TEACHING ARTIST GUIDE 2015-2016 EDITION

Revised: July 2015: Rodney Lopez, National Program Director Alee Reed, Global Quality Control Manage

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TABLE OF CONTENTS

Topic: Page:

History and Purpose 4

Raison d’être for Dancing Classrooms 5

About Pierre Dulaine 6

The Dulaine Method 7

What is an Arts Residency 8

Residency Highlights 9

The Orientation 11

Syllabus and Residency Schedule 16

Dances at a Glance 18

How to Teach Each Step 19

The Warm Ups

DC Lesson Plan Sample

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The First Lesson 25

Dance-Theater Integration 29

Curriculum Connection 31

Lesson 10: Video Guiding Questions 34

Lesson 12: The Buddy Visit 36

Lesson 20: Culminating Event 38

Colors of the Rainbow Team Match 42

Dance History & Culture 50

Dulaine Method Teaching Vocabulary 56

TA Skills Checklist 58

Classroom Management

Diversity & Special Needs

Gender Awareness & Sensitivity

Teaching Artists FAQs

Dancing Classrooms Program Benefits

Books, Film, & Web Resources

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HISTORY AND PURPOSE

The Dancing Classrooms program was launched in 1994 by world-renowned ballroom dancer Pierre Dulaine as a not-for-profit project of the American Ballroom Theater Company (ABrT). The Dancing Classrooms program is an arts-in-education program teaching ballroom dance to the upper elementary and middle school students of participating schools.

As seen in the documentary film “Mad Hot Ballroom," Dancing Classrooms is an in-school residency for every child, regardless of background or experience. During the 2014-2015 school year Dancing Classrooms served nearly 50,000 children in over 500 schools in 29 sites: New York City, Newark, Omaha, North Texas, Ontario, Philadelphia, Long Island (NY), Fort Myers (FL), the Florida Keys, Northeast Ohio, Lake Charles (LA), Geneva (Switz), Pittsburgh, St. Louis, US Virgin Islands, Western Maryland, Winston-Salem, Seattle, Phoenix, Zurich (Switz), Los Angeles, Southeast Florida, Israel, Southern Chicago, Richmond, Jordan, Boston, Washington, D.C. and New Mexico.

Our mission is to cultivate essential life skills in children through the practice of social dance.

Our vision is to have schools and communities where every child is connected, respected and provided a safe environment in which to thrive.

Dancing Classrooms residencies are integrated into the school day, cultivated through curriculum connection and aligned with the NYS Standards for the Arts and the NYC Blueprint for Teaching and Learning in the Arts. We have developed a syllabus of ballroom dance that nurtures mastery of an art form in a fun learning environment, while fostering respect, team work, confidence, politeness, a sense of joy and accomplishment. Essentially, we “teach life skills wrapped up in ballroom dance.” While Dancing Classrooms has been hailed as an effective program for teaching social dance, the program provides many other benefits. A Dancing Classrooms residency creates a learning atmosphere that engages all of the intelligences -- inspiring students who are typically introverted and reserved, to step out and shine. Engaging in ballroom dancing focuses children’s physical energies and increases health through the joy of movement. In a school, the Dancing Classrooms residency builds community among its participants and within the school community as a whole. “Dancing is about connections … to our friends, to our families,

to our neighbors. It is one of the most expressive ways we celebrate and communicate our cultures and communities. With Dancing Classrooms, we are able to reach children in existing classroom settings and address fundamental issues of mutual respect and self-esteem – issues that social dance puts into practice. We hope to inspire children through dance to do well, to respect one another, to be proud. This program is about more than dance, it is about teaching children to take a bow.”

- Pierre Dulaine & Yvonne Marceau

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Raison d’etre for Dancing Classrooms

by Pierre Dulaine The reason for my involvement with children goes all the way back to my

own teenage years in England. Having spent 13 years in the Middle East, I arrived in England as a very shy child with a heavy accent, settling in the midlands, in Birmingham. Several children in my school class went to a dancing school that happened to be on a main road near my house. I decided this would be fun to try but soon learned it would take a lot of work to catch up to the other students so private lessons were necessary. To pay for my weekly half-hour lesson I did a morning paper-round and washed cars on weekends. Eventually I passed my Bronze test and joined the other students in the Silver class. One Sunday afternoon I attended a dance competition as a spectator at the local Garryowen Ballroom; unfortunately without my father’s consent since Sundays were reserved only for religious things. But that afternoon something stirred inside me…..I knew I wanted to become a champion. Dance changed my whole life! With a lot of enjoyable hard work it gave me everything I dreamed of. From being very shy I became confident; my accent no longer mattered to me. I learned to stand up straight and shake hands with a positive attitude that received attention. I became the champion of my dreams. While performing evenings on Broadway in the musical Grand Hotel my days were free to volunteer at the Professional Performing Arts School. I saw myself in the eyes of the children, saw the love and fun they had moving together and remembered what it did for me and watched what it did for them. But there were so many other children in New York City that did not have the same opportunity and so Dancing Classrooms was born. This outlet for expression, musically and emotionally, connects their positive feelings for one another, focuses their physical energy and builds their self-esteem and social skills. The rest is history.

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ABOUT PIERRE DULAINE

Pierre Dulaine was born in Jaffa, Palestine in 1944. His Irish father was serving with the British Army stationed in Palestine; his mother is part Palestinian and part French. In 1948 his parents had to flee the troubles leaving their home behind for the creation of the state of Israel. After 8 months of wandering around first in Cyprus, then in England and Ireland, Pierre’s family settled in Amman, Jordan. Growing up in Amman, Pierre learned to speak French at school, Arabic on the street and English at home. In 1956, because of the problems in Egypt and the Suez Canal, Pierre’s parents had to flee yet again, leaving everything behind. With a stop in Beirut the family resettled in Birmingham, England, where one year later at age 14, Pierre began his dancing career. By the time Pierre was 18 he took his Associate Degree as a professional dancer. And at 21, he took his three majors exams in Ballroom, Latin and Olde Tyme all in one day, a feat that had not been accomplished before. Not only did Pierre pass the exams, but he passed with Highly Commended and became a full member of the Imperial Society of Teachers of Dancing. With this early success under his belt, Pierre soon went on to twice win the "Duel of the Giants" at the Royal Albert Hall in London and captured the "All England Professional Latin American Championship”. In 1970, Pierre worked as a solo dancer at the famous Talk of the Town in London's West End, as well as at a late, late Night Club called L’Hirondelle where he made friends with many interesting ‘artistes’. Pierre next went to Nairobi, Kenya and worked in Cabaret with the world renowned Bluebell Troupe from Paris at the Nairobi Casino for a year. Finally, Pierre signed on as a cruise director on a ship sailing out of New York City to the Caribbean Islands. In 1972, “I got off of the cruise ship thinking I would be in New York City for a two-week holiday but I got a job at an Arthur Murray dance studio and I have been in New York ever since.” In 1973, with a background in ballet, Yvonne Marceau came into Arthur Murray’s for a teacher's job and in January 1976 Pierre and Yvonne became dance partners. They went to England to study for three months with John DelRoy and emerged as a dance team that won numerous awards and accolades, including the 1977, ’78, ’79 and '82 British Exhibition Championships, Dance Magazine’s award for excellence, the National Dance Council of America award, the Dance Educators of America Award, and the Americans for the Arts “Arts in Education” 2005 award. In 1984, Pierre and Yvonne started the American Ballroom Theater Company. They made their company debut at the Dance Theatre Workshop in October 1984 and in March 1986 did a two-week engagement at the Brooklyn Academy of Music. After that start, their company traveled all over the US, Europe and the Far East. In July 1989 Pierre and Yvonne joined the workshop for Tommy Tune's Broadway show Grand Hotel and danced on Broadway for 2 ½ years, finishing with a five month run in London’s West End. Pierre has been called a “Dancer and Teacher extraordinaire" by the New York Times and (with Yvonne) has received the Astaire Award for "Best Dancing on Broadway" in Grand Hotel. He has been a faculty member of both the School of American Ballet and the Juilliard School.

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THE DULAINE METHOD Changing Lives Through Dance

Over the past century, there have been numerous attempts to develop educational techniques that help children acquire the skills they need to become successful adults. The Montessori Method and the Suzuki method are two of the most thorough, and successful, of those efforts. What makes these methods so successful is that they combine a clear and compelling philosophy, rigorous and systematic training for those adults who will instruct the children, a program design that inherently coincides with the developmental needs of the children to be trained, and the ability to replicate the program on a large scale. The Montessori Method, with a philosophy grounded in guiding a child’s inner self to perfection, is completely focused on the emerging developmental needs of the child informing the Teacher about when to introduce certain learning experiences. The Suzuki method functions similarly: with a philosophical goal of bringing beauty to the spirits of young children, it builds on the essential developmental drive within young children for language acquisition. Both the Montessori and Suzuki methods require extensive and rigorous training for their teachers. And both methods are indeed being replicated on a large scale. Dancing Classrooms also combines a clear and compelling philosophy with a rigorous and systematic adult training model that dramatically coincides with the developmental need within 10-11 year old children to reinforce their social skills just prior to the onset of puberty. And Dancing Classrooms is now being replicated throughout the US and Canada with requests from several other international sites. As with the Montessori and Suzuki programs, at the heart of Dancing Classrooms is a method – the Dulaine Method.

THE DULAINE METHOD PHILOSOPHY

During the summer of 2007, Dancing Classrooms studied the program philosophy, content, training techniques, group management skills, and even the words and phrases utilized by Pierre as he taught Dancing Classrooms and Whether you observe Pierre teaching adults how to teach Dancing Classrooms or you watch Pierre with a room full identified six core components to the philosophy Pierre weaves throughout every action and the standard for interpersonal interaction for every facet of Dancing Classrooms. These six components make up the Dulaine Method:

Respect and Compassion We make everyone feel special, like they are a part of something special while also being patient and genuine.

Being Present

We become ‘one’ with the children in their environment in order to bring forth the best in them.

Creating a Safe Space We provide structured consistency and follow-through, which allows students to feel safe in the new environment.

Command and Control

We connect with children on their level yet remains ‘in charge’.

Language - Body and Verbal We engage with students in a variety of ways (eye contact, voice inflections, physicality) to provide encouragement.

Humor and Joy

We are kind, respectful and especially silly. We are willing to be a fool, but won’t be treated like one.

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WHAT IS AN ARTS RESIDENCY?

A professional working artist from the arts community partners classroom teachers in a school for a predetermined number of visits to work with students on specific arts skills or integrate artistic experiences to enrich curriculum and academic goals. A residency builds skills sequentially and culminates in a public presentation of work with the goal and expectation of cultural exchange among artists, educators, children and their community.

What is a Dancing Classrooms arts in education residency?

A school day residency integrated within the curriculum of upper elementary and middle school students.

A ten week course, with classes twice per week culminating in a ballroom dance presentation at the school.

An organized, disciplined syllabus of Ballroom and Latin dances, stressing comportment as “ladies and gentlemen,” teamwork, and a knowledge of specific steps to each form of music.

Teaching Artists and local non-profit representatives that demonstrate professionalism and exercise Dulaine Method Teaching.

Classes structured so that discipline is not conceptualized or perceived as separate from activity.

A learning atmosphere where all students are participating all of the time, either as dancers, active watchers, teaching artist assistants or deejays, creating a community of learners.

The Dancing Classrooms Team is expected to:

Approach the job of teaching the children, in an upbeat and humorous fashion, where teaching artist, classroom teacher and students are a united partnership and collaborate together.

Meet the students where they are, to help students, regardless of natural ability and special needs.

Exercise professionalism, punctuality, courtesy, consideration and a smile.

Maintain consistent channels of communication open and available.

Attend all local non-profit meetings, staff training workshops, special events and competitions, as they are part of the job.

Prioritize and manage both the artistic and administrative details of their work as artist professionals

While in a Dancing Classrooms residency, model an elegant and professional appearance: Ladies are expected to wear a dress or a skirt and blouse with dance or dress shoes; Gentlemen are expected to wear dress pants, a button-down shirt with tie and dance or dress shoes.

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RESIDENCY HIGHLIGHTS RESIDENCY: A Dancing Classrooms residency is a ten-week, twice a week, school-day arts in

education course (a.k.a. journey), which concludes at the culminating event. Students in the residency learn the Merengue, Foxtrot, Rumba, Tango, Swing, Waltz, Stomp, Heel-Toe Polka and Line Dances. Varied version of Foxtrot, Rumba and Salsa for middle school students only.

ORIENTATION: The orientation is a planning meeting at the school with all residency collaborating teachers, the principal or assistant principal, arts coordinator and the DC TA and Educational liaison, followed by the TA and liaison meeting the children in their classrooms.

CURRICULUM CONNECTION: The purpose of curriculum connection is to connect the ballroom experience to the other academic subject areas, which will result in student work that will be highlighted in the culminating event. TA will work with classroom teachers to create relevant connections to existing school curriculum. Curriculum connection ideas are discussed in orientation and noted in the school’s DC Program Guide. This first piece is assigned at the end of the Lesson 1, and the second piece is assigned by Lesson 10.

FIRST CLASS: The first class is the structure of the whole residency. The lesson consists of 5 chapters, which take the children on the journey of the Method, language, imagination, classroom management and fun for the rest of the residency. It is here that children experience their first experience with respect, politeness, dance frame and the escort position. If a class is gender imbalanced, implement the concept of “Ghost Partners.” At the conclusion of this class, TA assigns the first curriculum work: Students write a reflection about their first ballroom dance to be collected by lesson 3. The language and way of teaching this class should be learned (and rehearsed) like a play script.

DANCING CLASSROOMS SYLLABUS: TA will use the ballroom residency music cd and adhere to the curriculum, lesson by lesson, according to the syllabus. Please confer with your liaison about any adjustments to the syllabus for classes with special needs.

6th or 7th LESSON/Liaison Visit 1: The Dancing Classrooms liaison will visit on this lesson to check up on the progress of the residency.

10th LESSON: The purpose of this video lesson is for children to see examples of the dances they are learning in a professional context and connect what they are learning with more advanced professional dancer work. The class should be an engaging discussion about the video and its relation to the students’ ballroom dancing. Guiding questions are included in this guide. Enjoy and build up this experience.

12th LESSON/THE BUDDY VISIT: The Buddy visit is another layer of enrichment for students in the ballroom residency. It is an opportunity to show off what they’ve learned, but also learn from seeing the dances live. This is a special visit coordinated by the planning office. The purpose of this visit is for Buddy and TA to perform all the dances in the syllabus (regardless of where they are in their

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syllabus), for each of the classes, in an engaging in an active, lively exchange. With warm invitation and feedback (within DC standards) students, buddy and TA see each other’s work and dialogue about what they see.

13 - 16th LESSON: Liaison Visit 2: During these lessons, the liaison will be visiting to check on culminating event details and visit with school administration to ensure that everyone is on the same page. The liaison will prioritize a visit with the children to discuss what to expect for both events, how to dress, and wish them well, with a promise that both TA and Liaison will be there to support them.

CULMINATING EVENT/TEAM MATCH PLANNING: TAs will submit CE Plans and Team Match recommendations to Liaison or STA for review before forwarding to the school team. Liaisons will communicate to the TAs when these documents are due.

Lesson 20th LESSON/THE CULMINATING EVENT: The culminating event is the highlight of the residency and the purpose of our work in the school. It is a celebration and a time for all the children to shine. The DC standard CE template is readers, demo teams, whole class dances. Basic CE sample plan is provided in this guide. Liaison and TA run and emcee show enthusiastically, working applause from the audience. Team Match is not mentioned at this event, as doing so would pull focus from the achievement of all children

OPTIONAL: “COLORS OF THE RAINBOW TEAM MATCH”: As an added bonus, there is the

option of participating in the Colors of the Rainbow Team Match. The team match is a special event not required of Dancing Classrooms residencies. This ballroom dance competition is only for children participating in the Dancing Classrooms program for the very first time. Six ladies and six gentlemen from every partner school are chosen to represent the school and compete with other schools in a team match. The students chosen for the team should know all the dances in the residency. They are judged on dance frame, being on rhythm and knowing all the steps of the Dancing Classrooms syllabus. While it is a nice detail, children are not judged by costuming or any extra styling added to moves. It is important that children only do what they were taught in their residency. It is the TA’s responsibility to coordinate the selection of the team in a professional and collegial manner, working together with classroom teachers in this selection process. Both TA and teachers are responsible for communicating the purpose, reason and expectation of the team match to the students. The TA and the liaison will ensure the school team is clear on the responsibilities of being a participating school.

