early stage 1 — rain

Early Stage 1 — RainUnit Duration: 4 lessons

Elements of Dance: Action, Dynamics, Time, Space, Relationships, Structure

This unit provides a sequence of learning opportunities where students make a class dance based on theidea of rain, developing their understanding of the natural environment as a source for dance ideas.

Content

Students in Early Stage 1 will

learn to:• move safely and expressively in a dance with

control and sensitivity to soundaccompaniment

• explore the elements of dance expressively inthe composition of dances

• use memory and imagination to explore arange of familiar and fantasy movement ideasfor dance

• show their dance ideas to others, watch otherpeople dance, think and talk aboutthemselves and others dancing

learn about:• the importance of moving safely, as an

individual and with others, in a designateddance space

• the basic elements of dance: actions of thebody, dynamic qualities of movement, timing,spatial aspects and relationships

• the use of everyday and fantasy movementideas as active and physical starting points forcreating dances

• the basic components of dances — dancers,movement, sound and physical settings —and how they and their classmates can thinkabout dance ideas

150 Rain Creative Arts K–6 Units of work

Dance

Early Stage 1

Creative Arts K–6 Units of work Rain 151

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Outcomes and Indicators

DAES1.1 Participates in dance activities and demonstrates an awareness of body parts, controlover movement and expressive qualities• performs basic movements demonstrating control over body parts• performs movements in unison with a partner.

DAES1.2 Explores movement using the elements of dance in response to a stimulus to expressideas, feelings or moods• explores small and large movements to the stimulus of rain.

DAES1.3 Responds to and communicates about the dances they view and/or experience• discusses their movements and the movements of other groups.

Resources

• Dance space• Recorded sounds of a thunderstorm and rain.

Assessment

Key assessment opportunities marked *.

152 Rain Creative Arts K–6 Units of work

Dance

Early Stage 1

Sequence of Learning Experiences

PURPOSE TEACHERS CAN NOTES TO TEACHERS

To respond to music withmovement

Imagery such asraindrops, puddles,splashes and wetnesscan be used toencourage imaginativeresponses

• Have students listen to the taped sound of thunderand get them to curl their bodies into a small shapein response.

• Have students listen to the taped sound of rainand get them to uncurl their body, look up andstretch.

• Have students stretch up high, looking and focusingupwards. Have them produce a well-known fingerpattern to represent raindrops starting at the top oftheir head and touching their body lightly down totheir feet.

• Have students take up positions on the floor andtrace the shape of a puddle with their finger, thenwith other parts of their body — eg a toe, an elbow

• Have students take small steps around their ownpuddle shape on the floor, showing an awareness ofparts of the feet — toes, soles, heels.

• Have students perform large jumps over theimaginary puddles.

• Have students work with a partner to mirror eachother’s movements.

• Have partners explore new finger patterns in theirmirroring exercise to represent rain falling, payingcareful attention to using different parts of the hand.*

• Have partners continue to explore movements withmirroring, standing, bending and stretching inunison using the whole body and mirroring handpatterns.*

• Have students, in their pairs, walk around the puddletaking small steps and linking hands.

• Have students explore movements around thepuddle with one partner leading the other, handsstill linked, and explore ways of turning carefullywhile keeping hands linked.

To explore movements atdifferent levels and bodyawareness with a well-known gesture

Lead students to makeraindrop patterns withfingers

To isolate parts of thebody in movementexercises

To concentrate on smallfoot movements

Students learn aboutapplying performanceskills by balancing theirarms as they step andfocusing their eyes onthe puddle shape as theystep

To explore largemovements

This activity provides acontrast in movement tothe previous activities

To explore movement in unison

This may best be donewith students sittingopposite each other onthe floor

This further develops theconcept of working with apartner

To work cooperatively tocreate movement

To lead and to followwith movement

This more complex taskinvolves students usingobservation, a sense ofmovement, timing andcooperation

Creative Arts K–6 Units of work Rain 153

Links with other Key Learning Areas

ENGLISH RES1.7 Context and TextLocate texts which have descriptions about rain or rainy days. Discuss the words used to describe rain, and which ones are like the sound they make, eg drip, splash.

WES1.9 Producing TextsProvide opportunities for students to write poems or rhymes about rain, eg acrostic poems

MATHEMATICSEES1.2 Using Technology with Teacher Guidance in Mathematical SituationsCollect rainwater during a rainy period and graph daily results on a chart or mark on a calendar.Use newspaper weather maps to graph rainfall.

SCIENCE AND TECHNOLOGYESES1.7 Earth and its SurroundingsINVES1.7 InvestigatingDMES1.8 Designing and MakingUTES1.9 Using TechnologyInvestigate by observing and exploring the types of clothing worn when it it wet. Using a range of material,design and make an outfit to wear in the rain.Create a retrieval chart of photographs and other materials showing ‘rainy days’.

Suggested link A Place in Time unit from Science and Technology K–6 Syllabus and Support Document p 82.

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• Have students repeat above activity, emphasising thenotion of keeping small steps and have them swapleader and partner roles in a fluid motion.

• Have pairs perform their leader/partner puddlemovements for the rest of the class. Discuss themovements used, what they liked etc.*

To explore changing rolesin movement activities

This reinforces footworkwith light, sustainedqualities, unison, timing,care and sensitivity inmaking close contact andimaginative responses

To perform movementsequences

Teachers may ask twogroups to perform theirmovements together ifstudents become restless

Early Stage 1 — I Can DanceUnit Duration: 4 lessons

Elements of Dance: Action, Dynamics, Time, Space, Relationships, Structure

This unit of work focuses on the elements of action, time, space and relationships. Students make shortmovement phrases in response to ideas, moods and kinaesthetic stimuli, which they may share with theirpeers. Students learn to respond in movement to a variety of accompaniment (sounds, voice, music andpercussion). They learn to respond spontaneously (improvise) with maturity, and reflect and refinemovement at their particular stage of development.

Content

Students in Early Stage 1 will

learn to:• move safely and expressively in a dance with

control and sensitivity to soundaccompaniment

• explore the elements of dance expressively inthe composition of dances

• use memory and imagination to explore arange of familiar and fantasy movement ideasfor dance

• show their dance ideas to others, watch otherpeople dance, and think and talk aboutthemselves and others dancing

learn about:• the importance of moving safely, as an

individual and with others, in a designateddance space

• the basic elements of dance: actions of thebody, dynamic qualities of movement, timing,spatial aspects and relationships

• the use of everyday and fantasy movementideas as active and physical starting points forcreating dances

• the basic components of dances — dancers,movement, sound and physical settings —and how they and their classmates can thinkabout dance ideas

154 I Can Dance Creative Arts K–6 Units of work

Dance

Early Stage 1

Creative Arts K–6 Units of work I Can Dance 155


DAES1.1 Participates in dance activities and demonstrates an awareness of body parts, controlover movement and expressive qualities• performs basic movements demonstrating control over body parts• performs movements in unison with a partner.

DAES1.2 Explores movement using the elements of dance in response to a stimulus to expressideas, feelings or moods• explores movement in response to stimulus, for example tapping a hot surface or tapping

with one foot or two.

DAES1.3 Responds to and communicates about the dances they view and/or experience• discusses their movements and the movements of other groups.

Assessment

Key assessment opportunities are marked *.

Links with other artforms

VISUAL ARTSVAES1.1 MakingVAES1.2 MakingVAES1.3 AppreciatingVAES1.4 Appreciating

Links with Visual Arts Early Stage I About Me unit in Creative Arts K–6 Units of Work Support Document p 6.


