional pathways e. g. processing round edge of room in group lines of 4; or processing from one end of the room to the other along the centre line before dividing into 2 lines – one turning left and the other turning right. Pairs continue their procession round the edge of the room before meeting up at the other end, ready to travel down the centre line again in groups of 4.

• Explore different step patterns, using single and double time, to process round with the music.

• Add occasional turns on the spot to wave to the cheering crowds or big, exaggerated, figure-of-eight flag waving actions.

Grouping ideas:

Sailing: Pairs * small groupsRowing: Pairs * groups of 4 Basketball: Pairs * Groups of 10 divided into two teams of 5Synchronized swimming: Pairs, trios or small groups

Movement ideas:

• Sailing

– Strong, direct pulling actions using different levels and directions – based on hoisting mainsail and setting the jib.

– Zig-zagging floor and air patterns – inspired by tacking movements of sailing boat.

– Careful, balanced leans and / or supports – based on practise of leaning body out over side of boat to balance or trim it to achieve maximum speed through water.

– Dancers work together to create a short sequence inspired by the idea of being moved by a changing force – the wind can quickly change direction and force.

• Rowing

– Sculling – using strong arm movements as if rowing with two oars.

– Sweeping – using strong arm movements as if rowing with one oar.

• Basketball

– Bouncing and dodging – on the spot and dribbling.

– Throwing, jumping and reaching – passing to another player or shooting to score.

– Blocking and marking.

• Synchronised swimming

– Focus on precise timing and flexibility to create a series of group patterns and formations.


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Closing ceremony

• Begin with sudden, explosive jumps, leaps, claps, stamps and turns – inspired by the sounds and sights of a celebratory fireworks display.

• Groups explore ways to express the extinguishing of the Olympic flame through movement e.g. circular group formation stretches extended arms forwards and down towards the middle of circle or group of dancing flames gradually slow down until, finally, they hold position for a few moments of complete stillness.

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