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THE ORIENTATION

Meeting the School

The orientation is the first time Dancing Classrooms meets the school family.

It has two parts: a meeting with teachers and administration participating in the residency and a meeting with the participating students.

The meeting is generally facilitated by liaison, but both EL and TA should actively and gracefully obtain information from the teachers about the students and communicate DC residency and partnership expectations.

Immediately following this meeting, both liaison and TA meet the children, in their respective classrooms, to engage in a fun conversation about their participation in the ballroom dancing classes.

vs.

Meeting the Kids: Meeting the children is a performance! You will be in each classroom for about 5-8 minutes. The liaison and the teaching artist excite students about ballroom class and allay fears. Work the room and have fun. During this conversation, you are setting the stage for the way we

teach: with fun, with gratitude, with comportment, appreciation and clarity Encourage students to ask you any questions about the ballroom dancing experience they will be

having. Introduce yourselves with pizzazz. Give a brief history of Dancing Classrooms Engage students with expectations and teamwork in a positive manner – they are going to learn

about teamwork, respect and most importantly, elegance! Thank the classroom teacher and the children and remind everyone of the day and date that classes

will start.

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WHAT STUDENTS WILL ASK DURING AN ORIENTATION: FAQ’S Do we have to do it? Yes. Can we pick our own partners? No pressure, we take care of it for you. You don’t have to worry about that, because we teach in circles, so no one has the same partner all the time. What if we don’t like our partner? An important part of any team sport is respect for your teammate. It is the same in Ballroom dancing. A lot of times people who didn’t know each other well before, become great friends, so we would ask you to dance together with respect. What if we hate our partner? If there is a problem that you can’t solve with mutual respect, Ms./Mr. (teacher name) and I will help you solve it. Where will we do it? Tell them. Will it just be our class? It will be just your class when you are learning, but you will be learning the same steps as the other classes, so you can all dance together at the culminating event or when if you go to the student parties or a prom. When do we start? Tell them. What dances will we learn? Merengue, Foxtrot, Rumba, Tango, Waltz, Swing, Heel Toe Polka, plus some line dances you dance by yourselves.

Will our teacher dance? Of course.

Do we have to wear anything special? You will notice that your dance teachers are always dressed like ladies and gentlemen. Dressing nicely is part of the decorum of ballroom dancing. You may dance in your regular school clothes, but if you want to look nice on dance days, that would be very nice. Do we need special shoes? Shoes you can move easily and well in like a sneaker. Clunky high heels and sandals don’t work so well. Will there be a performance? You will have definitely have a culminating event on the 20th lesson. You classroom teacher, your dance teacher and I will work it out together. It will be fun. Will our parents come? Invite everyone who cares about you. That would be great. What if I’m bad at it? What if I can’t dance? I’ve been teaching xyz number of years and I have never had a student fail to learn to dance. Can we pick the music? We already have especially mixed music for the class. What music does Ballroom dance go with? Ballroom dances can be danced to a lot of different kinds of music. If a student asks a question you don’t know. It is ok. You’re human. Tell them you will find the answer and let them know during the first class.

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Partnership Agreement

From the front office staff to the coordinators to the Principals and Assistant Principals and most importantly, the classroom teachers – we know that in addition to being educators, you are often also the parent figures and coaches for the students that we are coming in to teach and therefore necessary partners that allow us to deliver our program to the best of our ability. We understand that in order to have a successful residency, Dancing Classrooms must truly work in partnership with school communities. We have outlined this partnership below:

Dancing Classrooms agrees to provide the following as part of our residency:

A Teaching Artist that is trained in the Dancing Classrooms Syllabus.

A Liaison to ensure that every residency is going smoothly and to ensure the highest quality and customer satisfaction.

To conduct all residencies with the Dulaine Method as the guiding philosophy.

To provide ballroom dance instruction in 6 ballroom dance styles as well as some additional line dances.

To arrive to our residencies punctually and dressed in an elegant fashion.

To work in partnership with classroom teachers to align curriculum connection with overall academic goals.

To facilitate a video lesson that highlights examples of the syllabus dances in a professional and social context.

To send a professional dancer “buddy” to each school and model for students the dances they are learning.

To plan and organize (in collaboration with the school) the Culminating Event/20th lesson.

To put forth recommendations for the Team Match for those schools that are participating.

Partnership Schools agree to the following:

To have all Classroom Teachers present and participating/dancing for the duration of the period. *We understand that there are extreme cases where a classroom teacher does not feel comfortable dancing/touching the students. In these cases we still need the classroom teacher to stay “on the cheese” to assist with overall classroom management as per education department regulations.

To support the DC Teaching Artist in delivering the Dulaine Method philosophy, including assisting in classroom management and helping protect the safe space we are creating.

To commit to the pre-set schedule already worked out prior to Orientation. In situations where changes cannot be avoided, timely communication with the DC Liaison to ensure that all residency dates can be rescheduled and not result in a forfeiture.

To provide safe, adequate space that is non-trafficked & non-shared and is secured/reserved on each class date.

To begin and end classes on time so that we have the full period to conduct a lesson. In situations where students are coming from multiple classrooms, designating a point person to ensure that everyone arrives for escort position entrance.

To provide a working stereo or boom box.

To work in partnership with DC Teaching Artist to distribute/collect curriculum connection and align with overall academic goals.

To give input as necessary to the DC Teaching Artist regarding the Culminating Event/20th lesson.

To confer with the DC Teaching Artist on recommendations for the Team Match (where applicable).

To designate a point person or “coach” for the Team Match Team to handle logistics, practicing the team etc. (where applicable).

School Signatures: Dancing Classrooms Signatures:

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PARENT INFORMATION LETTER Schools will distribute this letter to their parent community before a residency begins.

♫ Esteemed Parents and Guardians♫: We write to inform you that your school has chosen to participate in the Dancing Classrooms program. As seen in the films Mad Hot Ballroom and Take the Lead, Dancing Classrooms was started in one school by Mr. Pierre Dulaine, a world champion ballroom dancer. Inspired by his own achievements and the impact dancing had on him as a child, Pierre felt that the most important work he could do was to teach ballroom dance to NYC public school children. During the 2014-2015 school year, the program was presented to nearly 50,000 children in over 500 schools in 29 cities to 5th and 8th grade children. The mission of our program is to cultivate essential life skills in children through the practice of social dance.

Your child will be taught a syllabus of traditional ballroom dances in a learning environment which fosters respect, teamwork, confidence, politeness. They will emerge as “ladies and gentlemen of the ballroom” with a renewed sense of joy, accomplishment and elegance. With their teacher and classmates, your child will learn the Merengue, Foxtrot, Rumba, Tango, Swing, and Waltz. The ballroom dance classes are part of the school day and provided as a way to enrich the academic, social and cultural learning experience. Classes are conducted with individual classroom groups and children will be dancing with each other. In collaboration with the classroom teacher, the lessons will be twice a week, for ten weeks, and led by a Dancing Classrooms teaching artist. We believe all students can learn and we expect all children to participate. If you have any questions or concerns about your child’s participation in this program, please speak with your principal. On the 20th lesson, there will be a ballroom dance presentation at the school where students will be encouraged to dress elegantly. You will be invited to watch the children perform the dances and hear them speak about their ballroom dance journey. If you are familiar with any of these dances we invite you to engage your child’s learning by dancing at home. Dancing is a wonderful skill for children to learn at a young age. It teaches them how to develop respect, collaboration, manners, self-esteem, how to trust themselves and of course, how to dance. Warm wishes, The Dancing Classrooms Educational Team

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SYLLABUS AND RESIDENCY SCHEDULE

Syllabus must be executed in accordance with Dulaine Method vocabulary and performance. After Lesson 1, please end every class with a “sugar” dance.

ORIENTATION DATE ………………………. (TA and Liaison meet with teachers, then children.) LESSON 1 DATE………………………… Merengue According to script, please perform all 5 chapters

“Green Light, Red Light”, Lady’s Turn, Gentleman’s Turn; Dance Frame Curriculum Connection: Reflection on 1st ballroom dance experience

LESSON 2 DATE…………………………ACTOR’S WARM UP Merengue Review and add “Together” Turn Foxtrot A and B Steps Stomp Teach after children are arranged in escort position LESSON 3 DATE………………………… ACTOR’S WARM UP WITH MUSIC Foxtrot Review A and B Steps Merengue Review and add Separation Step

Collect Curriculum Connection from Lesson 1 LESSON 4 DATE………………………… RUMBA WARM UP WITH MUSIC Rumba Box Step Foxtrot Review A and B Steps and add C Step (Promenade) Merengue Review LESSON 5 DATE……………………….. RUMBA WARM UP WITH MUSIC Rumba Review Box Step and add Rectangle Step Review Merengue and Foxtrot LESSON 6 DATE……………………….. HEEL-TOE-POLKA WARM UP WITH MUSIC

Heel-Toe Polka Teach Heel-Toe-Polka Review Merengue, Foxtrot, Rumba

LESSON 7 DATE……………………….TANGO WARM UP WITH MUSIC Tango Basic Step and Promenade/Scorpion Rumba Review Box and Rectangle and add “Donut” Turn Review all dances and Heel-Toe-Polka

LESSON 8 DATE……………………….TANGO WARM UP WITH MUSIC Tango Review Basic Step, Promenade/Scorpion and add Rock Step Rumba Teach Lady’s arm styling in the “Donut” Turn

Review all dances

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LESSON 9 DATE………………………ACTOR’S WARM UP WITH MUSIC Tango Review Basic Step, Rock Step, Promenade/Scorpion and add Simple Corte Review all dances LESSON 10 DATE………………………Video Class – See Discussion Questions Assign 2nd Curriculum Connection LESSON 11 DATE………………………. SWING WARM UP WITH MUSIC Swing Basic Step and Lady’s “Onto the Cheese” Turn Tango Teach bending for Corte Review all dances and end with Cha-Cha Slide LESSON 12 DATE……………………… SWING WARM UP WITH MUSIC (BUDDY VISIT) Alternate Buddy demonstrations with children demonstrations Leave time for Q&A with Buddy LESSON 13 DATE………………………FOLLOW THE LEADER WARM UP (SET IT UP) Swing Review Basic and Lady’s “Cheese” Turn and add Man’s Turn and Boogie Walks Review Merengue, add Topsy-Turvy and discuss afterwards

Collect 2nd Curriculum Connection LESSON 14 DATE………………………WALTZ WARM UP WITH MUSIC Waltz Box Step and Hesitation Steps Review all dances

Submit Culminating Event plan and Team Match Recommendations to Liaison LESSON 15 DATE……………………… WALTZ WARM UP WITH MUSIC Waltz Review Box Step and Hesitations and add Chain Step Review all dances LESSON 16 DATE……………………… FOLLOW THE LEADER WARM UP WITH MUSIC

Waltz Review Waltz and add Lady’s Underarm Turn to Hesitations Review all dances

Culminating Event plan and Team Match recommendations submitted to school. LESSON 17 DATE……………………… FOLLOW THE LEADER WARM UP WITH MUSIC

Review all dances

LESSON 18 DATE……………………… ACTOR’S WARM UP WITH MUSIC Review all dances

LESSON 19 DATE……………………… ACTOR’S WARM UP WITH MUSIC

Rehearse for the Culminating Event. Organize and work on entrances, exits, readers, demo teams and whole class dance.

LESSON 20 Culminating Event

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DANCES AT A GLANCE

All the steps below are listed in the order they should be danced. Merengue 8 Basic, 8 Lady Turn; 8 Basic 8 Man Turn; 8 Basic Together Turn; 8 Basic, then

Separation.

Foxtrot Basic Fwd, Basic Back, Basic Fwd, Basic Back, Promenade, Promenade (A B, A B, C C)

Rumba 2 basic Boxes (12 counts) 1 Rectangle, Forward 9, then back 9 (18 total)

1 Basic then 6 Count Turn (Man raises hand on 6 before lady turns) 12 counts in all

Tango 2 Basic steps, 2 Rocks Steps, 2 Cortes, 2 Promenade and 2 Scorpions

Swing 2 Basic, Lady Turns (2), Man Turns (2). Change hands (wrestling hand hold) into Boogie Walks (12)

Waltz Box Step (12 counts), 4 Chain Steps (12 counts), Hesitation Steps 4 (12 counts with Lady U. Arm Turn on last Hesitation)

Stomp Start on R.F. back, Left foot come forward, Side to Right, Side to Left, Double Stomp to right, Double to Left, Single to Right, Single to Left, then Twist, 5 6 7 & 8

Heel-Toe Polka Heel-Toe, Heel-Toe, Slide 4, Repeat, Clap thighs, hands, partner, elbow swing

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HOW TO TEACH EACH STEP

EXERCISE IT - PANCAKE IT - DANCE FRAME IT! MERENGUE Basic step: as taught in first class. 8 green light, 8 red light; UA turn ladies, UA turn gentlemen Separation Step: Hold in double hand hold, men in place/red light, lady walks out for 4 counts Lady in for 4 counts, repeat 3 times then a quick UA turn to dance frame BOO BOOM! Once they get to do this a few times….then introduce the Starburst version. FOXTROT Basic Step Forward & Backward: (A B) Everyone facing forward into the circle standing on their own. Ask them to walk forward for 4 walks, then backward for 4 walks, repeat this a few times. Now get them in pancake hold with the gentleman’s back to the circle walking away and then back. Practice this a few times before changing it to TWO STEPS and the SIDE TOGETHER (Merengue Step). Away, away Merengue Step – Back, Back Merengue Step in slow rhythm. Now would the time to explain the rhythm…”say it – clap it – stamp it’…Frame it! Promenade Step: Have everyone stand on the usual circle and ask them to point towards their hands together and walk them forward along the circle; 8 steps, then 4 steps, then 2 steps and add the side together. Explain about the ‘three-legged’ race they might have done. THE STOMP Walk back on the right for 4, walk front on left for 4; to the right for 4 and to the left for 4. When teaching the second half of this dance do not stomp your feet at the beginning. Introduce it by pointing the feet, “Step right, point R, point L, point R, step left, point L, point R, point, single R, single left, then shake, shake, shake along with other freestyle moves. After learning with point, then teach them to stomp as hard as they like. Teach with your back to children, but always do facing students. RUMBA (Use Rumba Warm-Up Exercises) The Basic Step: Demonstrate the box, and ask “What shape have I made?” Let’s try it together: “Side together center, side

together away.” All dance the box facing center starting left foot: side together center/forward with left foot, right side together back/away with right foot. Take pancake position for Merengue and then explain “RACE TRACK” direction. Once they are on the RACE TRACK, demonstrate the lady’s role and have them dance the box together, “Side together to the lady (Shakira), side together to the man (Pierre).” Two boxes, counting 1 – 12. Cuban Walks Forward and Backward: (The Rectangle) Demonstrate the rectangle, counting 9 and 9, and ask, “What shape have I made?” Count out 9 steps, in a rectangle, including the side together into the circle and 9 backwards, including the side together out of the circle, for a total of 18 steps. “Side together travel, travel-travel-travel, 7, 8, NINE, reverse together travel, travel-travel-travel, 7, 8, NINE.