PDHPEGDES1.9 Growth and DevelopmentDiscuss similarities and differences in appearance.Body parts, senses and basic needs.Changes in appearance.Values — likes and dislikes, uniqueness.

Suggested links with I Am Special module in PDHPE K–6 Modules p 141.

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156 I Can Dance Creative Arts K–6 Units of work

Dance

Early Stage 1



To experience a range ofnon-locomotor andlocomotor movements

Students’ movementresponse varies with theintroduction of anotherstimulus, for exampletapping a hot surface, ora sticky surface; tappingas quickly and sharplyas possible; tappingclose to or far from thebody; tapping with onefoot or two.

• Have students warm up as a whole group withbending and stretching movements and bodyisolations.

• Have students as a whole group apply strong andsustained dynamics to non-locomotor movements.

• Have students explore locomotor movements suchas walking, running, hopping and skipping, withinstruction to apply aspects of tempo (moving as fastand slow as they prefer, as well as moving to a setbeat).

• Have students individually ‘feel’ the space aroundthem with different body parts to establish theirpersonal space.

• Have students move freely in the space (usinglocomotor patterns that encourage the use ofmovement at high, medium and low level) toestablish sharing of the general space.

• Have students sit informally with their feet in aposition that allows them to move easily.

• Have students begin by tapping their feet on thefloor, then alternate between tapping their toes andheels in their own sequence.*

• Introduce ‘stillness’ into the tapping and vary thetime relationship between movement and stillness.Have students develop simple movement sequencesby guiding the students to accent the lifting sectionof the movement phrase, for example:

To explore movementqualities and aspects oftempo

To explore locomotormovements usingdifferent levels

To develop an awarenessof body parts and somecontrol over movementand expressive qualities

(i) Tap toes Tap toes Tap heel Tap heels Tap toes Hold lift Tap heels Hold lift---- ---- ---- ---- ---- ---- ---- ----1 2 3 4 1 2 3 4

(ii) Tap toes Tap toes Hold lift Hold lift Tap heels Tap heels---- ---- ---- ---- ---- ----1 2 3 1 2 3

(iii) Tap heels Hold lift Hold lift Tap toes Hold lift Hold lift

---- ---- ---- ---- ---- ----1 2 3 1 2 3

Creative Arts K–6 Units of work I Can Dance 157

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• Have students ‘find’ different positions when they lifttheir feet, and accent the lift by making it as high aspossible.

• Have students find one sequence of movement thatthey like and repeat it three times.*

• Have large groups of students show their dances tothe class, who then comment upon the parts theyenjoyed watching.*

• Have students keep their hands and feet on the flooras they lift different body parts away from the floorand then return, keeping the movement fluid andcontinuous (sustained), leading the movement withparticular parts of the torso.

• Have students free their hands, then find many waysto move away from the floor and back again (risingand sinking), using different bases.

• Have students select one of their movementsequences and repeat it.

• Have students think about visual imagery — forexample: the sun rising and setting; waves buildingand curling; kites lifting, flying and landing — toassist the quality of the performance and to thinkimaginatively (with intent).

• Have students, as a whole group, choose one of theabove visual images to make a dance; for example,kites lifting in flight and landing.

• Have students find a partner and perform their kitedance beside their partner — independently andsimultaneously — in their own personal space,showing regard for their partner’s work. Havestudents choose to be the first or second dancer.*

• Have the class divide into two groups to allow thestudents to view each other’s movement responses.Have student express what they liked most, and why.*

Guide students throughsimilar activities, focusingaction on the hands andarms. Encourage them touse their arms alternatelyor both together. Studentscreate an arm dance; forexample, their patternsmay communicate aparticular idea — stop, go,come, help, fly, open,close, hard, soft — simplymove according to theirmood

Respond to andcommunicate about thedances viewed

To develop movementmemory and intent

To explore movement inresponse to a stimulus toexpress ideas, feelingsand moods

Guide the students toinclude moments ofstillness as well as fastand slow movements intheir movementexploration

Stage 1 — We’ve Got RhythmUnit Duration: 4–6 lessons

Elements of Dance: Dynamics, Time, Space

This unit of work introduces the element of time in dance. It provides a series of learning experienceswhere students experience rhythm, duration and tempo through body movement in dance.

Content

Students in Stage 1 will

learn to:• perform expressively with awareness of

others, using movement qualities appropriateto the idea for the dance and havingsensitivity to the timing, mood and soundaccompaniment

• explore ideas in the composition of danceswith attention to body actions, space,dynamic qualities, timing and relationships

• respond to a range of stimuli, using theirimagination and drawing on their experienceof the immediate and wider world for danceideas

• perform dances for other people, view danceas an audience member, talk about otherpeople dancing and the dances they haveviewed

learn about:• the importance of using the body safely and

skilfully when creating and performing dance

• the use of the elements of dance to expressideas in the composition of dances

• the structure and development of dances froma range of starting points and stimuli

• thinking and talking about the basiccomponents of dance (dancers, movement,physical setting) and that dance can beaccompanied by music, other sounds orsilence

158 We’ve Got Rhythm Creative Arts K–6 Units of work

Dance

Stage 1

Creative Arts K–6 Units of work We’ve Got Rhythm 159


DAS1.1 Performs dances demonstrating expressive qualities and control over a range oflocomotor and non-locomotor movement• explores movement and to a specified rhythm• explores the elements of time, space and dynamics within movement sequences.

DAS1.2 Explores and selects movement using the elements of dance to express ideas, feelings ormoods• responds to imagery through movement demonstrating an awareness of time, space and

dynamics• selects and combines movements to form sequences.

DAS1.3 Gives personal opinions about the dances and their purpose that they view and/orexperience• discusses and compares body shapes made quickly and slowly in movement sequences• observes, describes and discusses locomotor movements used in class work.

Assessment


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Dance

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To use a safe dancewarm-up incorporatingthe element of action

See Additional Informationfor ideas for a non-locomotor, whole-bodywarm-up

• Have students sit in a large circle. Instruct the classthrough a non-locomotor, whole body warm-up,throughout encouraging the students to find differentways of interpreting the body moves.

• Have students run on the spot and rest. Repeat with10 jumps on the spot and rest.

• Have students feel their heartbeat with their handson their chests.

• Have students clap the rhythm of their heartbeat,take time to compare each other’s rhythm. Make aclass heartbeat rhythm to a steady 4/4 beat (eitherclapping or with a hand drum) and have the studentsclap the beat. Have students walk anticlockwise inthe circle, to the steady beat. Keeping the steady 4/4 beat, have students to try different movements.

• Have students, on the spot, clap 4 beats, stop andwait 4 beats (silence). Have students repeat thisseveral times until they feel the rhythm of the silence.Then repeat the above locomotor movements(changing direction to clockwise) — 4 countsmarching and 4 counts stopping (no movement =stillness), then repeat with stamping and trotting.

• Establish a new beat: 1 2 3 4 / 1 2 3 4 (4 regular beats /2 slow beats). Have the class clap the new rhythm.Have students walk to the new rhythm: 4 regularsteps, 2 slow. Once the students have established therhythm, have them experiment to find slow travellingmovements. Have them perform the two differentmovements several times.*

• Incorporate four counts of stillness into movementpatterns

To introduce the conceptof rhythm

To perform locomotormovement and tointernalise a steady beat

To explore the use of thebody time and duration

To use contrasting pace

Have students repeat acouple of times, expendingshort bursts of energyfollowed by a brief rest.

The students and theteacher talk aboutrhythm, how everyonehas their own pulse, theirown constant, regularrhythm

Movements couldinclude: march (likesoldiers with backstraight, chin lifted,knees high, strong steps),stamp (like smashingnuts on the floor) andtrot (like a horse)

This emphasises startingand stopping, movementand stillness

Movements couldinclude: trudge (heavyslow steps as if carrying abag of sand on yourback), leap frog (from acrouched position, lightand low), jump (shootingup like a rocket), etc

For example: (each linefour beats)walk walk walk walktrudge trudgewalk walk walk walkleapfrog leapfrog

For example: (each linefour beats)walk walk walk walk / waitstamp stamp stampstamp / waittrudge trudge / waitjump jump / wait


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• Make a dance sequence by combining the aboverhythms, steps and stops/waits. Have the classpractise the sequence.*

• Have students complete a non-locomotor, wholebody warm-up

• Have students repeat the rhythmic locomotor activityfrom previous session, and have them suggest otherappropriate steps for the regular (1 2 3 4) and theslow (1 2 3 4) movements.

• Have the students explore body shapes. Instructthem to make a curved low shape, then a narrowpointed shape, and then a bent shape. Havestudents repeat this sequence of three shapesseveral times, each time finding a different andinteresting shape.

• Have students continue to explore the three-shapesequence. Instructing students to use differentspeeds for each transition. Have students performthe entire sequence very slowly, then very quickly.Have students experiment to find the most excitingspeeds and discuss their preferences. Set a sequenceincorporating the suggestions.

• Divide the class into two groups and have themobserve each other performing the three-shapesequence. Teachers encourage students to discussand evaluate the performances by recognising theshapes and comparing the choices made.*

To perform a dancesequence using a rangeof rhythmic patterns andphrases

To warm up with non-locomotor movements

To explore the element ofspace

To show contrasting useof pace as the bodytravels through space

See ‘AdditionalInformation’ for ideas onhow to lead the warm-up.

Movements couldinclude hops, leaps,jogging, etc

Teachers shouldencourage the childrento make the shapes indifferent levels,directions etc, and toconcentrate on thetransitions (getting fromone shape to the other)

Have the class divide inhalf and watch eachother. Jointly discuss thedifferent locomotorrhythms and movementsperformed.

This is an appropriateplace to end a 40 minutelesson

Have students try movingquickly from the curved,low shape to the narrow,pointed shape; thenmove at a medium paceto the bent shape; thenmove quickly to theround shape etc. Askwhich shapes are bestmade slowly and whathappens to curvedshapes that are madequickly

This provides anappropriate end to asession. The aboveactivities could becovered in a single 40–45minute lesson, or in two20-minute lessons


Dance

Stage 1


• Begin with a warm-up that builds on the previous non-locomotor, whole body movements. Have studentscontinue to warm up by isolating body parts, makingfast, slow and rhythmic movements.

• Have students sit in a large circle and, one at atime, clap the rhythm of their name. Have studentsrepeat this activity, this time stamping the rhythmof their name. Repeat with students choosing adifferent body part to move to the rhythm of theirname.

• Have students combine three names going around thecircle, saying and clapping the names. Have studentscontinue around the circle combining the rhythms ofthe next three names.

• Have three students stand up and each do a body partdance to the rhythm of their own name, one after theother, to the combined rhythm, while the seatedstudents continue to clap the beat. The studentsincorporate the accents and the rhythm into their body-part dance. Have students reflect and discuss how theaccented body part movements are stronger andrequire more force than the unaccented movements.All the students stand up and perform the body-partdance — elbow/shoulder/head. The next three standup and continue the exploration.*

• Choose 3 or 4 name rhythms, decide on body parts,and compose and practise a class body-part dance. Set a tempo appropriate to the movements andrhythms chosen. Have the class divide into two facinggroups. Group 1 performs the dance; group 2 observesand claps the rhythm. Then group 2 performs the dance while group 1 observes and claps, the movementalternating continuously between the groups.*

• Jointly discuss the body-part dance, reflecting uponthe elements of time that were used.*

To use the body asimpetus for contrastingrhythmic movement

This emphasises theelement of time usingfast/slow movements withmovements of silence. Forexample, the teacherinstructs the students tomove their right arm, toexplore how many waysthey can move their rightarm, to move it very slowly,to explore how fast theycan move it, to move itrhythmically for 8 counts.Then to continue with theother arm, the legs, thehips, the feet etc

To incorporate accent

Explain that names haverhythm, there are accentsand emphasis ondifferent parts of ournames. For example,‘Jessica’ is clapped withan accent on the firstsyllable: Jes si ca (rhythmis quick–quick–slow), Saman tha (quick–slow–quick) and John (slow)

For example, Jessica /Samantha / John

For example, Jessicachooses her elbow andmakes three movementsaccenting the firstmovement. Samanthachooses her shoulder andmakes three movements,accenting the secondmovement. John chooseshis head and makes onethrusting movement tothe side. It may benecessary to slow thetempo down, keeping therhythm and the accents.

Depending on theabilities of the students,the teacher could beginwith a slow rhythm,gradually speeding up,then slowing down

To perform showing asensitivity to a range ofrhythmic patterns andphrases


Additional Information

An appropriate space to allow students freedom and safety to move is important for this unit.

At the beginning of each session students should be guided through a safe dance warm-up using non-locomotor movement. Ideas for warm-ups are detailed as follows:• The students curl their bodies into a small shape, then uncurl and stretch. From a kneeling position,

curl, uncurl and stretch. From a standing position, curl, uncurl and stretch. Bend down and touch thefloor, reach up and touch the ceiling. Stretch to the right side of the room, to the left side of theroom. Twist the torso, tilt into a balance in several directions, sway from side to side, rise andcollapse.

• Have students use levels in their warm-up. For example, to move from a low level: the students curltheir bodies into a small shape, then slowly uncurl and stretch; from a middle level: curl, slowlyuncurl and stretch; from a high level: curl, slowly uncurl and stretch. Shrink slowly and grow quickly,then shrink quickly and grow slowly. Stretch to the right side of the room quickly, to the left side ofthe room slowly. Twist the torso slowly. Tilt into a balance in several directions both quickly andslowly. Sway from side to side beginning slowly, speeding up, then slowing down. Rise quickly andcollapse slowly, then rise slowly and collapse quickly. The teacher can alternate the whole-bodymovements, as well as the tempo of movement, by calling out moves to which students respond.


MUSIC

Links to Music unit When I Get Mad I Beat My Drum in Creative Arts K–6 Units of Work p 66.


PDHPEINS1.3 InteractingMOS1.4 MovingDAS1.7 DanceThis unit provides opportunities for students to demonstrate outcomes in PDHPE while working in CreativeArts – Dance. It will allow for other basic movements and patterns to be incorporated from Dance in PDHPEK–6 Modules p 88.

ENGLISHTS1.4 Language Structures and FeaturesEncourage students to create rhythmic patterns for chants or playground raps they know.Investigate other examples of rhymes, eg You Beaut Juicy Fruit, Durkin, Peter (1990), Unreal Banana Peel,Factor, June (1986) Oxford Universty Press.

HSIECUS1.3 IdentitiesDiscuss and explore the ways in which family members learn about customs and traditions through songs,chants, stories etc. Have the class learn some of these.

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Stage 1 — Get Ready, Let’s DanceUnit Duration: 3–4 lessons

Elements of Dance: Action, Space

This unit of work provides a series of learning experiences which clarify the ‘What?’ of dance. ‘What can thebody do?’ ‘What activity is taking place?’ ‘What part of the body is moving?’ Students will experience arange of non-locomotor and locomotor movements and will develop an understanding of the physicalityof the dancing body.