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The Circle and The Square (Box and Under Arm Turn): Ask “What shapes have we learned so far?” “What shapes are missing?” “Today we are going to add a CIRCLE.” Gentlemen dance the box step and raise their arm/bridge on 6; the ladies walk around the big doughnut for six steps, “One – Two – Three – Raise the arm six, lady walks forward – lady comes back.” Leave lady’s arm styling for the following lesson – NOT THE SAME DAY. “One – Two – Three – Raise the arm 6 – Show your diamond, comb your hair.” TANGO (Use Tango warm-up exercise) The Basic Step: After the warm-up…spell Tango with the feet (T-A-N-G-O). Tell them there are 5 steps: 3 walks forward (T A N), the G goes sideways out of the circle, and then the O comes in with a toe touch. Start them all in a tighter circle than usual. The Promenade Step: Five steps in to the middle of the circle, five steps out; Using the outside feet going in and coming back out of the circle. The Rock Step: They should all be facing into the circle standing on their own. Left foot forward: Rock, Rock, Rock, Rock (using very slow counts) repeating a few times. Changing the rhythm to Q Q Slow – going forward towards the center of the circle then repeat backwards away from the center. Practice this in Pancake hold in the RACE DIRECTION then Dance Frame it adding the -NGO. They will dance Rock-Rock-Rock, Rock-Rock-Rock add Tango close. Next, ask them to do the whole step by adding the TA – (first two walks). When counting it out, please count it as such “One – two, three rock rock – four rock rock, -NGO” The Corte: Please do not demonstrate the Corte bend before teaching it – teach the “Simple” Corte first. Keeping them in Dance Frame, ask the gentlemen to step back on the left and then replace the right foot; the ladies step forward on the right, replace the left foot; then add the “Tango” close. On lesson 11, “exercise” the Corte Bend with everyone standing on the circle with “swords” in their right hands. Lunge forward on the right foot bending right knee and pointing the left toe “Ha-HAAA!”; then bend the back (left) knee “Ho-HOHHH!” Repeat several times playfully and then add the bend to complete the Corte step. “Corte, SLIDE, N-G-O.” HEEL – TOE – POLKA (Use Heel – Toe warm-up exercise) Part 1: Stand inside circle/outside circle in pancake hold, gentlemen starting left foot, ladies start right foot. Have them dance “Heel-Toe, Heel-Toe, shuffle off to Buffalo” then “Heel-Toe, Heel-Toe, Shuffle off to Mexico.” Change partners several times. Part 2: Teach “Clap your thighs, clap your hands, right/in/right, left/in/left” and change partners several times, “Say goodbye, say hello.” Connect Parts 1 & 2 with several partner changes. Part 3: Teach the right arm hook, walking 4 steps around in a circle and “say goodbye say hello.” Practice just this final part with several partner changes. Connect Parts 2 & 3 and change partners several times. Finally, connect all 3 parts together and add music.

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SWING (Use Swing warm-up exercises) The Basic Step: Stand on the racetrack in pancake position. Practice “Rocking and rolling” in and out of circle a few times. Then practice the “Jump Jumps” together. Then put it all together, “Rock, roll, jump, jump.” After repeating the Swing Basic in pancakes a few times, introduce the Swing Dance Frame. Ask everyone to take their Merengue Dance Frame – then the Heel-Toe-Polka Dance Frame. From here ask them to keep their INSIDE arms in Heel-Toe-Polka frame and place their OUTSIDE arms in the Merengue frame…this is the SWING DANCE FRAME! Now dance the Swing Basic in Swing Dance Frame. Lady’s Under Arm Turn Remind them that we are dancing on a large pizza, and the ladies will be dancing “on to the cheese.” Demonstrate the Lady’s Under Arm Turn. Have the children first practice “twirling their partner onto the cheese and unwind back” without the feet. Demonstrate again and ask the ladies to add the feet (rhythm) this time while the gentlemen stand still. Finally, ask the gentlemen to dance their two Swing Basics as the ladies turn: Man raise the ‘bridge’ (his Left Arm) Lady steps out onto the cheese (Open the door) 2 steps – jump – jump and the she comes back (closes the door) 2 steps – jump – jump. The man continues dancing the basic step twice as she goes under and comes back. For this step, the ladies turn to the RIGHT the first time and then to the LEFT coming back. Gentleman’s Under Arm Turn Part 1: Everyone on a circle as for Merengue, but standing alone facing each other on opposite sides of a river / road /rail tracks etc. They will be changing places by taking two steps towards each other, passing right-shoulder to right-shoulder. Change partners several times. Part 2: Add the jump-jump action … now on the opposite side. Change partners several times. Part 3: Ask the gentlemen to extend their LEFT hand to their partner and take her RIGHT hand … the gentleman will now TURN UNDER HIS LEFT ARM as he goes across while the lady walks across as in the exercise…the lady does NOT turn. Change partners several times. Part 4: To finish this exercise, ask them all to take their usual places on the circle as this step will now be danced on the ‘CRUST’ of the Pizza. The gentlemen turn to the LEFT both times. The Boogie Walks Start by asking everyone to do the TWIST…ask everyone if they ever played ‘ARM-WRESTLING’? Get them to have their RIGHT thumb in their partner’s RIGHT thumb. Get them to have their LEFT hands up in the air and shake them…now ask them to TWIST 12 walks forward in a complete circle, releasing on 11/12 and taking their Swing dance frame. (Your choice -- per Syllabus, Lesson 12, per Video, lesson 13.) WALTZ (Use Waltz warm-up Exercises) The Box Step: Demonstrate the Box and ask, “What shape have I made?” “What other dance has a Box?” Make comparisons to Rumba Box. All dance the box facing the center of the circle starting left foot, counting 1 – 6. Take pancake position on the Race Track and demonstrate the lady’s role. Have them all dance the Box Step together in pancakes, counting 1 – 12. Add music and FRAME IT.

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The Chain Steps (Traveling Steps) Compare the Chain Steps to the Rumba Rectangle. “Did we travel when we did the Rumba Box? How did we travel?” Demonstrate the Chain Steps counting 1 – 12, gentleman’s role and then lady’s role. Have them try it together in pancakes along the Race Track. Add music and FRAME IT. Hesitations with Lady’s Under Arm Turn Practice first in pancakes going in/out of circle a few times, then forward/back a few times. Then teach Hesitations in 4 Directions: ‘To the lady, wait, wait / to the gentleman, wait, wait / to the inside / to the outside.’ Repeat ‘to the lady, wait, wait / to the gentleman, wait, wait’. LADY ONLY …QUICK TURN AROUND (on the spot, under the gentleman’s raised left arm) “RAH – TEE – TAH” and then hesitate ‘to the outside’. The gentleman dances ‘to the inside’ (while raising his left arm) and then joins the lady ‘to the outside’.

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HOW TO INTRODUCE A NEW DANCE - THE WARM-UPS

When introducing a new dance, we recommend “setting up” the ambiance and tone of the ballroom. The warm up provides children the opportunity to experience the music of the new dance and gives them a fun way to “feel” the movement before they learn the steps. Before children enter the ballroom, play the music so they feel it, they enter in escort position, make a circle and immediately segue into the warm up. Don’t “teach” the warm-up, just do it!

Actor’s Warm Up

In circle formation, 16 counts out loud for left hand, right hand, right foot, left foot; 8 counts, 4 counts, 2 counts, 1count.

Follow the Leader

All in a circle. Set it up without music. Tell students what’s going to happen, demonstrate what they should expect, then do as a class. One person enters the middle and does a movement that all can do. After doing it for a bit, they select someone else and that person does a movement of their own, that all the others copy. Genders must pick opposite gender. Play music, Swing 16, have fun.

Rumba All students standing on a circle, “Left, together, left; right, together, right” 4x

“1, 2, 3 to the center, 4, 5, 6 to the center” “1, 2, 3 walk back, 1, 2, 3 walk back. “Imagine you’re walking on the hot sand, your toes are sliding into the sand forward.” Back: “Moonwalk back.” Switch!” “Circle to the left, circle to the right. Take a bow!

Tango Dramatically, take your left arm out like a bow and arrow and walk 5 steps to the left saying “T-A-NGO!” 3X “Switch!” Right hand out, 3X; Switch! Repeat one set in each direction, 2X. Walk forward Into the center and backwards away from the center, then repeat with the “Switch!” in and out of the center 2X .Take a Bow!

Swing In circle, left arm into the center, rock step with a snap “Rock, roll, rock, roll”

Left foot behind right foot and do a “jump, jump, jump, jump.” 4X “Put it together, rock, roll, jump, jump.” 4X. Switch, right arm into the center, “Rock, roll, jump, jump”4X. Now, “Open the door, jump, jump and close the door, jump, jump.” 4X Take a Bow!

Waltz Hesitations “to the left, 2, 3, right 5, 6 left 8, 9 right 11, 12, to the center 2, 3, back, 5, 6, center 8, 9, back 11, 12” 2X Repeat, left, right, center, back. “The music of the Waltz has a heavy down beat, ONE, two, three, ONE, two, three, Clap with me, ONE, two, three. “ (CLAP, snap, snap, CLAP, snap, snap.) With feet, changing weight this time: to the left, ONE, change, change, to the right, ONE change, change.”2X; “To the middle, to the out, to the left, to the right, to the inside, to the outside.” Take a Bow!

Heel Toe Polka

Get them all in one circle and get them to have their Left heel out, then the Toe In across several times, then change feet. First 8 beats, then 4 beats, then 2 beats per action, Heel-2-3-4-5-6-7-8, Toe-2-3-4-5-6-7-8, Heel-2-3-4, Toe-2-3-4, Heel-2, Toe-2, then finally Heel-toe, heel-toe. Add the shuffles and dance “heel toe heel toe shuffle off to Buffalo” in each direction along the circle several times. Take a bow!

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THE LESSON PLAN

DC teaching artists are expected to plan out their lessons. The lesson plan is a teacher’s standard best practice for tracking the progress of students as well as your own teaching.

Teaching Artist: Jennifer Lopez, Lesson Number: 2

Subject: Merengue, Foxtrot, Stomp

Student Objectives: (by the end of this lesson my students will be able to…)

Review Merengue

Teach “Together Turn”

Introduce Foxtrot Basic Step

Learn the Stomp

Beginning – Entrance and Warmup (5 minutes) Entrance - Students Enter in Paso Doble Music. Warmup - Teach Actors Warmup

Middle – Review and Instruction Review Merengue (15 minutes)

Exercise it (2 circles facing center)

Pancake it. (“May I have this dance, please?)

Frame it.

Introduce “Together Turn” (Like bicycle gears.) Introduce Foxtrot (15 minutes)

History (NYC, Harry Fox, walking dance)

Exercise it (4 steps forward toward center, 4 steps back)

Pancake it (4 steps AWAY from center, 4 steps BACK to the center

Add “Merengue step”

Introduce rhythm (say it, clap it, stamp it)

Frame it

End – Sugar Dance and Escort Teach the Stomp (6 minutes) Escort Position (4 minutes)

Compliments

Recap day’s lesson and preview next lesson.

Thank you’s (classroom teacher, partners, TA)

Exit to Paso Doble Music

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THE FIRST LESSON

The first lesson consists of 5 chapters which are the blueprint that establishes the method, sequence, vocabulary, fun and joy for classes to come. In this class children will experience the journey of imagination, respect, and politeness, as well as Dance Frame and Escort Position. The first class is a journey of roles and images for you to play. Embody each image, and take delight in the characters and story of this lesson. Keep the pace up. It will be messy and imperfect. Keep your energy up-beat and proud. Avoid ‘over-fixing’ so that the energy is high and students and classrooms teachers are proud before they even begin. Memorize this script and sequence. Aim to achieve all chapters. Believe you will reach escort position. Arrive extra early to check on your space and sound system, and bring back-up CDs.

Chapter 1: Introduction Opening greetings to the class: Engage! Greet students with the same enthusiasm you had at orientation! Gather the children together, standing or seated, and ask:

“What type of dancing will we be learning today?” (Ballroom dancing)

“How is ballroom dancing different than other types of dancing?” (We dance with partners)

“Is anyone still nervous about dancing with a partner?” (Yes!) Tell them not to worry because we will start out dancing on our own at first, even moving in opposite directions. Explain that the class will be conducted in two circles, an outside circle and an inside circle. Give the gentlemen ten seconds to make the first circle. Then give the ladies ten seconds to make their circle outside the gentlemen’s circle. Assure them that there is no need to worry whom they are standing near, as the circles will move in opposite directions, and we will change partners often.

Chapter 2: The Merengue Basic Step

(Demonstrate marching in place for 8 counts.) Watch, don’t do. (Then ask all children to try all together.) 5 6 Please begin.

From now on, Inside Circle will always start on their LEFT foot. Show me your Karate Kid left! Outside Circle will always start on their RIGHT foot. Show me your Karate Kid right! (Everyone marches 8 counts together.)

Who here drives a car? What kind of car do you drive? What color? (Let them raise their hands and tell you.) When you drive a car, what happens when you come to the red light? You stop. Do you turn the motor off? No! You keep the engine purring! This step is called the Red Light step. Let’s all dance the Red Light step together. 5 6 please begin!

What happens when the light turns green? You go! Ladies and gentlemen, this is the Green Light step. (Demonstrate open-close, open-close, open-close, open-close, starting left foot for gentlemen, and then right foot for ladies.) Inside Circle, left hand to the side, Outside Circle, right hand to the side. Let’s try it together, 5, 6, please begin, open-close, open-close, open-close, Red Light…. (Alternate Red Light and Green Light, 8 counts each.)

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Who can guess what type of dance we are learning right now? (Merengue) Who knows where the Merengue comes from? (Dominican Republic) In the Dominican Republic, do you think they dance like this? (Demonstrate in a silly stiff way.) Or do you think they dance it like this? (Demonstrate with Latin hip motion.) They move their buttons! (Explain about buttons on pants.) Let’s all try the Green Light step and the Red Light step with the music, and shake what your mommas gave you!

How many of you like to eat Chinese food? How many of you use Chopsticks? (Demonstrate with Shakira, teacher, or student, standing baseball bat distance, and then Chopsticks distance. Explain that our toes will be attached to our teammate’s toes with imaginary Chopsticks.) Inside Circle, please put a smile on your face and turn around to face the Outside Circle! Chopsticks!!! Now we are all going to move the same direction! 5 6 Please begin… (Green Light/Red Light) Don’t break your Chopsticks!

Now, please face your partner and say “Thank you partner” and, with respect, Inside Circle move one partner to the left. HELLOOOO new partner! 5, 6, please begin! (Add music and repeat thank you partner a few times.) Take a Bow!!

Chapter 3: Clock Turns

(Ask the Inside Circle to sit down on the floor all facing you; kneel down as you address them.) Gentlemen, pay attention because you are next!

Ladies, standing tall, feet together, please take your right hand and gently place it on your left shoulder. Open your arm. Now, this time, when you open your arm, go like this, Weee! (Demonstrate spin.) Ladies, right hand on left shoulder and turn quickly, weeee!

Ladies, did we turn to the right or the left? (Right.) Is that clockwise or counter-clockwise? (Clockwise.) Now imagine we are standing, feet together, on a big clock, what number are my toes pointing to? Twelve o’clock! Yes! If my feet point to the right, what o’clock would that be? Three! Watch, don’t do! Turn the right toenails to 3 o’clock then close then to 6 ...... to 9 ...... to 12 ...... don’t be late!” (Let them try slowly first, and then faster.)

Now, gentlemen (kneel down to their level). If the ladies went clockwise, which way would you turn? Counterclockwise! If the ladies went to three, what number would you go to? (Show them) So gentlemen, your left toenails will go 9 o’clock, then to 6 o’clock, then 3 and then to 12. Ok, you have 10 seconds to stand in chopsticks position in front of your last teammate 10, 9, 8...... Chopsticks!! (Let them try clock turn slowly as ladies stand still, and then with ladies dancing Red Light.)

(Demonstrate putting all steps together with Shakira – Green Light/Lady Turns/Green Light/Man Turns, and then ask all children to try it together. Add music, and change partners.) Take a bow!

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Chapter 4: Body Language

Languages: Ladies and gentlemen, pull out your imaginary cameras and a take a picture of your teammate. Remember that face! Now everyone please face me, come closer and have a seat on the floor. (Sit or kneel on the floor as you address them.) Ladies and gentlemen, I’d like to talk to you about languages. How many people here speak English? How many students here speak another language? (You should take inventory of these languages, celebrating the diversity that exists in the classes.) Wow, we have French, Spanish, English, Mandarin, Arabic, these are languages of the mouth, would you agree? There’s another language that uses hands to communicate, what is that language called? Yes! Sign Language. There is one more language that we use every single day. You’re using it right now as you sit in front of me. Raise your hand if you know the language I am talking about….Yes! Body Language. The way you sit, the way you walk, the way you stand, tells people about you. When you stand in front of someone with respect, respect comes back to you. (Ask them to show you tired, happy, proper, etc., with their body language.)

Volunteer: I will need a volunteer to come up to help me. I am going to ask X a question with my body language. Watch first, and then raise your hand if you know what I’m asking. (Stand facing child, smile and elegantly put forth your two hands. Hang in there -- if they hold out, usually they will extend their hands and place them onto yours – if not, it’s OK to gently prompt them or ask the class what they think X should do.) What did I ask X? (May I have this dance, please?) How did I ask her? Was I polite? Did I show respect? Would it have been polite to do this? (Show silly, impolite ways.) No! I was polite and elegant. I presented my pancakes and she put her pancakes on my pancakes. This is called Pancake Position! Ladies and gentlemen, give X a round of applause! Inside Circle please repeat after me (Show as you explain) May I have this dance please? (Extend hands out); Outside Circle, repeat after me, With pleasure! Now, Outside Circle repeat after me, May I have this dance please; Inside Circle, repeat after me, With pleasure.