Content


learn to:• perform expressively with awareness of others,

using movement qualities appropriate to theidea for the dance and having sensitivity tothe timing, mood and sound accompaniment

• explore ideas in the composition of danceswith attention to body actions, space,dynamic qualities, timing and relationships

• respond to a range of stimuli, using theirimagination and drawing on their experienceof the immediate and wider world for dance ideas

• perform dances for other people, view danceas an audience member, talk about otherpeople dancing and the dances they haveviewed

learn about:• the importance of using the body safely and

skilfully when creating and performing dance

• the use of the elements of dance to expressideas in the composition of dances

• the structure and development of dancesfrom a range of starting points and stimuli

• thinking and talking about the basiccomponents of dance (dancers, movement,physical setting) and that dance can beaccompanied by music, other sounds or silence

164 Get Ready, Let’s Dance Creative Arts K–6 Units of work

Dance

Stage 1


DAS1.1 Performs dances demonstrating expressive qualities and control over a range of locomotorand non-locomotor movement• isolates body parts in locomotor and non-locomotor movement.• combines body parts to make a body part dance• explores the elements of time, space and dynamics within movement sequences.

DAS1.2 Explores and selects movement using the elements of dance to express ideas, feelings or moods.• responds to stimuli to invent new ways of moving body parts, demonstrating an awareness

of time, space and dynamics• selects and combines movements to form sequences• responds to imagery through movement demonstrating an awareness of time, space and dynamics• selects and combines movements to form sequences.

DAS1.3 Gives personal opinions about the dances and their purpose that they view and/or experience.• discusses and compares body shapes made quickly and slowly in movement sequences• observes, describes and discusses locomotor movements used in class work• discusses what the body can do.

ResourcesWhiteboard or butcher’s paper

AssessmentKey assessment opportunities marked *.

Creative Arts K–6 Units of Work Get Ready, Let’s Dance 165

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To isolate body parts in non-locomotormovements

Talk about what the bodycan do and the differentways it can move. Try thebody movements indifferent directions andlevels to encourage themto find new andinteresting ways ofmoving, eg do a sidewardstretch, twist down below

• Using safe dance practices, have students warm upusing non-locomotor whole-body movements. Havestudents stretch their body, bend, twist, curl,balance, fall, rise, collapse, swing, shake, and findmoments of stillness in the body betweenmovements.

• Introduce isolation of body parts, exploring all theways individual parts of the body can move.

• Have students use non-locomotor movement words(swing, shake, bend, stretch, etc) to encourageinventive movement of the body parts.

• Have students combine several body parts exploredto make an on-the-spot ‘body-part dance’. Forexample, swing your arms, add your knees, add yourhead. Continue all three body part movements for afew moments, then rest. Try another combination.*

• Have students move from one side of the dancespace to the other while performing locomotormovements.

• Have students walk across, jog back, run fast, hop,shuffle, roll.

• Have the students skip, and tell which part of thebody is leading the movement (the knees).

• Have students choose other body parts to lead atravelling movement.

• Have students explore different ways of travellingwith the leading body part.

• Have students individually explore combining non-locomotor and locomotor movements with bodyparts.*

Encourage exploration byasking students to leadwith the head: what canthe head do? In order tomove your head, whatelse has to move? Let’sisolate the head and necktogether. Can you stretchit, bend it, turn it, roll it,twist it, shake it slowly,quickly? Shoulders: liftthem, then one at a time,roll them, push themdown, what else can youdo with them? Continuewith the torso, arms,hands, legs, feet, etc

To assist to developcontrol over a range oflocomotor movement

The teacher explains thatpreviously they wereusing stationarymovements to warm upthe body, and now theyare going to do travellingmovements.

Ask students which bodypart leads whenprancing, sliding orleaping. Try thesemovements

To combine body parts tomake a body-part dance

For example, cross thespace leading with theelbow, left hip, nose, topof the head, bottom,belly button etc

Have students movetheir arms (eg swinging),add their knees (bendingor lifting/stepping inplace), add wrists(shaking)

166 Get Ready, Let’s Dance Creative Arts K–6 Units of Work

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• Have students repeat this sequence several times:move arms, add knees, add wrists to make a bodypart dance, then move to another spot leading withthe left shoulder. Assist students to clarifiy thesequence.

• Have students use three more body parts and add anew body part leading a locomotor movement toanother space.*

• Have students as a whole group name all the partsof the body which begin with the letter H, and thenexperiment together with moving each part in turn inevery possible way, then combine some of theactions, such as walking on heels with hands on hipsand head nodding. Try several combinations.

• Have students suggest travelling movements. Writeeach suggestion on a whiteboard or large sheet ofpaper so that everyone can see; for example, walk,run, hop, skip, gallop.

• Have students demonstrate their suggestions one ata time and have the class join in, exploring thetravelling movement.*

• Have the class divide into two groups. Decide on adirection of travel (either across the dance spaceside to side, diagonally, or front to back) and instructthe first group to spread out at one end of the dancespace. Have the second group gather near the list oftravelling words.

• Have students, one at a time, call out a travellingmovement from the list of words; the first groupmoves across the space performing that travellingmovement.

• Then have the second group call out from the list,giving the first group enough time to explore themovement.*

• Have the class reflect together, giving their opinionsof the locomotor activity, about directing the activity(choosing the locomotor movements) and performingthe travelling movements, and how it looked and feltto perform the different travelling movements.*

To enhanceunderstanding of theelement of action, byunderstanding whatmovements are takingplace. What are thebodies doing? What partsof the body are moving?

Sequence: three body partsmoving together on thespot, followed by a bodypart leading a movementthrough space. After the two sequences have beenestablished, have half theclass sit down to observethe other students performthe two sequences. Havestudents reflect on the body parts used in isolationand to lead a movement

To respond to stimuli toinvent new andinteresting ways ofmoving body parts

Head: nodding; shakingfrom side to side, turningin circles, Hands: clapping;tapping fingers, bangingfists, stretching, bending.Heels: walking on heels;walking on tip toes withheels high, Hips: swingingfrom side to side; turningin circles

Encourage the studentsto think of otherdescriptive ways oftravelling across/throughthe space; for example,roll, rush, tiptoe, scurry,shuffle, stagger, creep,slide, fly

To explore differentlocomotor movements

To engage in discussionabout what the body cando

Creative Arts K–6 Units of Work Get Ready, Let’s Dance 167

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MUS1.1 PerformingMUS1.2 Organising SoundMUS1.3 Organising SoundMUS1.4 ListeningLinks with Music unit When I Get Mad I Beat My Drum in Creative Arts K–6 Units of Work p 66.Links with Dance unit We’ve Got Rhythm in Creative Arts K–6 Units of Work p 158.


PDHPEMOS1.4 MovingDAS1.7 DanceGDS1.9 Growth and Development

Suggested links with Let’s Dance (p 87) and There is Only One ME (p 144) in PDHPE K–6 Modules.

168 Making Connections Creative Arts K–6 Units of Work

Dance

Stage 2

Stage 2 — Making ConnectionsUnit Duration: 4–6 lessons

Elements of Dance: Relationships, Space

This unit provides students with a sequence of learning activities which will enhance their knowledge andunderstanding of two of the elements of dance — relationships and space. Through creative explorations,students investigate how the dancing body relates to other individuals, groups and an audience. Studentslearn to perform in unison with individual movements, and as part of a group.

Content



DAS2.1 Performs dances from a range of contexts demonstrating movement skills, expressivequalities and an understanding of the elements of dance• performs movements and movement sequences demonstrating increasing physical skill in

the selection and refinement of movements.

DAS2.2 Explores, selects and combines movement using the elements of dance to communicateideas, feelings or moods• mirrors, complements and contrasts shapes• constructs sequences of movements that combine shapes• uses the elements of space and relationships to create movement sequences.

DAS2.3 Gives personal opinions about the use of elements and meaning in their own and others’ dances.• responds to imagery through movement.• observes and discusses the movements, shapes and transitions in a movement sequence• considers and discusses how the processes of group decision-making have contributed to

the construction of a dance.

Assessment


learn to:• sustain expressive qualities and movement

skills to convey intent in a dance performance

• draw on the elements of dance to createmovement content that relates clearly to theintended meaning of a dance

• use a range of ideas in the composition ofdances based on diverse stimuli

• talk and write about their own and others’dances using dance vocabulary

learn about:• the human body and movement as the raw

material for dance as a performing art

• the use of the elements of dance to makemeaning in the creation of a dance, in aperformance and for an audience

• how dance ideas can come from a diverserange of sources, including personalexperience and the wider world

• dance as it occurs in different places for arange of reasons and how dances can beabout different things and elicit varyinginterpretations from audience members

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To use safe dancepractices through warm-up activities

Instruct students to beaware of each other,taking care not to touchanyone else

Have students increasethe pace from walking tojogging to running, whilestopping, shaking hands,continuing. Graduallyslow the pace back downto a walk

• Have students begin walking to all areas of thedance space. Slowly at first and increasing speed,jogging, running and dodging without touchinganyone or anything, gradually slowing down toreturn to a walk.

• Have students allow paths to cross with the otherstudents. When two students meet, they stopwalking, shake hands and continue on. Each timetwo, or maybe three or four, students cross paths,they stop and shake hands.

• Have students continue walking throughout thedance space and make a body gesture tocommunicate ‘Hello’. Students make just onegesture each time they meet someone, then continueon. If they like someone’s greeting, they can try itthemselves.

• Have students continue walking in pairs through thespace together as before, at a brisk pace, meetinganother pair, each student making a greeting gesture,and continuing on together. After severalmeetings/gestures, each pair combines with anotherpair to make a group of four and they continuewalking and meeting.

• Have groups stay together and walk together untilthere are only two groups, each containing half theclass. When the two groups have greeted the otherhalf, each student with a gesture, then finish.*

• Have the students imagine that they are inside amirror. Perform several of the gestures from thegreeting exercise.

• Have students work in pairs, facing each other topractise mirroring one another’s gestures from thewarm-up activity, taking turns at leading.

To ‘introduce’ thechildren to each other,and to prepare the bodyfor dance.

Prompt students to tryother ways to say ‘Hello’,eg try both arms, usedifferent parts of yourbody, turn as you makethe gesture, make it huge,make it on a low level etc

Have students sit downto rest and discuss thedifferences betweenavoiding/dodging andmeeting/greeting eachother, ask students aboutfinding new ways ofgreeting, about tryingsomeone else’s greetingetc. How did thegreetings change with apartner, and then as thegroup got larger? Howwas it different towalk/jog/run through thedance space on yourown, in pairs, in largergroups? What sorts ofthings did you have tothink about to keeptogether as a group?

To recall movementpreviously learnt tocreate dance sequences

Have students make themirror image of theteacher’s movements.Lead the students inslow motion so that thestudents can followexactly

To mirror, complementand contrast shapes

The students shouldmove slowly and as oneso that the teachercannot guess whichstudent is the leader

170 Making Connections Creative Arts K–6 Units of Work

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• Have the leader in the pair choose three gestures.

• Have pairs perform gestures several times.

• Have the leader repeat the sequence and then moveto the second gesture with a pause to make a shape,then move to the third gesture with a pause to makea shape, and finally complete the third gesture, withthe partner mirroring the sequence ofgesture/pause/shape. Have students swap leaders.

• Have students work with the same partner,positioning themselves away from each other in thedance space, making sure they can see each other(there could be other students between them). Havestudents repeat the same mirroring sequence of threegestures/pauses, taking turns leading.

• Have one student in the pair make an interestingshape from the previous exploration and then remainstatic. Have their mirror partner make a similar shapeand then contrast it by making a very different oropposite shape. Have students reverse roles.

• Have pairs combine to make groups of four. Eachgroup continues the same activity with one leaderand three followers.

• Have the leader make a shape, the three followersmirror the shape, then make a similar shape, thencontrast it.

• Have students in the same groups of four, eachchoose one shape, and decide who will be first,second, third and fourth. The first leader makeshis/her shape and holds it while the other threestudents mirror it, complement it, and contrast it.Have the other group members repeat the process.

To select and refinemovement

Have students pausemidway in the firstgesture, feel the shape ofthe body, exert theirmuscles so they canreally feel the shape, feelthe air around, under,through the shape;repeat for the other twogestures.

Ask the students how itfelt to be the leader, andto be the follower. Was theleader making cleargestures and shapes? Wasthe ‘mirror’ able to copythe movement smoothly?How did it differ when thepartners were closetogether/far apart? Whichwas more difficult, andwhy? Which was moreinteresting, and why? Whatkinds of shapes did youmake? (Round, curved,bent, stretched, twisted,small etc)

To explore the meaningsof complement andcontrast

To work on the visualaspect and recognition ofthe shapes andtransitions

Have half the class sitand watch the othersrepeat the exploration,looking for thecomplementary andcontrasting shapes.Discuss what wasobserved

Instruct the groups,helping them construct asequence of movement bycombining the fourshapes, and toconcentrate on transitionsbetween the shapes —how they move frommirroring shape tocomplementary shape tocontrasting shape.

To use the elements ofrelationships and spaceindividually, in pairs andin a large group to createmovement sequences

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• Have the groups practise their four-shape sequences.Have the students as a whole group view eachother’s sequences, either one group at a time orseveral groups together.*

• Have the students spread out in the dance space andmake interesting static shapes in their own space.

• Indicate when the students are to change to a newshape, and at the same time call the names of one or two students who then move to a student of their choice and either complement or contrast theshape.

• Have students make new groups of four.

• Have the students choose their favourite greetinggesture from the first warm-up activity, and theirfavourite shape.

• Have each student take a turn teaching the otherthree the gesture, then the shape.

• Have students practise mirroring the gestures andthe shapes so that they are alike.

• Have students make a sequence by performing thefour gestures in unison, as in the mirroring activity.

• Have students repeat this sequence.*

• Have students make a sequence by performing thefour shapes in unison, and decide the order, thetransitions, the formation.

• Have students work on each of the four sectionsseparately. After sufficient time, have studentscombine the sections, with the gesture sequence asthe beginning, the shape sequences as the middle,and the gesture sequence as the end.

• Have students concentrate on moving together atthe same time.

• Have students view each other’s group dance.*

Discuss and evaluate thesequences in reference tothe visual aspects,recognition of theshapes, transitions, thestudents performing bothunison (the same) andindividual (their own)movements as part of agroup.

To share movementsequences in order tomake decisions aboutthe construction of adance

Give the groups astructure to compose agroup dance. Havestudents decide whichshape is first, second,third and fourth, and makeinteresting transitionsbetween each gesture.Have them decide theirformation, eg in a line, ina circle facing each other.

The teacher should beready to prompt thestudents from one sectionof the dance to the next,should they have difficultyremembering what comesnext. Have studentsevaluate their impressionand recognition of theunison and individualmovement, the differentshapes and gestures, andthe structure.