Pancakes: In a minute, you will have 10 seconds to stand up, return to your last teammate, the person you took a picture of, and stand in Chopsticks position. 10, 9, 8, 7......Gentlemen, Inside circle, repeat after me, May I have this dance please? Present your pancakes. Outside circle, With Pleasure! (Go around and check the pancakes in pan) No floating pancakes! Flat in the pan! (Let them try Green Light and Red Light in Pancake position with two different partners.) Has anyone ever flipped pancakes up in the air? Watch what happens to our Merengue turn! We’re going to flip our pancakes! (Demonstrate whole routine with Shakira.) Flip your pancakes in the air and land in the pan. 5 6 please begin! (Add music and change partners a few times.)

Burnt Pancakes: Oh my goodness! AAAH! You can dance, but you can’t cook! Aunt Jemima is very upset! The pancakes are cooked so much so they are burnt and hard; when pancakes are hard they can stand up. (Demonstrate with the elbows and hands touching) This is Burnt Pancake Position! After you turn, give each other a High Ten! 5, 6, please begin. Play the music. Thank you partner, Hellloooo new partner.

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Dance Frame: How many of you have been to a wedding? How do old people dance together? Do they dance in Pancakes? Burnt Pancakes? (One student will surely say “No,” and start to show you. Ask them to help you show everyone Dance Frame: gent’s hand on lady’s shoulder blade, no lower, lady’s hand on gent’s shoulder, don’t get fresh, close fingers, wrap around, not fingers interlaced, elbows together, peanut butter and jelly elbow sandwich, crispy chicken wings. Make sure you acknowledge their elegance and courage with a round of applause. Demonstrate the Green Light and new under the Brooklyn Bridge Clock Turns with Shakira. Ask everyone to take Dance Frame with their teammates. Go around the circle and help them. Let them try it with music and with partner changes.

Chapter 5: the Escort Position

Tall/Taller/Tallest: Ladies and gentlemen, at this time I’d like for you to give yourselves a round of applause because you’re doing such a wonderful job! In a minute, I would like the gentlemen to line up in front of me in size order. TALL in the front, (beat) TALLER in the middle, (beat) TALLEST of the tall at the end. You have 10 seconds! Well done! Ladies, in less time than it took the gentlemen, please line up in tall, taller, tallest order. 5-4-3-2-1, excellent!

Fairy Tale: Now, I need to tell you a fairy tale. Five hundred years ago, I was a soldier in the king’s army. I’m wearing my gray uniform, with my silver buttons, and I have my sword on my left side. My wife and I were invited by Queen/King (classroom teacher’s name) to visit the castle. Would I escort my wife on my left side, the same side as my sword??? (Let them answer.) No! Her legs would go bleeding, her face would not be smiling, and I could never present her to the Queen/King in that fashion. On, no! I would escort her on my RIGHT side! That way, her legs would not be bloody, her face would be smiling, and we could walk elegantly to her/his majesty and enter the ballroom. The right side is the place of honor for the lady.

Escort Position: At this time, gentlemen please take your right arm, make a muscle, then turn it upside down and put your fist on your hip. Ladies, please loooop your arm through the gentlemen’s elbow. (Help them.) This is called Escort Position. In the tradition of ballroom dancing, we escort each other with respect on and off the dance floor. For this reason, we will always begin and end every lesson in Escort Position. This is your Escort Partner. Don’t worry; we will always change partners throughout each lesson.

Curriculum Connection: Ladies and gentlemen, you’ve done a wonderful job today. Did you have a good time? I’d like to know how you felt about your first ballroom lesson. Would you please write your Personal Reflections and bring them back to me on Lesson 3?

Paso Doble Exit: Please look your partner in the eyes and say “Thank you, partner.” Please say thank you to your teacher for dancing with you. I look forward to seeing you next lesson, lined up in Escort Position, ready to enter the ballroom. And now I will play special music for you to exit the ballroom. Stay connected in Escort Position until you reach the “palace doors!” (Have them parade elegantly in a circle before exiting “the ballroom.”)

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DANCING CLASSROOMS:

Theater & Dance Integrated

Dancing Classrooms builds social development through dance, but to achieve the Dancing Classroom, the teaching is executed through the Theater art form. The parallels between the Dancing Classrooms Method and Theater are strong and interdependent. In learning the Dancing Classrooms curriculum and absorbing the Dulaine Method, a teaching artist will learn the dances in their bodies, but like an Actor, they will also learn the script through rehearsal and memorization. They will understand the staging/blocking for teaching their class, engage their audience and deliver the lines with intention. Evidence of this integration is seen in specifics like: the greeting at the beginning of class, the use of the body and sounds to engage students, the standing on “the crust” to demonstrate the warm ups, sitting on the floor for “body language” or standing “on the cheese” during a step demonstration and the use of “Ya!” and “Chopsticks” are all deliberate, key essentials to achieving the Method and to class success. In a Dancing Classroom, the Teaching Artist is the Actor, the “Ladies and Gentlemen” are the audience and the 20 lessons, the play or script. Actors don’t “rewrite” scripts, they say the words and serve the play by surrendering to it. Like any scene in a play, every lesson has an arc – a beginning, middle and end with a clear objective. To successfully accomplish a Dancing Classrooms a teaching artist will know the dances physically (in their body) to be taught, but will execute the teaching of the class with specific words, clear movements, directed energy and deliberate dress. Therefore, in Theater terms:

DANCING CLASSROOMS

THEATER

Teaching Artist Actor Ladies and Gentlemen! Children and Teachers Audience

Dancing space a.k.a. The Pizza The Stage The First Class A Monologue

The Syllabus The Play Lessons Scenes that have a beginning, middle and end

Knowing the Syllabus Being “off book” memorized, knowing your lines TA placement Blocking – TA positioning and movement in class

Presence, Vocal energy, Command and Control A Prepared Actor will embody these qualities Being Present, Safe Space, Respect and

Compassion, Joy Outcomes resulting from preparation

Body Language The Actor’s body is also part of the play in conveying the story to the audience i.e. elegance, speaking and demonstrating with deliberate physical intention

Imagination The world of the play” the use of imaginary characters, feelings, images and beings that transform the space and the audience into the world of the Ballroom – “the place of respect and elegance.”

6 Dulaine Method Qualities “Relationship between Actor and Audience” Elements that are part of the connection of the actor and the audience at any given moment

Thinking on your feet! Improvisation -- the ability to respond to a surprise while staying in the world of the play and being present to what is happening before you.

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As you study the TA Guide and videos, and review your training notes, notice that the “blocking” (placement on the cheese), the engagement with the students, and the delivery of “the lines” are all deliberate, in service to “the play” and most importantly to the “audience,” (the classroom of students.) “Going on this journey” requires risk and surrender, but will result in an authentic, engaging, fun, purposeful, and transformative experience for the children and for you, especially. We are not all Mr. Pierre, Mr. Rodney, Tom Hanks or Meryl Streep, but we all know what it is to be transported by a great story. We are all able to read words, like a Shakespearean monologue or our “Pledge of Allegiance,” and say them in a way that means something and engages an audience. Enjoy your journey!

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CURRICULUM CONNECTION Assign: Lesson One & Lesson Ten

An important element in DC residencies is the reflection of the ballroom dance experience into the curriculum. As part of the school day our residency enhances the learning in the school and should be reflected in creative fun ways for use in our culminating event. While curriculum work is decided upon in partnership with classroom teachers, it is the teaching artists who assign the work and follow through on reading, validating and implementing it. The “First Reflections” are assigned at the end of the First Lesson. The second piece is assigned at the end of Lesson Ten, the Video Lesson. This piece should be inspired by the ballroom dance experience and connected to a current or recently completed unit of academic study. Below are suggestions for supporting key areas of academic study:

WRITING

Poetry -- Write a poem about their favorite dance.

Personal Essays -- Write a brief essay about your personal feelings and experience with your favorite dance.

Persuasive Essays -- Write a brief essay about why your favorite dance is the best.

Compare and Contrast -- Compare and contrast two dances you have learned either in essay form or chart form (such as double-bubble thinking maps.)

Fiction -- Write a brief fairy tale incorporating favorite dance. Historical fiction? Write a fictional story incorporating facts about the origins of favorite dance. Contemporary fiction? Write a contemporary story surrounding favorite dance.

SOCIAL STUDIES

Research the history of your favorite dance and the culture of its country of origin.

Create a travel brochure for your favorite dance’s country of origin. Compare and contrast ballroom dance and modern day dancing. Explore how the ballroom dance style affects our social customs and our dress. Interview family members or friends about the social dances from their ancestral origin or from when they

grew up. Teach a family member one of the basic dance steps.

MATHEMATICS

Angles -- Select a dance and identify where right angles exist. (There are several in the Rumba, Foxtrot, Waltz, Tango and stomp.)

Fractions -- Identify the degrees of turn. (Merengue turns – four ¼ turns = 1 whole, for example.)

Word problems -- Create a word problem using the number of footsteps in each dance. (The Rumba is perfect for this.)

Patterns and shapes -- Create a blue print for the patterns and shapes of your favorite dance.

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SCIENCE

Compare and contrast each of the dances to states of matter.

Create magic spells using properties of science and motion and the energies of dance.

ART

Design your own ballroom costumes and present your sketches to the class. Create artwork expressing the feelings or choreography of the dance by using painting, clay, collage or

sculpture. Create a visual portfolio scrapbook or collage that includes artwork, photographs, dance history details,

impressions of the music, dance related articles.

WELLNESS, CHARACTER & TEAMWORK

Write a brief essay about how teamwork, elegance, respect, and kindness relate to ballroom dancing and how those qualities can be incorporated into your daily life.

Reflect on the feelings and emotions you experience during and after each dance. Create a dance journal reflecting how the body feels during and after each dance

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CURRICULUM CONNECTION SAMPLES

You are holding me up.

Like a precious stone.

That should fall on the floor

and break its bones.

You are swirling me around.

Like a wave on the sea that the rocks are

awaiting to splash into foam.

You are reaching around me. Like an ivy

tree that should I ever invite would hurt me.

Tango.

By Hinnessy Dalmasi, PS 58Q

March 22, 2007

Dear Ms. Silvia,

Thank you for teaching us ballroom dancing. We

all had lots of fun. All the dances, Merengue, Fox

Trot, Rumba, Tango, Heel-Toe Polka and the

Waltz were exciting and fun, especially since you

taught it. I learned a lot and I am sure that

everyone enjoyed it. I really appreciate you

teaching us.

I have gained a lot of experience by elarning how

to ballroom dance. I learned how to work with a

partner. I also learned how to work with the class.

I have grown socially, thanks to ballroom

dancing.

When I just started, I didn’t even know one dance.

Now I know over five dances. You are a great

teacher. I hope you continue to be a great dancer.

Thank you for teaching us.

Sincerely,

Stepahnie Sun, Class 5-315, PS 48

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LESSON 10 - VIDEO CLASS GUIDING QUESTIONS

You may ask, “Why a video lesson in the middle of a dance residency?” The answer is that a video of professional dancing enriches the learning experience, expands the art form beyond the classroom and builds upon what has been learned so far. Through an engaging exchange and reflective conversation, students are able to see, identify, question and refine their own learning practice in the residency. It is important that the teaching artist conduct the learning in this class as a conversation with intermittent questions and observations; it should not be a stationary and silent video class.

Helpful Reminders: Build excitement and delight for lesson 10. Dance tells a story among members dancing – What do the characters in each dance tell us about

the dance or about the story the dance is depicting? Highlight moments of body language, escort and promenades. This lesson is special for every class, not all classes combined as one. Considering what they learned in the video, invite a team to demo a dance for each dance Curriculum Idea: Ask students to write a short reflection on what they learned in this class or

ballroom so far. Before class ends, ask students to tell you one single thing they learned that they are going to use in

their own dancing.

Fred Astaire and Ginger Rogers: one of the greatest dance teams in the history of television and film. What dance is this? How do you know? How do you feel when you see this dance? What story does the body language in this dance tell us? What dance movements do you recognize in this dance? What does the costume of these dancers tell us about the dancing? Swing: Related to such memorable dances as the Black Bottom and Shag, it traces its origins to the Lindy Hop of 1927 and American jazz rhythms. Frankie Manning helped spread the popularity of the Lindy Hop through six continents. His own love of Swing music and dancing has been as contagious as his dazzling smile. What dance is this? How do you know? Describe the energy or feeling of this dance. Compare this dance to the Fred Astaire and Ginger Rogers dance. What is the same or different? What does the body language in this dance tell us?

Tango: The Argentine Tango, which came to being in Buenos Aires, refers not only to the dance steps, but also the music, song and poetry. What dance is this? Identify dance steps you know. How does the music make you feel? What story does the body language in this dance tell us? What do you think is the relationship between the two characters? What does the costume of these dancers tell us about the dancing?

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Adagio/Theatrical Dance/Cabaret: Music: “Night and Day” How do you feel when you see this dance? Compare this dance to the dances we know? What do you think is the relationship between the two characters? How does separation and connection help to tell the story? What does the costume of these dancers tell us about the dancing?

Quickstep: is an International Style ballroom dance that follows a 2/4 or 4/4 time beat, similar to a fast Foxtrot. Can you describe this dance in movement words? Compare and contrast this dance with any of the dances we know. How does separation and connection help to tell the story? What does the costume of these dancers tell us about the dancing? Waltz: dancers from the American Ballroom Theater Company Originally a turning, traveling dance for couples in ¾ time popularized in Vienna in the mid-nineteenth century. People were shocked when the Waltz was first introduced. “A man dancing with his hand upon a lady’s waist in public?!” No proper lady would permit it and society matrons declared it wicked and compromising. Are the dancers moving individually or in unison? What kind of patterns are the dance teams making? Why do you think the choreographer chose those patterns? How do the costumes help to show the movement and tell the story of the dance? Identify the body language of the gentlemen in the separation step. What is he saying with his body? What are the gentlemen doing while the ladies danced?

Grand Hotel: Is a Broadway musical based on a novel and play about events that take place over the course of a weekend in an elegant hotel in 1928 Berlin. The dancing in this scene is an example of Theatrical dance. What did you learn about the play in the commercial? What do you think is happening between the characters? How is this dancing different or similar to the dancing we do here? Can you describe this dance in movement words? In feeling words? How do the varying separation steps in the dancing help to tell the story? How does the focus of the dancers help to create a story?

Children Dancing: Take the Lead and Mad Hot Ballroom: excerpts

LESSON 12 – THE BUDDY VISIT

The Buddy Visit is one of the most exciting residency highlights on the syllabus. This lesson marks the first time the children are seeing two professionals dancing the same steps they are learning, right before their very eyes! And most importantly, they are seeing a grown-up lady and gentleman being elegant together, working as a team, and treating each other with respect.

Buddy Lesson Format

Greetings and Introduction

Warm-up

Demonstration

o Buddy/TA dance Merengue

o Solicit questions/observations from children

o Children dance Merengue

o Buddy offers feedback to children

o Repeat for Foxtrot, Rumba, Tango, Swing, and Waltz. (No Polka.) Dance all syllabus dances regardless of where children are in their learning.

Buddy Q&A

Stomp (If pressed for time, the Stomp may be omitted in order to accommodate the Buddy Q&A, as this is important for meeting educational standards.)

Time Management Tips

Fitting all of this into a 45-minute time frame can be quite a challenge!

Warm-up can be abbreviated on this special day – 30 seconds is fine.

Children need demonstrate each dance only twice (4x for Foxtrot) before pausing for feedback from the Buddy -- no need to finish the whole song.

Buddies should keep feedback simple, out of consideration for time.

If children need to repeat a dance in order to integrate feedback, have them dance the pattern only twice more through.

No new steps should be presented during this lesson.

The Stomp can be abbreviated in order to allow more time for the ending Q&A – 2 or 3 times through is fine. After all, the Buddy Visit is a special event in and of itself – it’s like a whole lesson full of dessert!

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Preparing for the Buddy Visit

The Teaching Artist must prepare students and collaborating teachers for this special visitor. Build it up as a truly special event!

The Teaching Artist and Buddy Teacher must speak by phone at least two days prior to the lesson, in order to convey school logistics (such as location, entrance, and lesson space), special circumstances (such as children with special needs), and how much (if any) “extra flair” the Teaching Artist is comfortable adding (none is required.)

The Buddy Teacher and Teaching Artist must arrive in the space at least 15 minutes prior to the lesson. It is recommended to arrive even earlier in order to practice together before the children arrive. Agree on your meeting time during your initial phone conversation.

Buddy Expectations

A Buddy visits a school with the intention to affirm and celebrate what has been taught.

Buddies must dress elegantly according to Dancing Classrooms dress code. Gentlemen must wear dress pants, dress shirt, and tie, with dance shoes or dress shoes. Ladies must wear a dress or skirt and blouse, and ballroom shoes. Buddies must sparkle!

A Buddy is expected to demonstrate all the dances of the DC syllabus along with interpersonal etiquette and elements of politeness such as “May I have this dance, please,” “Thank you, partner,” and escorting the TA on and off the cheese.

A Buddy must always refer to the children as “Ladies and Gentlemen” and never as “guys.”

Teaching Artist Expectations

The TA welcomes the Buddy with warmth and enthusiasm.

The TA is in charge of the lesson flow, but incorporates the Buddy generously into the lesson, working together as a team in the Safe Space.

Always use DC syllabus music.

Benefits/Effects of the Buddy Visit

Classes should be impressed and “wowed” by the Buddy.

Children should feel empowered, validated, and catalyzed to aspire more for themselves – inspired to apply the Buddy’s feedback to their own dancing.

Buddies provide Teaching Artists with an opportunity to shine in a different light. Their example shows children that goals set forth in the residency are attainable.

Buddies provide insight into professional dancing and show that a fruitful career in the arts is possible.

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LESSON 20 - CULMINATING EVENT

The Culminating Event is the highlight of the residency. It is a very special day -- a celebration and a time for all the children to shine. In general, it should be thought of as a “lecture-demonstration,” giving the audience an inside look at how the children were learning. It is approximately 45 minutes in length. As a special event schools are encouraged to organize an assembly with an audience of students’ families, teachers and the students who will have the course next. This event can have a name like “Ballroom Breakfast” or “Ballroom Extravaganza” and schools can organize some refreshments, coffee and cookies as a treat for families at the conclusion of the event. The event is generally stand alone, however if schools choose to make it a part of a school event, like a graduation or talent show, it is strongly recommended that Ballroom Dance open the event Production Elements: TA’s will provide liaisons with a CE plan for review two weeks in advance of the CE date. Schools should receive the approved plan at least one week in advance. Liaisons and TAs work with school team to ensure that signage, sound, welcoming remarks and order of dances are organized and in place. Wherever possible, acknowledge students who provided residency support. (i.e. deejays, teaching assistants, visual artists). Don’t assume schools know about sound, stage and production needs – see guide below. Opening Remarks: Generally, school administrators will welcome families and introduce DC. The Liaison will warmly greet the audience, tell them about the organization and give a brief overview of what the students have learned over the past 10 weeks. They thank the principal, school residency coordinator, and the school for having the residency. The TA thanks the classroom teachers and introduces the children. The children “parade” in escort position to the Paso Doble music, which can also be used for transitions. CE structure: Reader, Demonstration, Dance. Just before the start of each dance: the “Reader” will read a brief essay, poem, reflection, or other piece of curriculum connection to introduce the dance; the “Demonstration Team” will demonstrate the dance steps without the music as the TA calls out the steps; and finally, the whole class performs the dance with music. The TA counts the children in and calls out the steps as needed – usually one time through, and then intermittently as needed. TA cues partner changes, “thank you partner, hello new partner,” as well as the end of the dance, “take a bow!” No need to play the whole song – 2 minutes is long enough. Sugar Dance: After all the ballroom dances have been presented, the children dance the Stomp all together. This is an organized, well-planned transition reflective of all the freestyle moves implemented in the residency. Children should know them well by this point. (The Cha-cha Slide should not be substituted for the Stomp at a Culminating Event.) Community Dance: After the Stomp, the emcee will invite the audience to join in a community dance. For safety reasons, the Macarena should be danced in auditorium settings. If in a gym or open space, have the children dance Merengue with parents. This will prove the most successful part of the event. Children will “escort” their parents back to their seats. TA, Liaison, and/or school leader will thank all parents and everyone for being there. Go for refreshments!

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Culminating Event Production Guide (Liaison Completes with Residency Contact at Second Liaison Visit – Gives Copy to TA)

School___________________________________ Residency Contact___________________________ Teaching Artist_____________________________ Educational Liaison__________________________ Culminating Event Date ________________Time_________ Space_____________________________ How would you like the children to dress? _________________________________________________ Has performance space been reserved for the Lesson 19 rehearsal? ____________________________ How will parents be notified? ___________________________________________________________ Who will create the notification?_________________________________________________________ On what date will the notification be sent home? ____________________________________________ Will the student body be invited? ____________________ Which grades? _______________________ Where will audience and dancers sit during the performance? ________________________________

Technical Setup:

Who will clear the space and make sure floors are clean? ________________________

What kind of music source will you have? _____________________________________

Who will set up microphone and sound system? ________________________________

Who will be responsible for lights? ___________________________________________

Who will play the music? __________________________________________________

Time of sound check? _____________________________________________________ Ideas for Event Enhancements:

Printed programs

Decorations, banners, posters, balloons, etc.

Display Curriculum Connection pieces: writings, artwork

Refreshments

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SAMPLE CULMINATING EVENT PLAN

Principal welcomes audience. Liaison speaks about Dancing Classrooms, thanks administration. Teaching Artist thanks classroom teachers and introduces children. Paso Doble Entrance – Track #31 (Class 501 to stage, classes 502 and 503 to seats.) Class 501 Merengue Reader: Andrew Farella Demonstration: Anthony Wyche and Giovanna Salimeni Merengue – Track #1 Foxtrot Reader: Julia Yusupova Demonstration: Saiquan Serrano and Sarit Galibov Foxtrot – Track #5 Transition – Track #31 (501 exits stage left at the same time as 502 enters stage right) Class 502 Rumba Reader: Danny Barry Demonstration: Chris Vidal and Liznel Ejike Rumba – Track #8 Tango Reader: Skye Marshall Demonstration: Canaan Rodriquez and Victoria Vidal Tango – Track #13 Transition – Track #31 (502 exits stage left at the same time as 503 enters stage right) Class 503 Waltz Reader: Karmel Solero Demonstration: Joe Bacchi and Kayla Dunn Waltz – Track #21 Swing Reader: Samir El-Sawaf Demonstration: David Vascones and Jacquelyn Reyes Swing – Track #15 Transition – Track #31 (Class 503 remains onstage, 502 to left aisle, 501 to right aisle.) Stomp – Track #28 Community Dance: Macarena – Track #30 Closing Remarks: Liaison and/or TA, School Leader

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THE COLORS OF THE RAINBOW TEAM MATCH

Overview for Schools

The Dancing Classrooms primary journey starts at the Orientation and ends at the Culminating Event on Lesson 20. The Culminating Event is the place where all children are celebrated for completing the residency as they demonstrate what they’ve learned in front of their school community.

PRIMARY JOURNEY TEAM MATCH (OPTIONAL) If this journey is the main road of the Dancing Classrooms residency, the Colors of the Rainbow Team Match is an OPTIONAL, extended journey beyond the residency for schools that want to give twelve of their students a special experience and offer their student body an additional opportunity to foster school spirit. Our role at Dancing Classrooms is to establish the same Dulaine Method atmosphere in our team matches as we do in our residencies, including creating a safe space, treating all children with respect and compassion (regardless of placement), and exhibiting joy and humor with our audience and participants throughout the match.

Only 12 Students

Participate Orientation

Culminating Event/

20th Lesson

19

Lessons

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THE CORE VALUES OF THE COLORS OF THE RAINBOW TEAM MATCH

One of the core values that drive the work of Dancing Classrooms is community – in classrooms, schools, team matches, parent engagement workshops and other public events. This core value is supported and expressed in other values, including – mutual respect, teamwork and sportsmanship. Community is achieved in a modest way by how we bring together students, school and parent communities that otherwise may not interact. At team matches, as in residencies, our teaching artists and staff do their best to model and expect kindness, civility, politeness and elegance. For instance, while there is certainly competition, we refer to it as a “team match” to take the focus off of individual accomplishment. We also take great care to not use the terms “winners or losers”. We believe that it is the overall experience of participating that will last with the students many years from now. In addition, we insist that teams are judged only on syllabus dancing so that we can establish a common ground for all teams. They work together as a larger group to create and share a new “safe space”. Schools must set students up for success by discussing the importance of good sportsmanship and the honor of having competed, but most importantly by MODELING the behavior that we are trying to instill. We understand that disappointment and sadness will result, but when we can celebrate the journey and the performance as its own accomplishment, the students will have a greater experience and life lesson.

HOW THE DULAINE METHOD IS APPLIED TO THE TEAM MATCH

DULAINE METHOD ELEMENT WHAT IT LOOKS LIKE IN THE TEAM MATCH

Respect and Compassion Demonstrating good sportsmanship within one’s own team and also towards the other participating teams

Displaying mutual respect and teamwork

Being sensitive and supportive

Being Present Acknowledging the accomplishments of the team regardless of medal placement

Positively celebrating the performance of the team

Our use of the phrase “On TODAY’S performance” to emphasize that it is not a reflection on the team effort or dancing overall

Creating Safe Space Warm-up round to acclimate to larger community

Designating a period of silence at the beginning of each dance to set teams up for success in the round

Modeling kindness, civility, sensitivity and politeness through community support and positive audience engagement and instructions

Language Body/Verbal The use of “escort position” throughout and the overall elegance of the event.

Embodying elegance and grace through words and actions, including in reference to the results.

Clapping, shaking hands, hi-fives, positive cheering

Humor and Joy Creating a festive atmosphere throughout the entire event by encouraging the community to have fun

The repetition of the phrase “Are you having a good time?”

The “Dance by Chance” round

The community dance at the end of the team match

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THINGS TO CONSIDER IF YOU ARE PLANNING ON PARTICIPATING IN THE TEAM MATCH

Do you have a faculty member who can serve as the “coach” to ensure the children are prepared, supported and rehearsed?

Can you coordinate transportation to and from the team match so that the team can participate?

Can you get the word out to faculty and parents so that your school can have a substantial, supportive presence at the team match?

TEAM MATCH EVENT OVERVIEW

Warm-up: There is a 15-minute warm-up round where are the children can practice each dance.

Parade & Introduction of the Schools:

Each school will be introduced and will parade around the dance floor with their Teaching Artist.

Round 1 “Specialty Dance”:

In this round, one dance couple from each school will dance in the style designated as their “specialty dance.” Only one couple from each school’s team can represent that dance. There are 5 total dances in Round 1.

Round 2 “Dance by Chance”:

In this round, one dance couple from each school will pick a dance at random from the “dance by chance” box. No one will know what dance it will be until it is selected. Students cannot pick the same dance they danced in Round 1. This process repeats until all of the dance couples have picked from the hat and danced a second dance (for a total of 5 dances).

Round 3 “Team Captains”: In recognition of the important efforts of the team captains, these couples are invited on the floor for two honor dances. In the event of a tie, the team captains’ dancing will be judged.

Awards: Based on the points earned, each team is given Gold, Silver, or Bronze level standing.

RULES FOR PARTICIPATING

Teams may only compete once a year

Only students who are participating in a Dancing Classrooms residency for the first time may compete.

For schools doing multiple terms: - with different groups of students: it is recommended that you wait until the last term of participation, and pick students from both terms to compete. - with the same group of students, if your school wins Gold at the end of the first term, the students who make up the team cannot dance the next term and must be removed from further classes.

On the day of the team match, teams must have at least 10 students present in order to compete for Gold.

o Teams with less than 10 students will still be permitted to participate in the team match, but in fairness will not be able to win Gold.

o Team Captains function as alternates, so in the case of an absence there is no need to choose additional alternates, as only 12 students are allowed at team matches.

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TEAM SELECTION AND PREPARATION

Six ladies and six gentleman, from all participating classes, are selected to represent the school.

Your Liaison and Teaching Artist will work together in choosing the team, often in consultation with the Classroom Teachers. Our policy is to pick evenly amongst all of the classes in fairness to each class. We

will send an email to communicate your teaching artist’s recommendations for the team. We recognize that although we will send our recommendations, schools can still choose to make changes and ultimately decide who will participate.

Care and thoughtfulness should be exercised when announcing to the school community, the children selected for the team – this is a sensitive issue for children and parents. *Dancing Classrooms is strongly against announcing the Team Match team at the Culminating Event as this often detracts from the purpose of the CE which is to recognize the efforts of all students that went on the journey. The team match itself is the place to recognize the team.

Children should know what their specialty dance is, as well as be prepared to dance the other dances.

LOGISTICS FOR TEAM MATCH

The office will send team match information including directions, team color and permission slips – via email.

The team matches are often “hosted” by another participating school. Note: Although many schools offer to host a Team Match, there are many factors that go into choosing host schools, and we cannot choose everyone. The school who hosts the team match is not given any preferential treatment in the scoring. Only the dancing itself is scored.

Teaching artists may be representing more than one school at a team match.

Clothing: Simple and elegant is best! While costuming can add to the team spirit of a team, please understand that your team is not evaluated based on costuming.

HOW A TEAM MOVES ON TO THE NEXT ROUND

Some Dancing Classrooms sites have so many partner schools that it is necessary to hold more than round of competition. These sites may have quarter-finals, semi-finals, semester finals, as well as Grand Finals at the end of the school year. The teams that place Gold in each round progress to the next round, until ultimately one team places Gold at the Grand Finals.

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WHAT ARE THE JUDGES SCORING?

The teams that participate are judged according to the specific criteria detailed below. Each round is 5 dances each, which results in a total of 10 opportunities for teams to display their best dancing, in addition to the 2 captain rounds. There are four main criteria that are scored, listed in order of importance: 1. Steps (as they were taught by the Dancing Classrooms Teaching Artist)

Is the pair displaying proper sequences and footwork of steps?

Is the pair moving in the direction of the steps? 2. Rhythm

Are the partners on beat with the music?

Are they doing the correct rhythm for the style 3. Frame

Is the pair in “crispy wings” dance frame with elbows together, lifted and away from the body?

Is their posture in line with the dance being danced? 4. Style

Does the pair display elegance in their dancing?

Is the pair “moving their buttons” or “shaking what their mama gave you” (Merengue, Rumba)

Is the pair confident in their movements?

Is the pair enjoying themselves? Teams are instructed to dance the dances EXACTLY as they are taught by the Dancing Classrooms Teaching Artist. Teams should not add “extra moves or flairs” as detailed below, or they will not receive a perfect score for that dance. 1. No overhead arm styling except in Rumba (& Salsa for 8th Grade) 2. No extra beginnings before dance frame - only chopsticks and chicken wings (except in Swing dance frame). No extra endings not in the syllabus when dance ends.

- Tapping the foot or moving the body in rhythm IS OK and will NOT be penalized. 3. No hip movement in Tango. 4. Hand-to-hand connection in Merengue Starburst (no sliding down the arms from shoulders to wrists). 5. No clapping or jumping in the Salsa. It may be possible that even if a team does not receive a perfect score in the dance round where any of the above is seen, that their overall score will still be high enough to place them at Gold Level. By its nature, judging is subjective and happens in the moment with each judge doing his/her best to score each team in each round. While many dancers perform at a high level, only a certain number of teams can advance at any match. It is important that all members of the school community celebrate the accomplishments of their dancers and model the elegance and respect that is the foundation of a Dancing Classrooms residency – whether the team achieves a Gold, Silver or Bronze placement. We DO NOT share final scores of team matches with Schools, Teaching Artists, or even the Judges.