PDHPEMOS2.4 MovingDAS2.7 DanceLinks with Dance with Confidence module in PDHPE K–6 Modules p 92.

172 Sports Carnival Creative Arts K–6 Units of Work

Dance

Stage 2

Stage 2 — Sports CarnivalUnit Duration: 4–6 lessons

Elements of Dance: Dynamics

This unit of work provides a sequence of learning experiences based upon the theme of a sports carnivaland focuses on the element of dynamics. Students investigate and perform the dynamic qualities of lightand strong movements and explore how dance can communicate a range of ideas and feelings.

Content



DAS2.1 Performs dances from a range of contexts demonstrating movement skills, expressivequalities and an understanding of the elements of dance• performs movements and movement sequences demonstrating an understanding of ‘light’

and ‘strong’• performs movement sequences in groups.

DAS2.2 Explores, selects and combines movement using the elements of dance to communicateideas, feelings or moods• selects and combines movements to create a movement sequence taking into acount the

dynamics of the movements• responds to imagery through movement.

DAS2.3 Gives personal opinions about the use of elements and meaning in their own and others’dances• observes and discusses the movement, shapes and dynamics in a movement sequence• considers and discusses how movement sequences can be altered by changing dynamics.

Assessment

Key assessment opportunities are marked *.

learn to:• sustain expressive qualities and movement

skills to convey intent in a dance performance

• draw on the elements of dance to createmovement content that relates clearly to theintended meaning of a dance

• use a range of ideas in the composition ofdances based on diverse stimuli

• talk and write about their own and others’dances using dance vocabulary

learn about:• the human body and movement as the raw

material for dance as a performing art

• the use of the elements of dance to makemeaning in the creation of a dance, in aperformance and for an audience

• how dance ideas can come from a diverserange of sources, including personalexperience and the wider world

• dance as it occurs in different places for arange of reasons and how dances can beabout different things and elicit varyinginterpretations from audience members

Creative Arts K–6 Units of Work Sports Carnival 173

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To use safe dancepractice in the warm-upand to introducedynamics — how thebody can move

Use whole bodymovements. Describedifferent dynamics inmovements eg movingcontinuously with asmooth quality(stretching, bending,twisting, curling), fallingas if you were very heavy,rising as if you were verystrong, then falling as ifyou were as light as afeather, shaking strongly,then lightly with avibrating action

• Guide students through a warm-up activitydescribing the dynamics that direct the movement.

• Have students group together in a corner of thedance space. Instruct them to move across the spacein different ways and have them describe thedifferent movements they make (strong, light, heavy)and discuss how much effort was needed.

• Have students spread out through the dance spaceand use the floor to stamp, press and push. Allowstudents to repeat stamping, pressing, pushing, butwithout touching the floor, feeling the strength in themovement without the noise.

• Have students suggest other strong movements inthe space around the body imagining that there issomething to move against.

• Jointly choose three strong movements, for examplestamp, punch, lunge.

• Have students explore the movements and plan thelocation of the movements (above, below, to theside, behind, across) and combine the threemovements into a short sequence and perform thesequence twice.*

To use images to traveldiagonally across thespace

To explain that the floorprovides resistance tothe movements

To demonstrate thatstrong movementsrequire short bursts ofenergy and must showresistance and suggestthat there is yet morestrength to follow

For example — across afield of grass on a springday, to walk in a dreadfulhurry, to walk barefootthrough a field of cloverswarming with bees, towalk into a strong wind,to walk with the wind attheir backs, beingpropelled by it; to pull acart full of bricks, to pusha cart out of the mud, tomoonwalk (as thoughgravity does not exist,with helium balloonsunder their arms), towalk without making asound

Strong movements couldinclude kicking, swiping,lunging, punching,thrusting and throwing


Dance

Stage 2


• Have the students make light movements, promptingstudents with imagery of movements that glide andare smooth and calm. Have the group perform theirmovement choices and discuss and compare thestrong movements with the light movements whichhave a lack of force.*

• Jointly choose three light movements, for exampleflutter, float and fall. Have students explore and findthe most appropriate body part, plan the location ofthe movements (above, below, to the side, behind,across) and combine the movements into asequence and perform the sequence twice.

• Have the students combine the above twosequences: three strong and three light movements.Direct students in changing the order of themovements, mixing up the strong and lightmovements, to make a new sequence. Have thestudents practise the sequence, repeating it twice.Divide the group in half and have them observe eachother perform the sequence and reflect on the strongand light qualities observed and felt in the sequence.*

• Begin the session with a non-locomotor warm-upwith whole-body movements emphasising dynamics.

• Have the students group together in a corner of thespace. Guide students to use images to createpathways that move diagonally across the space.Repeat some of the previous movements and addsome more.

• Ask students to name some of their favourite sports.For each sport mentioned, have a studentdemonstrate a movement corresponding to thesport. As she/he demonstrates each movement, havethe class copy it, first in normal time, then in slowmotion. During each exploration, have the studentspause during each movement in a shape that can beidentified with the particular sport. As the studentsexplore the movements for each sport, jointlydiscuss the effort used and whether the movementsare strong or light.

To use contrastingmovements

To provide a structure formovements

To identify that thequality of movement isaffected by the effortinvolved

Examples of lightmovements includefluttering hands andtwitching heads, bouncyjumps, lightly steppingand springing, circling,swaying, falling andfloating

For example, stamp,flutter, punch, float,lunge and fall.

This provides anappropriate end to alesson. The aboveactivities could becovered in one 40–45minute lesson or two 20minute lessons

Movements couldinclude stretching,bending, twisting,curling, balancing,falling, rising, collapsing,swinging, shaking

For example: T-Ball —the student swings animaginary bat, catches animaginary ball, tags animaginary runner; tennis— a tennis serve(reach/hit), a backhandhit; soccer — a drop kick,dribble; swimming —backstroke, breaststroke;netball — shoot etc

For example: movingacross the dance spaceimagining that there arewind and leaves whippingand whirling through thespace; walking throughknee-high snow, wadingthrough chest-highwater etc

Creative Arts K–6 Units of Work Sports Carnival 175

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• Have each pair choose a sport and continue toexplore the movements and shapes of that sporttogether. Allow the students to choose two or threeshapes and two or three movements. Have studentscombine the three sports movements to make asequence, deciding how to link them together, thencombine the three shapes to make a sequence,deciding how to link those together.

• Have the same pairs of students repeat thesequence, this time in slow motion, exaggerating themovements, transitions and shapes, making themlarger than life.*

• Set up a structure that each pair will use in theirsequence. Explain that the original movement canchange, for example a strong swing may become alight swing. Have the pairs experiment and practisetheir new sequence. Allow the class to watch theothers perform their sequences, discuss and identifyhow the movements have altered.*

To create a structure forthe dance and identifythe dynamics used

Consider the dynamics(strong/light) thatstudents will emphasisethat are appropriate tothe movement.

Have students, in pairs,practise the twosequences and combinethem, deciding whichsequence comes first,then perform theircombined sequencesfor each other in groupsof 3 or 4 pairs. As agroup, identify themovements, shapes anddynamics

To learn aboutrelationships as one ofthe elements of dance

To consider whether themeaning of the movementis altered when theintention of themovement changes

Guidance can be given toassist transitions linkingphrases to maintainfluency

Allow students to practicethem several times, thenperform them for eachother and discuss howthe movements havechanged*

For example, the firstmovement is to bestrong, the second light,the third strong; the firsttransition betweenshapes is with a lightmovement, and thesecond transition is witha strong movement.

This provides anappropriate end to alesson. The aboveactivities could becovered in one 40–45minute lesson or two 20-minute lessons


Dance

Stage 2

To use the elements ofdance to structure adance and to retain theintention of sequencesdeveloped


• Explain that the class is going to perform all theirsequences together and create the atmosphere of asports carnival. Place the pairs throughout the dancespace. The plan of the composition:

1 Each pair must repeat their sequence four times.

2 In between each sequence, each pair moves to anew location designated by the teacher,performing one of the pathways using imagesexplored previously. The class performs the sametravelling movement between locations.

3 Each pair gets one ‘rest’ after arriving at a newlocation so that they can look at the other pairs(the teacher assigns when each group gets a rest).In effect the sequence is repeated five times (fourtimes performing, one time watching).*

• Jointly discuss the Sports Carnival. Have studentsdiscuss the atmosphere created and reflect on thedynamics of the sequences and consider if themovements and meanings had been altered. Allowstudents, in groups, to analyse how they had takenliteral movements and changed them bymanipulating the elements of dance.*

Teachers may choose todevise their own plan.

Have the class practisethe Sports Carnivalseveral times. Direct theactivity, deciding on theplacement of the groups,and on the length of timefor the sequence and forthe travelling to a newlocation. Have groupsperform their sequenceswhile other groupswatch, then all groupstravel to a new location.When everyone is ready,have them ‘perform’ theSports Carnival

To reflect on anddescribe the experienceof performing andobserving


PDHPEINS2.3 InteractingDAS2.7 DanceGSS2.8 Games and SportsThis unit provide opportunities to build on the current games, sports, locomotor and non-locomotormovements being taught at the time.

Suggested links with Dance and Games and Sports in PDHPE K–6 Modules pp 92, 121.

Creative Arts K–6 Units of Work The Living Landscape 177

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Stage 3 — The Living LandscapeUnit Duration: 6 lessons

Elements of Dance: Action, Dynamics

This focus of the unit is on students developing their own compositions based on contemporaryAboriginal music. These compositions might also incorporate traditional dance movements and styles ifpermission has been granted by members of the local Aboriginal or Torres Strait Islander community. Ascustodians of their culture, the Aboriginal and Torres Strait Islander communities must be consultedbefore this unit is attempted. Such consultation should address issues of ownership, sensitivity to thesignificance of dance movements, music and totems to all Aboriginal people, and the knowledge base ofAboriginal students in the class. All students should be exposed to traditional styles through local dancegroups, and through local community knowledge and input.

Content


learn to:• use appropriate expressive and movement

skills in performing dances which have beensourced from a range of cultural and historiccontexts

• create and perform new work, with clearintent, applying what they have learned aboutthe elements of dance through composing,performing and appreciating

• think of themselves as an active participant indance-making, giving form to a range of danceideas through composing, performing andappreciating

• talk and write critically about their danceexperience, both as creative and activeparticipants and as members of a danceaudience

learn about:• how they and others engage in dance as a

performing art for a range of reasons inrelation to individuals, the community,societies, culture, and the world

• the use of the elements of dance within andoutside traditions and conventions to createoriginal and new dance work which expressesideas and conveys meaning

• how dance as a performing art occurs indifferent artistic cultural contexts: indigenous,folk, classical, modern and popular

• the range of meanings in dance, which likeother artworks, can be interpreted by peoplein different ways

178 The Living Landscape Creative Arts K–6 Units of Work

Dance

Stage 3


DAS3.1 Performs and interprets dances from particular contexts using a wide range of movementskills and appropriate expressive qualities• performs sections of dance displaying their intent• interprets and performs movement sequences using the body to express ideas.

DAS3.2 Explores, selects, organises and refines movement using the elements of dance tocommunicate intent• develops and refines movement sequences that are influenced by contemporary

Aboriginal styles of dance.

DAS3.3 Discusses and interprets the relationship between content, meaning and context of theirown and other’s dances• associates dance with the values and meaning of Aboriginal storytelling.

Resources

Local Aboriginal and Torres Strait Islander community members. Performances by Doonooch Dancers,NAISDA or Bangarra Dance Theatre Australia. Bloodwood: The Art of the Didjeridu (CD), Alan Dargin withMichael Atherton. Didjeridu, clapping sticks.

Assessment


Creative Arts K–6 Units of Work The Living Landscape 179

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To use movement skillsin developing danceswhich have been sourcedfrom an indigenous,cultural context

• Have students as a group listen to the ‘Bloodwood Log’track from the CD Bloodwood: The Art of the Didgeridu.Have students respond to the question ‘How can wemake a didjeridu through dance movements?’

• Have students as a group find ways to move to themusic to make an imagined shape of the didjeriduand find ways to respond to the deep, continual,resonating drone of the instrument.

• Have students divide into two groups. One groupinvestigate different actions including gesture,bending and stretching, and explore different waysthat they can travel by stepping, rolling, jumping.

• Have the other students play a complementary roleto the students who are moving, by providingrepetitive clap stick rhythms for the dancers.

• Have students listen to the ‘Bloodwood Log’ trackagain. Alan Dargin (narrator on the track) calls outvarious animal names, eg desert owl, emu, dingo,kangaroo.

• Have students as one large group improvise animalactions and make up their own movementsappropriate to the animal, eg using hand movementsto create the large eyes of the desert owl; hopping,perusing the landscape, scratching their chest like akangaroo; cupping of the hands for an emu andshowing the emu’s stunted wing movements.

• Have students interpret the mood and rhythm of theanimal movements and investigate the range ofpossible movements associated with that animal.

• Have students work individually or in groups to tryout four different effects.

• Have students find four different pathways to linktheir four different effects in order to create amovement sequence.

• Have students watch each other as two large groupsand respond to each other’s improvisations. Havestudents offer comments about why the works aregood and criticisms of how the works could beimproved.

• Have students rework and complete their dancesequence.* Have students perform theircompositions for the local community whocontributed initially to advising the students.

To explore the elementsof action and dynamics

To explore the elementsof action

If boys in the class canplay the didjeridu, havethem accompany thedancers. It should benoted that it isinappropriate for girls toplay this instrument

To use a stimulus thatcan be identified withcontemporary Aboriginalstyles of dance todevelop and refinemovement sequences

Have students describeactions such as: movingand stopping suddenly;showing tension; movingfirmly or lightly; showingstrength; movingdelicately

To use elements of danceto communicate intent

Encourage students todraw on their traditionalAboriginal danceexperiences but createtheir own movements

To perform and discussthe content structure andmeaning of the dancescreated and theindigenous influences onthese dances

The teacher’s role is tobe the facilitator andensure that the students’dance sequences connectwith the sequences inthe music. The teacherkeeps a close watch onthe timing of the varioussequences and theirconnection with oneanother

180 The Living Landscape Creative Arts K–6 Units of Work

Dance

Stage 3

Additional Information

• Prior to beginning this unit provide students with opportunities to participate in a variety of danceworkshops with recognised local and professional dance groups, eg with the Doonooch Dancers,NAISDA dance workshops, Bangarra Dance Theatre. Provide students with an understanding of localAboriginal community input into dance and culture and knowledge of what is culturally correct fordance.

• Students should be given some background knowledge on the role of dance and musical instrumentsin Aboriginal and Torres Strait Islander culture, for example diversity between communities, roles ofmen, women and Elders.

• Teachers should attempt, through contact with the Aboriginal community, to find information on localtotems. This will restrict the animals chosen for interpretion in the dance movements. This issueshould be approached with great sensitivity, and teachers should be guided at all times by the adviceof local Aboriginal people.