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TEACHIG ARTIST TIPS FOR SELECTING THE COLORS OF THE RAINBOW TEAM It is the Teaching Artist’s responsibility to recommend six ladies and six gentlemen to represent each school in the Colors of the Rainbow Team Match. For the sake of community building, the team should be selected evenly from each class, even if one class seems more advanced than the others: Residencies with 2 classes – select 6 children from each class Residencies with 3 classes – select 4 children from each class Residencies with 4 classes – select 3 children from each class Residencies with 5 classes – select 2 children from 3 classes and 3 children from 2 classes Residencies with 6 classes – select 2 children from each class Residencies with 7 classes - select 2 children from 5 classes and 1 child from 2 classes For reasons of safe space, auditions are not a part of the Dancing Classrooms residency. Instead, each Teaching Artist should make notes during the first part of the residency of which children are doing particularly well with the dances and exhibiting good teamwork. This will make team selection easier. Once the team is selected, pairings and specialty dances should also be recommended. Those children who really “move their buttons” could be assigned the Merengue and Rumba. Those children with the best sense of rhythm could be assigned the Swing. The children with the best Corte could be assigned the Tango. The children with the most elegant posture could be assigned the Foxtrot. The remaining two could be the “Team Captains.” Prior to announcing the team, make sure the classroom teachers and school leadership have seen and approved the list. They may have concerns about a child not showing up for practice or the actual event. They may know of another child who might really need a “boost” in life that might really benefit from being selected. If a school would like to make adjustments to the list, it is their prerogative. If you are unable to field classroom teachers’ suggestions prior to submitting the list to the liaison, please do not delay your submission. The classroom teachers still have opportunity to weigh in upon receiving the list of TA recommendations. What if the school asks me to “pick only the best children” instead of selecting evenly among the classes? Explain the DC community- and confidence-building philosophy, and still select evenly. Let them know that once they receive your recommendations, they may modify it as they see fit. What if the school wants to hold auditions? Explain that for reasons of safe-space, auditions are not built in to the syllabus, and that you will select based upon what you have seen in class. If the school insists, let them do so on their own time. Still follow DC protocol and submit your own personal recommendations according to the deadline set forth by your liaison. The school can then compare your selections with their own. For the sake of “spreading the wealth,” the children on the Rainbow Team should not be selected for special roles (readings, demonstrations) in the Culminating Event.

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WHAT IS EXPECTED OF TEACHING ARTISTS AT THE COLORS OF THE RAINBOW TEAM MATCH?

Arrive on time, dressed to code. Check in with the scrutineer,, If your team has arrived, assist them with putting sashes on the ladies and cards on the

gentlemen's backs. Set them at ease, as they will be nervous. Be very encouraging. If your team has not arrived, ask the scrutineer if there is any way you can help complete setup. During the Team Match, the team will sit in the front row and their supporters will sit or stand

behind them. Sometimes the gents on the team will sit on the floor in front of the ladies if there aren't enough chairs. (This varies across the network, as some sites hold Team Matches in gymnasiums or other open spaces, and some hold them in auditorium settings.)

Teaching Artists either sit in the first row, if there's room, or stand next to their team. (If you have two schools, stand between them, or alternate sitting with them -- make sure they both feel supported.)

Seat your team in order that they compete: Merengue, Foxtrot, Rumba, Tango, Swing, team captains. Help them know when to go onto the floor, and congratulate them when they come back off the floor.

After the practice round, be prepared to walk your team around the space in escort position to the Paso Doble music. The MC will cue you.

Always be aware of your body language and presence, as you are representing Dancing Classrooms to the community at large. Be elegant and be exuberant. Encourage supporters to cheer for their team.

Be hands-free of devices. If you would like to take photos or video of your team, ask someone else to do it for you so you can remain "present."

Toward the end of the event, the MC will cue the TAs to come onto the floor and take a bow. Then they'll ask the team to stand and face their supporters and bow to them. Help them do so.

When the results are read, the MC will cue you where to stand and have your team line up in front of you. You will help the judges distribute ribbons.

Encourage your team to show good sportsmanship no matter the results. Have them stand to shake hands with the teams that win gold. The MC will cue this.

Encourage your team to participate in the community dances that follow the results (Merengue with parents, and cha cha slide.)

If there are tears, let them know that you are still very proud of them, and they are already successful for having been selected to represent their school.

If school staff is angry because they didn't win, remain positive -- avoid the temptation to agree with them if they criticize the judging, as the judges are all representatives of Dancing Classrooms (If you feel sad that your team didn't win, don't show it as the children will feel like they disappointed you. Wait until all the schools have left and confide in your liaison.)

Once the event ends, TAs assist with loading the equipment back into the car. Ask the scrutineer how you can help. This will take another 15 minutes or so, so plan for it.

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BETWEEN THE STEPS: The History & Culture of all the Dances

Dancing Classrooms provides instruction in American style ballroom dance. Training in some of the classic styles of ballroom dance helps students experience the joy of moving with a partner and the accomplishment of building a skill. Students learn steps, rhythm, body posture and style for the dances as well as the history and background. Understanding the basics and performing them in a correct form while working co-operatively with a partner becomes the ingredients through which ballroom dance can be judged. These skills lead directly into recreational dancing, for sheer pleasure or for competition, where couples can exhibit their accomplishment before judges. Students learn to appreciate a vital and active contemporary folk form, while exploring its various cultural, geographical and artistic influences. The featured dances are: Latin, with Merengue and Rumba, and Ballroom which includes Foxtrot, Waltz, and Tango, plus Swing, and the fun “Line” dances. Each class in the series introduces new steps, reinforcing what has been previously learned through practice and repetition.

About the Dances: Cultural and Dance History

The histories of our current ballroom dances are intricately connected to the development of various musical elements in different countries. In the Caribbean and South America, for example, laws were not as restrictive as they were in North America regarding use of original African instruments, so rhythms continued to be played on what is commonly known as Conga drums. These drums, along with stringed instruments similar to the banjo and percussion instruments such as the Marimba, have blended and evolved into contemporary Latin music. In North American repressive laws against enslaved people practicing their own cultural traditions were rigidly enforced. The African musical and dance rhythm and sensibilities, however, were not repressed. Unable to play drums in the traditional ways, new instruments and styles of movement and music were invented. Syncopation, or the accent coming on the after beat (a highly specific characteristic of African music), became the basis of what we think of as American musical styles, from Ragtime to Jazz to Swing to Rock. New Orleans, the cradle of American Jazz, maintains a unique position in the history of American music. The French colonial power did not restrict the music and dance as rigidly as most of the other areas of North America. In fact on Sundays, enslaved people gathered in an area known as Conga Square to share music and dance. This continual and frequent through line of musical and dance styles directly influenced what we now think of as American music. The musicians, though predominately originally African would not have been a homogenous group either, presumably having roots in many tribal and cultural traditions. As these diverse elements blended through time, new forms resulted. It is interesting to know, for instance, that Rap has direct links to this period and connections past this period to both Africa and Spain. What is important to understand, is that, while it is impossible to connect exactly the direct path a given art form takes, it is exciting to understand the cross cultural traditions evident in the movements and music of ballroom dancing.

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Merengue:

Location: Dominican Republic Capital: Santo Domingo Island in the Caribbean, borders with Haiti Official Language: Spanish Surrounded by Atlantic Ocean and Caribbean Sea

The Merengue, originally a folk dance of the Dominican Republic, is a stationary or spot dance with a vigorous feel. A dance in 2/4, it is certainly a combination of African and Spanish culture. It has been linked both to the word merenguearse, which means to dance with real abandon, and also to an African dance in duple time called the Meringha. After reaching a stature as a dance of the salon in the Dominican Republic, it made its formal entry into the dance scene in this country in 1955. Along with other Latin dances such as the Mambo, Cha-Cha, and Bossa Nova, the Merengue possessed the requisite elements for a lasting social dance – and now seems to be a permanent part of our dance repertory. Dance lore suggests a Prime Minister, upon returning from a successful war was presented with this style of dance to honor his wooden leg incurred from the battle. Description: Marching dance on the beat, in place and side together while moving the hips Count: 8 counts Time signature: 4/4. Speed: 56 measures per minute. Rhythm: counts of 8 in quick succession

Foxtrot: Before 1910 and the startling emergence of Ragtime music, ballroom dancing existed mostly in the hot-house atmosphere of private balls and parties. Dancing was based on a modified ballet technique. The Schottische, the Polka, the Two-Step and the Waltz were the fashion. Feet were daintily turned out, partners held each other at arm’s length, and dance steps followed set

sequences. Cuts, slides and points were the dancer’s equipment. Then suddenly, the patterned elegance of pre-modern ballroom dancing disappeared with amazing finality. The intoxicating Ragtime music touched off a dance craze that circled the globe. Newly opened public dance spots were crowded with couples who lurched around the floor, holding each other closely, just happy to keep time to the wonderful, pulsing music. But – as it inevitably had to be – a measure of order began to develop from the chaos of the Turkey Trot, Bunny Hug and Grizzly Bear. By 1914, the rage for fast tempo Ragtime dances had died down. A sweet, lilting kind of music began to pour out of Tin Pan Alley. The old Two-Step and the new One-Step, producer of Ragtime, were blended, and the Foxtrot in common four-four time, danced to this smooth, sweet music, became an international favorite. Webster’s New World Dictionary defines Foxtrot as “1. A slow, mixed gait of a horse in which it trots with the forelegs and paces with the hind legs; hence, 2. A dance in 4/4 time with a variety of steps, both fast and slow.” This manner of derivation is in line with the tendency prevalent from 1910-1914 to introduce dances characterized as “walks” “canters” “and “trots” and to give them animal names. Dance lore suggests that a vaudeville performer name Harry Fox choreographed the original Fox Trot in 1912-1914. As danced by Fred Astaire in the 1930’s the Foxtrot is a joyful, creative dance, emphasizing improvisation within the overall tempo of the music. In the past, over 75% of all popular songs were written in Foxtrot tempo. Description: Two walking steps and a side-together. Count: slow, slow, quick, quick. Time signature: 4/4. Speed: 34 measures per minute.

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Rumba:

Location: Cuba Capital: Havana Island in the Caribbean Official language is Spanish

The Rumba’s origins date back more than 400 years to the cultures African slaves brought with them to Cuba. In its most basic form, it was an expressive pantomime danced by the Africans to hypnotic rhythms. A variation on this ritual pantomime is still performed today in Cuba’s countryside. A stationary or spot dance internationalized in the 1930’s, the Rumba combines undulating African isolations of the hip and rib-cage, the syncopated rhythms of many of the African musical traditions and the embrace position first seen in the Waltz. It was an instant success, for Americans were completely beguiled by the exciting Cuban Music – a fusion of Spanish melody and African rhythm, and by the movement style of this importation from the Caribbean. The body rhythm was an expression new to the American ballroom. The upper body remained quiet, while the shift of weight was manifested through the hips. But the dance we’ve come to call the Rumba is to a certain extent an American fabrication. Since the diamond-shaped step of the Cuban “Son” (the most popular Cuban social dance) was alien to us, and since the upper body shift on count “one” – instead of our customary stepping on count “one” was alien also – we made the Rumba basic into a form of the box, and also interpreted the music by making a foot placement on count one. Despite these changes from the original, the Rumba’s popularity rivaled that of the Foxtrot for many years. Then the dance called the Mambo took its place in popularity in some sections of the country. However, in many other sections and in many segments of society, the American style Rumba continues with its popularity unabated. Description: Box step starting to the side Count: quick, quick, slow, quick, quick, slow. Time signature: 4/4. Speed: 32 measures per minute

Tango:

Location: Argentina, South America Capital: Buenos Aries Official language: Spanish

The Argentine Tango, which came to being in Buenos Aires, refers not only to the dance steps, but also the music, song and poetry. Like other dances influences by African traditions, its rhythms are punctuated and complicated. Unlike many other forms, there are none of the common percussion instruments in a Tango orchestra. Rather, accordion and guitar are used to provide the percussion. The Tango has no clearly defined origin: it may have roots in Argentine, Brazil, Spain and Mexico. Descended from an early Spanish folk dance, the Milonga, and bearing traces of Moorish and Arabic ancestry, the Tango acquired its name in the early 20th century in Argentina, although it was being danced under various other names throughout South America. As the Tango developed, it is believed that many Argentine immigrants of Italian descent mixed dance and musical styles with the Spanish and African populations of Argentine. Many male workers, finding themselves without their families frequented Tango halls where they dance to songs of longing, despair and bad luck. With its intriguing, asymmetrical style, the image of the Tango is one of dancers who thrust their legs between one another with quick, sharp moves, then pause and unexpectedly change direction.

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The Argentine Tango was introduced in Paris and on the Riviera by the Argentines early in the 1900’s. This version was widely accepted almost immediately, and in many countries became equally popular with the Foxtrot and Waltz. In order to simplify the rhythm and leading, a form of the Tango evolved in the United States in the late 1920’s, which employed four beats or two measures for the basic figures. This style came to be known as the American Style Tango and is a practical way to enjoy the Argentine rhythm. It does not, however, have the maneuverability of the true Argentine Tango and therefore requires more room for its execution. Description: Three walks, side-close, no weight Count: T-A-N-G-O Time signature: 4/4. Speed: 56 measures per minute. Salsa:

Salsa, which literally means “sauce”, is a music and dance form that has Afro-Caribbean roots. Its earliest manifestation was the Cuban son, which itself was a syncretized form that had both African and European predecessors. By the middle of the 20th century, the Cuban son had mixed with American jazz in the United States to create an exciting new sound known as Mambo. The mix of Cuban, Puerto Rican, Dominican and other musicians in New York created a modernized sound that would eventually take over dance floors all over the world. The Palladium night club in New York City was considered the Mecca of Mambo dancers in the 1950s. The 1960s and 1970s saw a new change in the development of this style. Since there were several rhythms that musicians played and dancers danced to, this Afro-Cuban popular dance music was marketed as Salsa – which implies a mixture of influences and sounds – just like the sauce that would be used on food. Salsa continues to be played and danced today in nightclubs, dance studios and community parties and is considered one of the world’s most popular dances. Salsa generally has a pattern of six steps danced over eight counts of music with a rhythm of Quick, Quick, Slow – Quick, Quick, Slow. Complex turns and intricate solo footwork (shines) have become important features of Salsa dancing, however, the basic steps are relatively simple so anyone can enjoy this infectious dance!

Description: Left foot forward, replace weight to right foot, left foot closes to right foot (1-2-3.) Right foot back, replace weight to left foot, right foot closes to left foot (4-5-6.) Repeat once to complete the count of 12. Count: 1-2-3, 4-5-6, 7-8-9, 10-11-12 Time signature: 4/4 Speed: 48-51 measures per minute

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Swing: Swing at the present time, is a name given to an American jazz dance typified by subtle movements and syncopated timing. Related to such memorable dances as the Black Bottom and Shag, it traces its origins to the Lindy Hop of 1927 and American jazz rhythms. Early twentieth century Rag dances and the Charleston in the 1920’s led directly into Lindy Hop, which is said to have been named after Charles A. Lindbergh and his epochal flight

across the Atlantic. In its original form, the Lindy Hop was noted for its spectacular muscular contortions and the acrobatic feats of both partners. In the 1930’s, young people in Harlem danced a complicated air born version at the Savoy Ballroom, often performing in ad hoc competitions and creating impressive aerial movements. Initially, the Lindy was performed as a modified box step (a basic took 8 counts) with a distinct shuffling movement. This shuffle is what makes the faster tempo of the Lindy into a single time Lindy. The more popular Triple Lindy is dance to slower tempi. In order to survive, all dances must have a firmly established basic pattern from which to improvise. The Swing has this attribute (a 6 count rhythm) and furthermore, can be dance expertly in a relatively small area. American G.I.’s can be seen in many Hollywood movies dancing to the sounds of big bands such as Benny Goodman, Count Basie and Duke Ellington. Single time Swing: Side, side, back rock Count: Slow, slow, quick, quick Time signature: 4/4. Speed: 42 measures per minute

Waltz:

Location: Austria, Europe Capitol: Vienna Official language: German

With the sweeping differences in tempo among Slow Waltz, Medium Waltz and Viennese Waltz, there is an inevitable wide variation in movement style for each speed. Originally a turning, traveling dance for couples in ¾ time popularized in Vienna in the mid-nineteenth century, the Waltz remains as “Queen of the Ballroom.” People were shocked when the Waltz was first introduced, a man dancing with his hand upon a lady’s waist in public? No proper lady would permit it and society matrons declared it wicked and compromising. Yet in the United States, where there was no blue-blood caste, it proved an immediate success, and was danced by the citizenry as early as 1840. Young people, when requesting a dance once shouted ‘a waltz and a waltz again.’ In the early days of Waltz history Strauss, Waldteufel and Chopin wrote their exquisite melodies to be played at the exciting tempo of fifty-eight to sixty-six bars per minute. Then in the closing decades of the 19th century American composers began to write Waltzes to be played at a tempo ranging from forty-four to forty-eight bars per minute. These were compositions like “After the Ball” and “A Bird in a Gilded Cage.” At that time the dance form was modified to accord with this music. Later, after the Ragtime Revolution of 1910, an even slower tempo Waltz, typified by “My Wonderful One” claimed the talents of American composers, and again the Waltz form was modified to fit the new music. The Waltz proved its mettle by being the only classical dance to survive the Ragtime Revolution, albeit with diminished popularity. With the introduction of ragtime in 1910, the Waltz slipped into second place in the public’s fancy, being supplanted by the many walking, strutting dances of the era. People who had mastered the techniques and whirling patterns of the Waltz quickly learned the simple walking patterns, paving the way for the great ragtime rage and the birth of the Foxtrot. American Waltz: Box Step, Progressive and Hesitation Steps Count: 1 2 3, 4 5 6. Six steps to six beats. Time signature: ¾. Speed: 31-36 measures per minute.

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Folk and Line Dances: Heel-Toe Polka: The Heel Toe Polka derives from a chasse-saute en tournant, a step common in many folk dances and loosely translates into a chasing step that turns. Popularized in the mid-nineteenth century, the Polka has a triple beat with an outside 2/4 meter. Hops and turns combine to give the dancers the intimacy of the Waltz with the vivacity of the Irish Jig. A contemporary German dance historian traveled from Odessa to Vienna to study the Polka and found the steps to be nothing more than the well-known Scottish (Schottische) Waltz. Certainly Eastern European immigrants in the United States brought the dance with them. It is originally thought to be based on either Scandinavian or Bohemian folk dances. The Stomp, Macarena and Cha Cha Slide:

Line dances exist in many cultures and have many different degrees of intricacy. They are a choreographed sequence of steps, performed by individuals and allowing for some improvisation, as long as the performer keeps within the general movement of the line. Dancing Classrooms program uses some classic late twentieth century line dances such as The Macarena, The Stomp and The Cha Cha Slide.

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TEACHING VOCABULARY Enjoy and Live these Dulaine-isms!

Ladies & Gentlemen!

5, 6 Please begin!

1 2 3 Please Begin

1 – 2 – 3 Raise the arm 6!

1 2 3 rock rock - 4rock rock n g o

3 o'clock 6 o'clock 9 o'clock midnight

9 o'clock 6 o'clock 3 o'clock midnight

A A boom boom

A for AWAY

B B boom boom

B for BACK

Boogie Walks

C C Boom Boom

C for CIRCLE

Clap your thighs Clap your hands

CORTE SLIDE N-G-0

Dance Frame Please

Double to the Left

Double to the Right

Escort Position

From the top

Green Light Red Light

Hello new Partner

Escort position in 5 - 4 - 3 - 2 - 1!

May I have this dance please?

Moon walk back

Onto the cheese/Back to the crust

Pancakes

Pizza crust

Please – Thank you

Please WATCH – don’t do

Promenade!

Race Track position

Rectangle now

Rock Roll Jump Jump

Say Good-bye ... Say Hello

Scorpion

Outside Circle/Inside Circle

Today is about respect, teamwork and elegance!

SHAKE – SHAKE – shake shake shake

Shake what your Mama gave you!

Move your buttons

Show your diamond, comb your hair

Shuffle back to Mexico

Shuffle off to Buffalo

Single Right – Single Left

Star Burst 7 8

T A N G O

Tall – Taller – Tallest

Thank you Partner hello new partner

To the inside - To the Outside

Walk into the sand

With Pleasure

YAAA? – YAAA!

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Languages from Around the World: Pierre used a lot of foreign language phrases when working with the children. Listed below are some of those phrases, spelled out as phonetically as possible. These phrases are fun to use during the Body Language chapter of the First Lesson, when the children let you know what other languages they speak. Arabic MARHABA /hello…KEEF IL HAAL/how are you SALAAM/peace Armenian EENCH BI SES/how are you….LAVEM/well…YAAGOOR/come here Danish TOOZEN TAK/thank you very much Dutch GHOYA MORGEH /good morning…DANKYOUWELL/thank you French BONJOOR/good morning…KOMON TALLEE VOO/how are you German GUTEN MORGAN/good morning…VEE GEHTS/how are you…GUT, DANKE SHOEN/well

thank you Greek YASSOO/hello…KALI MERA/good morning…TI KA NIS/how are you TI KA NITEH to a

lady…feminine form Hebrew SHALOM/peace…MASHLOM GHA/how are you…TOVE TO DO, RABA /fine, thank

you…(MASHLOM EEGH to a lady) Italian BONGIORNO, COMME VA/good morning, how are you…BENE GRACIEH/well, thank you Japanese ARIGATO/thank you Portuguese OBRIGADO/thank you Russian GAVAR YOU PARUSKI/do you speak Russian…DA/NIETT/yes/no NIMNOSHKO/a little Swahili JUMBO/hello…HABA RIA KOM/how are you…MISOORI SANA/well thank you

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TEACHING ARTIST SKILLS CHECKLIST

The Teaching Artist Skills Checklist is the performance expectation and evaluation tool to assess a TAs ability to fully implement the Dulaine Method. This Checklist is the framework for liaison support as well as the national Quality Control Visits at your site.

Punctuality: arrives 15 minutes before class start- time

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Vocal quality: clear and energetic

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

TA models elegant, professional appearance; possesses confidence and preparedness: commands attention, poised

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Open to feedback and support; implements strategies in a proactive and positive manner

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Demonstrates collaborative relationship w/Classroom Teachers and Staff

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Dulaine Method elements:

Establishing a safe space/Respect and Compassion evident

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Demonstrating command and control (classroom management)

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

TA is “present”; in the moment

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Humor and joy are evident

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Language; Body and Verbal Needs Improvement Progressing Meets expectation Exceeds expectation

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Syllabus & Residency Expectations:

Pattern of Escort Position Established

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Dances: Presenting steps as per Dulaine Method

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Terminology: uses designated terms and meanings

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Syllabus: follows order and flow of written curriculum

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Demonstrating: shows consistent form, technique and clarity

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Residency Highlights: Commits to planning, following and communicating CE and Team match responsibilities

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Curriculum Integration: follow through and execution

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Administrative:

Responds promptly to emails and telephone calls

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Maintains open, positive communication and collaborative relationship with DC staff

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

Office: clarity and communication of availability, conflicts, residency issues, etc.

Needs Improvement Progressing Meets expectation Exceeds expectation

Notes/Observations/Goals:

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MANAGING THE “DANCING CLASSROOM”

Escort Position

Escort Position is everything – it is the physical embodiment of teamwork, elegance and respect. Establish Escort Partners (tall, taller, tallest) at the end of the First Lesson, and remind them of the order when you greet them Lesson Two. Wait until all teams are connected prior to entering the space. (Form trios when needed, so no one enters alone.)

Forming the Circle – Children have difficulty forming circles, so ask them to follow you IN ESCORT POSITION in order to form a circle. Tell them you will let them know when they may respectfully release escort hold. (They will run to opposite sides of the circle to stand near their friends if you don’t.)

Reinforce teamwork by asking them to escort their partners into lines for the Sugar Dance, and remain next to their teammates as they dance it. (End each class with a Sugar Dance even when it feels like they don’t deserve it. The Sugar Dance gives them a positive imprint that may improve their attitude for the next lesson.)

Complete each lesson in Escort Position, and remind them to stay connected to their Escort Partners until they reach the doors. Play the Paso Doble music (track 31) so they leave feeling elegant. (If they must retrieve belongings prior to leaving the space, work with the classroom teacher to devise a system for leaving elegantly with all their belongings.)

Kinesics and Proxemics

Circle Management – Keep the “ghosts” separate in the circle, stationed between teams of two, so that within the partner changes, each child gets a partner at least every other time. Entering in trios organically establishes this at the top of class. Engage your classroom teacher in helping to maintain this.

Change partners often, and with respect. Do not allow anyone to skip partners, or move from their place in the order of the circle. “Every lady dances with every gentleman, and every gentleman dances with every lady – we only ask that you do so respectfully.”

Establish a “listening position” for “how we stand when the music goes off”, whether it’s standing with Chopsticks feet and hands down at their sides, or in Escort Position with their teammate on the circle.

Physicality/Physical Comedy – Use your whole body to capture and maintain their attention.

Avoid singling disruptive children out in front of the class. Use proximity to redirect behavior.

Getting Children to Connect – always bring it back to teamwork. “Ballroom dancing is a contact sport and we dance in teams of two.” Remind them they are on the same team with their partner. “Remember, we are practicing being polite and respectful, and we will soon change partners.” Use humor, such as “No floating pancakes!” Or, “Please uncover your pancakes (sleeves or gloves) out of politeness.” All must be conveyed with warmth.

It may be tempting to remove a disruptive child from the circle, but this is contrary to the Dulaine Method philosophy. Only sit them out if their behavior threatens the Safe Space of the class. Always offer them a second chance by inviting them back into the circle either later in the lesson, or the beginning of the next lesson. (Discuss this with the classroom teacher, of course.) These are the children who most need Dancing Classrooms experience.

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Vocal and Verbal Directions

Less Talk, More Do – Children have a limited attention span, and they want and need to move. Avoid over-teaching and over-fixing. Use your “Dulaine-isms,” such as “Chopsticks!” “Dance Frame, please!” rather than lengthy directives. Demonstrate and count them in! Offer only one or two corrections at a time.

Minimize pauses between directives so class remains engaged. Memorize your lesson plan, and/or keep notes by the boom box, so you always know what to do next.

Vocal Variety – Vary the pitch and/or volume of your voice in order to engage the children.

Using countdowns with directives fosters a playful atmosphere. “Please line up in Escort Position in 5, 4, 3, 2, 1!” They will want to reach the goal! Acknowledge them when they do.

Rather than yelling over the children, use tools such as these to capture the children’s attention : o Clap a rhythm, and have them repeat it o If you can hear my voice, clap once…if you can hear my voice clap twice…. o Take a deep breath and hold it for 5 seconds, take a deep breath and hold it for 10

seconds o Nose and toes to the center!

The moment you have their attention again, issue a new directive and move on.

Phrase all directions in the positive – “May I get a drink of water?” “Yes! After class.”

Acknowledge positive behavior – “I love how these teams are standing elegantly in Escort Position,” or “Thank you for looking at me…thank you for looking at me…” The others will notice and follow suit.

When Nature Calls…

Bathroom Breaks – children often ask to go to the restroom in order to avoid with dancing with certain students, or to avoid parts of the lesson. In the beginning of the residency, tell the class that you have discussed with their teacher that they should use the restroom before they come to class so they don’t miss any of the instruction. If a judgment call needs to be made for individual students, let the classroom teacher decide.

When All Else Fails…

For extreme cases, when traditional tools are not working, and even the classroom teacher cannot maintain order, use the Virtual Hug – sit the class down on the floor, in close group, and kneel or sit down in front of them. (Always speak to the children “on their level.”) Breathe. Smile if you can. Address the behavior you’ve observed, and discuss other ways the class might move forward in a better way. Remind them about teamwork, elegance, respect, politeness, and positive body language. See if you can get them to agree to try again according to these things. Give them a new directive along with a countdown, and carry on.

You are Not Alone…

Remember that your Educational Liaison is there to help you. Contact them for advice between Liaison Visits. Keep them updated so they can most effectively support you when they visit. If needed, they may discuss additional strategies with the classroom teachers or school leadership.

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LEVERAGING THE CLASSROOM TEACHER

Although the Teaching Artist “Takes the Lead” in the Dancing Classroom, the classroom teacher is expected to participate not only by dancing with the children, but also by supporting overall classroom management. The ideal collaborating teacher brings her class on time in Escort Position and dances with her students. She notices when her class loses focus and brings them back before the TA has to say anything. Take every opportunity to thank, compliment, and acknowledge this DREAM Teacher. From school to school, and year to year, you will experience varying degrees of engagement, such as:

The Passive Teacher dances with her students, but does nothing to help with classroom management. She figures it’s your job, or she doesn’t want to step on your toes; she may have lowered her standards for the class, or even given up on ever maintaining order.

o Strategy for Engagement: If order is lost during the lesson, go to her quietly and ask her what she

recommends. (Usually, they take this as a cue to step in.) If there are just one or two children in need of redirection and they have not

responded to you, quietly ask the classroom teacher to stand near them so you can redirect your attention to the entire class.

If possible, take her aside before the class leaves, thank her for dancing, and let her know you are open to more support with regards to classroom management. Ask if there are strategies she implements in the classroom that you could use in the lessons. (Or, your Liaison could have this discussion for you.)

The Tyrannical Teacher takes classroom management to the extreme by screaming at the children before they’ve even done anything wrong. She carries grudges from past behavior and projects them onto the children’s present and future behavior. She may even yell over the TA’s instruction.

o Strategy for Engagement: Stay calm and model grace. Stand elegantly, breathe, and radiate all the positive

energy you can muster. Once she’s finished yelling, thank her, and proceed with the lesson as positively as possible.

If possible, take the teacher aside before the class leaves, and let her know it’s OK with you if the class is a little bit giggly or chatty, etc.; it’s part of the Dancing Classrooms journey. Make sure she knows you value her collaboration.

The Resistant Teacher brings her class late, and leaves it to the TA to get them in Escort Position. She refuses to dance – sitting for the entire lesson, either grading papers, checking her phone, or even chatting with other staff.

o Strategy for Engagement At the very First Lesson, bring the classroom teacher onto the stage, and invite

her into whichever circle needs an extra person. If she is uncomfortable dancing, invite her to simply stand near the circle so she can more easily engage. If she refuses to stand, bring a chair for her as close as possible to the circle so the children can feel her presence. (All this with a smile, of course.)

Ask her questions from time to time, such as “Ms. Jones, what did you like best about their Rumba?” or “who do you think had the crispiest chicken wings?” If she expects such questions, she will more likely stay focused.

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THE DIFFERENCE BETWEEN ENCOURAGEMENT AND PRAISE:

ENCOURAGEMENT 1: to inspire with courage, spirit, or hope b : to attempt to persuade 2 : to spur on

PRAISE 1 : to express a favorable judgment of 2 : to glorify especially by the attribution of perfections

Encouragement…

focuses on process, not product or perfection

helps children evaluate their goals

creates a learning environment where it is safe to take risks.

helps children to accept others as they are which helps all children build self-confidence.

Helps children define their own goals and reach beyond the confinements of praise.

is clearer and more powerful than praise.

Praise…

focuses on product and perfection instead of process

makes children dependent upon your approval

sensitive to the judgment of others

focuses on a goal of perfection undermining a child’s ability to self-assess

focuses children to see the worth of their own work through the praise of others

places pressure on the children to live up to the established standard in order to please the teacher

leads to avoidance of difficult tasks and a fear of taking risks

If you choose to praise, praise genuinely and specifically, without manipulation. “Good job! I noticed that you stayed fully focused on your dancing for 20 minutes today. That’s 10 minutes longer than yesterday. How did it feel?”

Be specific with your directions and encouragement:

Show me: “Show me a beautiful frame.”

Remind me: “Remind me how we stand for the Tango.”

I hear: “I hear loud talking. It is hard for you to hear the directions.”

I see: “I see you are standing elegantly. Your posture is improving. How does it feel?”

I notice: “I notice we are getting wiggly. Let’s stop and shake our bodies out.” “I noticed that everyone got into escort position quickly and quietly today. Well done, great work.”

Remember: “Remember we only touch our teammates in a respectful way. Thank you for making that adjustment.”

I’m glad that: “I’m glad that you enjoy the Swing. It’s wonderful to see you smile as you dance!”