• Contact with the local Aboriginal and Torres Strait Islander communities can be made throughAboriginal education workers at district and diocesan offices.


MUSICMUS3.1 PerformingMUS3.2 Organising SoundMUS3.3 Organising SoundMUS3.4 ListeningProvide opportunities for students to experience a range of different vocal and instrumental Aboriginalmusic. Discuss the musical concepts they can identify, and experiment with making similar sounds andusing similar rhythms and beat.Explore with students a range of Aboriginal instruments and create and notate a musical work.


Due to the importance of dance and music to Aboriginal people in terms of their sprituality and identity, itis vital that students develop some background knowledge about Aboriginal cultural expressions and theirsignificance before attempting this unit. Therefore, this unit should be taught after, or in conjunction with,the HSIE units listed below.

HSIECUS3.3 IdentitiesCUS3.2 Cultural DiversityCCS3.1 Significant Events and PeopleInvestigate the diversity of Aboriginal groups in Australia including their language, religion and differentways of living.Identify the significant events in Australian Aboriginal history and discuss these in relation toreconciliation.

SCIENCE AND TECHNOLOGYLTS3.3 Living ThingsResearch a range of Australian animals and discuss their habitat, movements, reproduction, interactionand effects on the environment.

Suggested link with A Change for the Better unit in Science and Technology K–6 Syllabus and Support Document p 134.

Stage 3 — SculptureUnit Duration: 4–6 lessons

Elements: Action, Space, Relationships

This unit of work provides a sequence of learning experiences based on the theme of groups of peoplerepresented in sculpture. Awareness of body parts and the ways in which they can be shaped, coupledwith an understanding of where the body can go and the movements it can make, will allow students toeffectively use the elements of dance to create dance sequences.

Content


learn to:• use appropriate expressive and movement

skills in performing dances which have beensourced from a range of cultural and historiccontexts

• create and perform new work, with clearintent, applying what they have learned aboutthe elements of dance through composing,performing and appreciating

• think of themselves as an active participant indance-making, giving form to a range of danceideas through composing, performing andappreciating

• talk and write critically about their danceexperience, both as creative and activeparticipants and as members of a danceaudience

learn about:• how they and others engage in dance as a

performing art for a range of reasons inrelation to individuals, the community,societies, culture, and the world

• the use of the elements of dance within andoutside traditions and conventions to createoriginal and new dance work which expressesideas and conveys meaning

• how dance as a performing art occurs indifferent artistic cultural contexts: indigenous,folk, classical, modern and popular

• the range of meanings in dance, which likeother artworks, can be interpreted by peoplein different ways

Dance

Stag

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Creative Arts K–6 Units of Work Sculpture 181

.

182 Sculpture Creative Arts K–6 Units of Work

Dance

Stage 3


DAS3.1 Performs and interprets dances from particular contexts using a wide range of movementskills and appropriate expressive qualities• performs sections of dance displaying clarity of their intent• interprets and performs movement sequences with awareness of detail to the use of

stillness and focus.

DAS3.2 Explores, selects, organises and refines movement using the elements of dance tocommunicate intent• develops sequences of movements and transitions using pictures of sculptures and

people as stimuli.

DAS3.3 Discusses and interprets the relationship between content, meaning and context of theirown and others’ dances• compares the varying uses of dance elements in their own work and the work of others• describes and discusses their own work and the work of others.

Resources

Pictures, photographs of sculptures or a visit to a gallery or outdoor exhibition.

Assessment



ENGLISHRS3.7 Context and TextDiscuss the variety of different interpretations that could be made for the sculptures. Explore the range ofsubject matter and the intended audience for each one.Choose one sculpture and write a personal response. If this is a new text type, model as a jointconstruction.

Creative Arts K–6 Units of Work Sculpture 183

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To warm up the bodyusing safe dancepractices

Works can be drawn fromanywhere and mayinclude artists such asRodin and Moore

• Have students observe and discuss pictures andphotographs of sculptures, or view sculptures in agallery or outdoor exhibition.

• Have students discuss what they perceive as theartist’s intentions in making the work, the waybodies can be interconnected with sculptures andthe impact achieved by creating a frozen momentin time.*

• Jointly discuss ways in which movement ideas couldbe taken from frozen moments.

• Have students complete a warm-up activity thatfocuses on isolating different body parts.

• Have students work with a partner or in small groupsto explore building shapes as a response to one ofthe sculptures.

• Have students experiment using techniques such asmirroring, contrasting and complementing eachother’s shapes and movements.

• Have groups select and practise four frozensculptures and have them devise an interestingmovement sequence to link each one.*

• Have students work in pairs to create symmetricalshapes, then develop these shapes. Have themdiscuss their ideas, organise and refine these ideasinto a movement sequence.

You could consider thefollowing questions: How would you expectthis person to move?What sort of music mightaccompany theirmovements? Would theyinteract with others asthey move? What shapeswould they make withtheir bodies?

Emphasise in the warm-up the awareness ofother students’ spaceand an awareness ofremaining in a staticposition.

Use a term eg ‘freeze’

To build a series ofshapes to be developedin a dance sequence

Have groups present theirmovement sequence tothe rest of the class

To explore symmetricaland asymmetrical shapes

Students may developtheir shapes by exploringdifferent sizes, levels,directions or planes inthe movements

184 Sculpture Creative Arts K–6 Units of Work

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Stage 3


• Have students form larger groups and explore theideas they have gained from the previous activities.Have students, in their groups, create a movementsequence where one student picks a shape and holdsit for four counts, the second student copies the firstmovement for four counts and then adds anothermovement. Continue this until all members of thegroup have participated.*

• Have the class form a circle and select four studentsto move to the centre to create a static shape andhold for four counts. Have another group of studentsreplace them and hold for four counts etc.

• Have students develop this activity into a groupdance, exploring the ways bodies can be made intofrozen shapes, and a variety of pathways and levels,and by exploring the elements of space, action andrelationships.*

• Have students consider photographs of peopleinvolved in everyday events.

• Allocate a photograph to a group of four studentsand ask them to explore movements for it.

• Have each group choose four movements from thosethat have just been explored and develop them intoa movement sequence.

• Have each group present their movement sequencewith each student beginning at a different time. Havegroups practise this and perform it for the rest of theclass.*

• Have students discuss their work, reflecting on howthey organised their movements and identifying theelements of dance in their final sequence.*

To vary components suchas time and shape

This may be achieved bycombining some of thepairs from previous work.

Have groups practise themovement sequence,with each studentholding their final shapeuntil a tableau of frozenshapes is formed. Havestudents discuss theirsequence and considerhow their bodies interactwithin the tableau

To develop and improvethe dance sequence

Teachers may like toallocate each student anumber to facilitate thesmooth transition betweenthese groups. New groupshapes could mirror,contrast, complement orchange the focus of theshape. Students couldexplore theirunderstanding of levelsand a range of pathways asthey move to and from thecentre of the circle

For example, a busqueue or a crowd at afootball match.

This includes:1. copy the shape in the

photograph2. make a shape that

complements theoriginal shape

3. make a shape thatcontrasts with theoriginal shape

4. make their shapelarger, smaller, curved,stretched, angular etc.

5. jump, roll or slide intotheir shape

Have each group performtheir movementsequence in unison

To use the elements ofdance to create a varietyof movement sequencesbased on a range ofstimuli

This is a movementcannon. The first studentmay start on beat one,the second on beat twoetc

early stage 1 — rain

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