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DANCING CLASSROOMS DIVERSITY & SPECIAL CIRCUMSTANCES Your class is a community of learners comprised of many different students; the focus of your Dancing Classroom should be on building the community and going on the journey. While it is important to know about diversity that exists, the teaching intention is on teaching the whole class community. Everything you need to know is in your training: the script, physicality, dynamic energy, vocal presence, love, compassion and clarity. Children with emotional challenges: a secure, consistent and supportive environment is important. These children need extra amounts of success to feel good. Children from diverse languages, religious and multicultural backgrounds: All children can participate in a Dancing Classroom. Ask child what they’re comfortable doing. (e.g. - some Islamic girls will dance “inside circle” so they rotate only with other girls.) If a child is not allowed to dance, they can be a teacher’s assistant or the DJ. Special thanks should be made at class end for their role. Children English Language Learners: Instruction and emotions must be physicalized as well as verbally expressed. Exactly as in training. Learn words in their language to make connection. Use music, body and word to teach. Less talk, more do! Children with ambulatory limitations: Meet students where they are and most comfortable. Talk with students about how they’d like to proceed. Work with moveable areas of their body or ambulatory equipment. Every effort should be made to include student in general dancing circle with their paraprofessional or teammate. Children with hearing and/or speech challenges: Establish an open, relaxed, atmosphere of encouragement. When children are having fun and are actively involved, they tend to forget about speech difficulties. Speak with teacher about how you will meet the needs of these students. Gifted children: All kids need to laugh and have fun. These kids may pick up dances quicker, but they should still go on the journey! Because these kids may be high achievers, keep in mind sensitivity with being selected for events and providing feedback that is positive, clear and specific. Acknowledge and encourage students that are interested in studying art form more in depth. Children in Autism Spectrum: These students may initially demonstrate an unwillingness to participate. The door to “the cheese” should always be open and the students are always to be greeted and treated as part of the class. Meet them where they are -- once comfortable, they often come around. Spectrum kids may be sensitive to sound, eye contact and touching. However, with consistent encouragement and routine, they will have ability to become leaders in the class through what they are good at. Connect and collaborate with teachers about how to best meet the needs of these kids. Imbalance of Boys and Girls: If you have a significant imbalance of partners, this can affect the quality of the learning. It is recommended that you decide upon some of these strategies in collaboration with school teachers and leaders: 1. Designate ghost partner with “real” ghosts like Shakira, the President, Jennifer Lopez; encourage them to use their imagination, then acknowledge their ghost! Wow, your ghost must be

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happy with that crispy frame you have! 2. Establish Teams: Break up largest gender group into two teams – A’s/B’s; Yankees/Mets; Kiwis/Pineapples/Oranges/Apples; instruction will involve alternating groups during review and learning. 3. Borrow kids from the grade or other classes, as approved by liaison.

Mindfulness for Special Needs

Teach your class, not just a few individuals

Work collaboratively with teachers and specialists

Go on the journey – and adjust your syllabus

Disability is the general term used for a functional difference that changes the way a person walks, hears, learns or lifts

Some people are special in ways that present them and their families, friends, and teachers with more difficult challenges or different ways of thinking

Maintain eye contact

Treat with dignity, respect and courtesy

Don’t talk down

Speak directly to the student

All kids are different -- and all kids are special

Educate yourself on the needs of your students

Have realistic goals in mind so all students feel successful

Learn the names of your students

Frustration inside is frustration outside – Check Yourself

Break things down, step by step

Diversify your teaching

Be specific with praise “I see your wings are crispy!”

Set your own goals, but delight in those achieved

If you’re frustrated and not having fun, neither are they

Adapt dance and movement for student’s most mobile parts

Students should be able to see your face easily

People with speech disorders want to be understood as much as you want to understand

Speak clearly, but don’t exaggerate or shout

Modified Special Needs Syllabus

Always set the intention to cover the entire syllabus with every class, as most special needs children will delight in completing the whole journey. If, however, there is an entire class (as opposed to an inclusion class) of extremely challenged special needs children, the syllabus below can be implemented with liaison approval:

Merengue - Delete Separation Step

Foxtrot - Basic Step only, no Promenade

Rumba – Box Step and Rectangle, no Under Arm Turn

Heel Toe Polka – Keep them with the same partner

Tango – Basic Step and Promenade/Scorpion only

Swing – Delete Man’s Under Arm Turn

Waltz – Box Steps and Side Hesitations Only

What is most important is that the children experience each dance “destination” along the journey. Once the above syllabus is integrated, additional steps may be layered in as time permits.

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GENDER AWARENESS AND SENSITIVITY

In the spirit of teamwork, Dancing Classrooms has become more aware of the role of gender in our classrooms. Here are recommendations for solving challenges related to this issue.

ELEMENTARY SCHOOL AWARENESS FOR BOTH MIDDLE SCHOOL

If there is a significant gender imbalance it will affect the quality of the learning it is recommended that you decide upon some of these strategies in collaboration with school teachers and leaders: Designate ghost partner with

ghosts like Barack, Michelle, Jennifer Lopez, etc.

Borrow kids from inside or outside the grade

Double up from existing classes

Add another smaller class

Rearrange all classes to balance things out

Establish Teams: Break up largest gender group into two teams – A’s/B’s; Yankees/Mets; Kiwis/Pineapples, Oranges/Apples; instruction will involve alternating groups who learn steps

Contextualize all ballroom teaching within the world, history, tradition and culture of ballroom dance

Adjust his/her references to my partner or teammate; We escort each other into the ballroom”, “We hold each other in dance frame with respect.”

Add Outside circle, Inside circle to Ladies and Gentlemen repertoire

Delete: “Leader/Follower” “INTO the lady” from Rumba” “Lady’s hand to protect it.”

Lesson 13 Allow students chance to switch sides on circle by doing the “Topsy Turvy” Merengue review. This is a lesson in empathy – how does it feel to play the other part of the team?

Special events: Tradition dictates dressing up for events as if for a graduation, church or prom.

Religious Exceptions: Genders have been known to dance together for religious purposes. These students are welcome to perform and participate in team match if they’d like.

Special circumstances: Students can participate in the role they are most comfortable working in. Any gender identity awareness should be discussed in collaboration with school and DC team and teaching adjusted if need be to accommodate this awareness – outside circle, left footers, right footers, kiwis/pineapples.

Find out gender majority. Collaborate with school to ensure that same gender dancing is ok within ballroom dance residency. Generally, ladies will dance together; with boys it is much tougher

Invite students to dance as a team with same gender, but they will need to learn both roles

Special planning will go into CE and TM for this school

Students must know that for competition, they will need to know both roles.

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TEACHING ARTIST: FAQ’S I am losing my voice. Move away from your boom box. Physicalize your teaching more. Less talk, more do. It is hard for me to demonstrate without a partner. Refrain from demonstrating, reviewing or teaching any dance with a child, especially if they haven’t had a chance to review or dance before. Demonstrate steps as you were taught -- in the character of the lady or gentleman dancing with your ghost partner. After children have learned step, then invite student to demonstrate with you or highlight teams. What do I do if my students are not in escort position when they arrive? Meet them at door entrance, use Paso Doble music. They probably have no good reason or understanding of the purpose of escort position. Explain the purpose. Inspire them to wave to their fans and the paparazzi as they enter the room. My teacher is not actively supporting the residency and classes are late. Warmly invite teachers to be a part of the class. Acknowledge and thank them. They will come around. Connect with your liaison and coordinator about why classes are behind schedule and adjust time accordingly. What if students and teachers want to change the music or syllabus for the ballroom class? A great deal of care has been taken in choosing the appropriate music and sequence of dancing for your dancing classes. Please do not use other music than the music given to you. The main reason is that we teach the American Style of Dancing to the children so the speeds differ greatly in some dances. Please do not change the syllabus. What if I have any questions about classroom dynamics or anything regarding my residency? Your liaison is your point of contact for any questions or needed support during your residency. Check in with them. They’re here to help you and can only do so if you communicate your needs. What if I am running late or am sick? If you’re ill make a decision the night before your residency to resolve it. Morning of is already a difficult time to find a replacement. You’re expected to arrive 15 minutes before classes start. Your school is the number one priority. If an unforeseen event happens, call the school first and then contact your liaison and your scheduling office. Where do I go when I arrive at the school on my first day? Warmly introduce yourself to the security guard and/or the team at the main office. Greet with a warm smile and a good morning and introduce yourself. The office will direct you where to go. I am having trouble. Whom do I go to? We are in schools to serve the students. If there is a problem, please get support from your liaison and your school. What do I do if things are changed last minute? Before the class even begins, you should be in that school to ensure that you are where you’re supposed to be. Go directly to the decision maker or coordinator. Don’t sit, wait or stew. Communicate with your liaison. What if the school changes the residency dates? With grace and care – listen and then call your liaison. It is advised that dates are changed with advance notice and in consultation with the liaison and teaching artist. When do I plan for curriculum connection? Curriculum connection is assigned Lessons One (First Reflections) and Ten. At Orientation, ask classroom teachers what academic units they’ll be covering during the residency; around Lessons Six or Seven, suggest ideas for connecting those units with ballroom dancing. Your liaison can assist you with this. When do I plan for a culminating event and team match? CE Plans and Team Match recommendations must be submitted to Liaison or STA 2 weeks in advance, so begin planning at least 3 weeks in advance.

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DANCING CLASSROOMS PROGRAM BENEFITS Program Quality and Replicability: During the 2014-2015 school year Dancing Classrooms served nearly 50,000 children in over 500 schools in 29 sites: New York City, Newark, Omaha, North Texas, Ontario (Can), Philadelphia, Long Island (NY), Fort Myers (FL), the Florida Keys, Northeast Ohio, Lake Charles (LA), Geneva (Switz), Pittsburgh, St. Louis, US Virgin Islands, Western Maryland, Winston-Salem, Seattle, Phoenix, Zurich (Switz), Los Angeles, Southeast Florida, Israel, Southern Chicago, Richmond, Jordan, Boston, Washington, D.C. and New Mexico. Hundreds of Dancing Classrooms Teaching Artists who have been trained in the Dulaine Method. The training is rigorous and systematic. Each of the Dancing Classrooms sites has a quality control program; additionally, the Dancing Classrooms Global staff makes biennial Quality Control Visits to each site. So, what you see in Mad Hot Ballroom happens at every Dancing Classrooms site.

Research: Social Development: Two research projects indicate that Dancing Classrooms does make positive changes in participant social development: Philliber Research Associates, St. Louis, Missouri, 2005

Student pre & post, teacher, parent, and Teaching Artist questionnaires

Student demographics: 25% African-American, 25% Hispanic, 30% Asian, 20% Anglo

Respondents agreed that Dancing Classrooms: o helped students overcome social

anxieties o enhanced respect and increased social

skills o increased student confidence and self-

esteem o increased student awareness of other

cultures o increased student physical

development, coordination and participation in physical activity

Teacher Comment: many learned how to interact better with their peers; many learned to be more respectful of one another.

Dr. Larry Nelson, UTA College of Education, Arlington, Texas 2006

Pre & post test protocol on 624 5th graders (1/3rd in control group)

Sense of Mastery Global Scale and Sense of Relatedness Scale:

Very Strong Statistical Difference: o If I try hard it makes a difference. o There are people who will help me if

something bad happens. o I get a lot of encouragement at my

school. o School will help me be successful.

Strong Statistical Difference: o I will be happy and successful when I

grow up. o I am getting the exercise that I need. o People accept me for who I am. o I feel supported. o It makes me sad to see a girl or boy

who cannot find anyone to play with. o I respect people who are different then I

am.

Social Support within the Sense of Relatedness scale showed a Very Strong Statistical Difference

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Childhood Obesity: Two research projects indicate that Dancing Classrooms has a positive impact on some of the variables that lead to childhood obesity: Shirley Huang, MD., Weill Cornell Medical College, 2007: Physical Activity Levels of School-Age Children in a Ballroom Dancing Program. Objective: to determine if Dancing Classrooms engages children in moderate to vigorous physical activity (MVPA) at least 50% of class time. Methods:

Descriptive/Prospective Study Measurements:

Random classes during first half and second half of the program

Physical Activity Assessments: o Subjective: System for Observing

Fitness Instruction Time observation method

o Objective: heart rate monitoring Conclusions:

Dancing Classrooms does meet national recommendations of providing at least 50% of class time in MVPA

Increasing time in MVPA is demonstrated as program progresses

Dancing Classrooms may be an appropriate means for children to achieve MVPA.

Dr. Larry Nelson, UTA College of Education, Arlington, Texas 2008 Reason for research project: because the obesity epidemic is increasing throughout the nation at an alarming rate administrators and funders are paying special attention to the physical activity levels of children in physical education programs. This study examines how different types of Dancing Classrooms activities (both individually and in aggregate) influence heart rate responses and time spent in, above, and below fifth graders’ target heart rate zones. Students in the study (N=200) were measured by wearing Polar E-600 heart rate watches to determine Dancing Classrooms impact on fitness and overall contribution to daily physical activity with the physiological accuracy of an electrocardiogram. Preliminary findings: though the data has not yet been fully inputted and analyzed (as of November 2008), passive data entry findings at this point may suggest that all of the dances, except Waltz, will closely meet the minimum 55% of max heart rate exercise threshold that has become the standard in physical education research. Tango will likely exceed the other dances entering into a 65% max heart rate range, and Swing is likely to meet “vigorous” standards upwards of 75%. Specific conclusions and variations in data relationships are yet to be determined.

SCHOOL PRINCIPAL SURVEY: 2008-2009 School Year: New York City

1. Did you see a positive change in the way children who took Dancing Classrooms treated each other:

Yes: 96.3% No: 3.7% Don’t know: 0%

2. Did your school climate experience a positive change after the children completed Dancing Classrooms:

Yes: 92.3% No: 3.9% Don’t know: 3.8%

3. Do you believe Dancing Classrooms has any impact on academic performance:

Yes: 80.8% No: 7.7% Don’t know: 11.5%

4. Did your school experience a drop in behavior management problems in the children taking Dancing Classrooms:

Yes: 79.2% No: 16.6% Don’t know: 4.2%

5. Do you believe that Dancing Classrooms increase parent involvement in your school:

Yes: 70.4% No: 22.2% Don’t know: 7.4%

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Resources: Books, Film, Web

Books: (E: elementary A: adolescent)

Agell, Charlotte. Dancing Feet (E)

Beth, Kephart. House of Dance (E, A)

Colon-Vila, Lilian and Roberta Collier-Morales. Salsa (E, A)

Cooper, Elisha Dance! (E, A)

DeMille, Agnes. America Dances (A)

Ellfeldt, Lois and Virgil Morton. This is Ballroom Dance (E, A)

Enting, Brian. People Dance (E)

Kakugawa, Frances. Wordsworth Dances the Waltz

Levy, Elizabeth. Seventh-Grade Tango (E)

Lowery, Linda. Twist with a Burger, Jitter with a Bug (E)

Maze, Stephanie. I Want To Be A Dancer (A)

Hughes, Langston. The Dream Keeper and Other Poems (A)

Jamison, Judith. Dancing Spirit (A)

Joseph, Lynn. The Color of My Words. (E,A)

Millman, Cynthia. Frankie Manning Ambassador of Lindy Hop. (E, A) Morrison, Lillian. Rhythm Road: Poems to Move To (E)

Niklaus, Carol. Come Dance With Me (E, A)

Ostow, Micol. Emily Goldberg Learns to Salsa (E,A)

Schick, Eleanor. I Have Another Language – The Language Is Dance (E, A)

Spinelli, Eileen. Boy, Can He Dance (E)

Tru, Kimani. How to Salsa in a Sari (E,A)

Trussell-Cullen, Alan Everybody Dances (E)

Wilson, Karma. Hilda Must Be Dancing (E)

Wallace, Ian. Chin, Chiang and the Dragon’s Dance (E)

Warren, Larry. Anna Sokolow: The Rebellious Spirit (E, A)

Teacher Resources

The Kennedy Center Arts Edge - Curricula Lessons and Activities: Performing Arts. Lesson plans involving dance activities are included here for K-12 https://artsedge.kennedy-center.org/educators/lessons Cornett, Claudia Creating Meaning Through Literature and the Arts A guide to Arts Integration Music, Art, Dance, Literature

Film

Mad Hot Ballroom (E) Take the Lead (A) Dancing in Jaffa (E, A)

(Study Guide available from Dancing Classrooms))

Singing in the Rain (E,A) Films with Ginger Rogers and Fred

Astaire (E,A) Hellzapoppin’ with Frankie

Manning (E,A) That’s Entertainment (E,A) West Side Story (A)

Web

Free To Dance. The "Free to Dance"

Web site also includes a dance timeline (from 1619 to 2001), list of links, biographies, and other resources. Access: http://www.pbs.org/wnet/freetodance/lessonplans_2.html. Dance: An Annotated Videography of Holdings University of California, Berkeley. This videography contains a

superb annotated list of dance videos categorized by locale ("Dance in Asia," "Native American Dance," etc.). It also includes a list of movies with dance and a short list of books on dance in film. Access: www.lib.berkeley.edu/MRC/DanceVid.html.

Places:

Check with your local arts council or performing arts centers for opportunities to see live performances.

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