HKIN 342

Professor Dawn Crawford

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DANCE ASSESSMENT
Class Assessment

Assessing People

Although there is a degree of physical assessment,

a larger degree is placed on:

 Improvement
 Attitude
 Creation and response to dance
 Use of terminology and skills taught
 Musicality/ musical expression
 An ability to work collaboratively (groups or partners)
 Artistic Expression
 Emotional control and expression

Assessment in a dance class is CONTINUAL (often every day) and

not necessarily based on a final exam or skills acquisition assessment.

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GENRES OF DANCE

Musical Theatre/ Broadway Jazz- combining theatre with dance movements.

A form first seen in the 1920s on Broadway and in film; influenced by ballroom, ballet, tap and
even early modern. Involves singing/ lip- syncing and dancing. Has geometric (emphasis on line
and shape) and comic elements finding humour in everyday happenings. Made for film or live
theatre settings. *Broadway Jazz truly evolved from earlier forms of Musical Theatre; dancing
and singing, used to tell a story, captured in film and film studios in California began to thrive on
the live stage on “Broadway” in New York City.

Swing-
An American social dance that originated alongside Jazz music in Harlem, New York City. It has
many forms/styles: Shag, Lindy Hop, Charleston, West Coast Swing, East Coast Swing that
evolved in the 1920s and 30s and continued into the 40s and 50s. Known an energetic and
physical social form of dance involving partners where the male is known as the “lead” and the
female is known as the “follow”. The East Coast basic step consists of two 2 beat steps and a
“rock step” (also known for its Slow, Slow, Quick, Quick rhythm) and is characteristic of this
style. Although there are set steps and technique a great deal is based on improvisation and the
partners’ abilities to give and listen to cues/signals.

Jazz-
Originated in 1930s-1950s; was heavily influenced by the vernacular dances of the Africans
when brought to the Americas on slave ships and has roots in Caribbean and Latin American
traditional dance. It developed alongside Jazz music in New Orleans. It became a performance
theatre based form of dance requiring a highly trained dancer as it was utilized by various ballet
and modern choreographers. Jazz dance utilizes locomotor skills, isolations, rhythmic phrasing.
Syncopated rhythmic patterns are similar to jazz music and provides an opportunity to develop
an understanding the body’s innate need to move. Its key elements include syncopated
rhythm, isolations, improvisation, a low center of gravity and a high level of energy. A
defining characteristic is that Jazz dance has always developed in parallel to popular music.
Key developers were Bob Fosse, Jerome Robbins, Katherine Dunham. Lyrical Jazz- A
combination of Jazz and ballet. An expressive way to dance with movements based on music
and lyrics to create imagery and communicate a message or story. An emotional and facially
expressive form of dance evoking the emotion of the choreographer through the dancer.
Liturgical-
A form of lyrical dance, expressive and meant as a form of worship and spiritual connection for
the dancer and audience to God.

Tap-
Emerged in the 1920s and developed alongside Jazz music. A style of American theatrical
dance, distinguished by percussive footwork, that marks out precise rhythmic patterns on the
floor; focussing on the development of rhythmic ability and its relation to musicality and
sequencing. Improvisation remains an integral element. Sources include: Irish solo step dance,
English clog dance, Spanish Flamenco, and African dance movements. Shoes eventually became
a hard soled leather shoe with metal plates.

Classical Ballet-
A formal and structured form of dance that includes traditional steps, positions, and body
carriage. While also providing a technical foundation and understanding of dance positions and
proper placement while developing overall coordination and a sense of poise and grace. Has a
high center of gravity and involves highly coordinated movements and sequences. Originated in
Italian Renaissance courts and was brought to France by Catherine de' Medici in the 16th
Century. Often involves a classic story line and utilizes simple gestures and characterization.
Contemporary Ballet- maintains elements of traditional ballet (lower body) and incorporates
the stylistic movements of other genres such as modern.

Modern-
There are very broad parameters within this style of dance. Viewed as a rebellion against
ballet. Focusses on self-expression and individualism; it embraces abstractionism, performance
art, contact improvisation, release technique, and improvisation. During the late 1920s-early
1950s, American dance pioneers developed their own movement vocabulary, repertoire and
schools based on involved philosophies and concepts. Martha Graham, Merce Cunningham,
Lester Horton, Jose Limon.
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LABAN MOVEMENT ANALYSIS

Rudolph Laban (1879-1958) - the developed LMA based on:

 Theory used mainly in dance& gymnastics

 2 types of movement: functional & expressive
 F & E help to appreciate the nature of movement, objectives and context

***LABAN MOVEMENT ANALYSIS (LMA) aims to:

1. Structure learning tasks

2. Observe& analyze movement
3. Communicate an accepted terminology/ vocabulary
4. Evaluate content & develop a curriculum

Dance Elements of LMA

1. BODY

o INITIATION of movement starting from specific body parts- which body

parts are moving
o CONNECTION of different body parts to each other-which body parts are
connected
o SEQUENCING of movement between body parts- which parts are
influenced by others
o PATTERNS of body organization-general statements about body
organization

2. EFFORT/ DYNAMICS

Encompassing:

o EFFORT= Space, weight and time

 SPACE: direct/indirect
 WEIGHT: strong/light
 TIME: sudden/sustained
o FLOW= the continuousness of or “ongoingness” of motions (it is difficult to
remove flow)
 FLOW: bound (lacking flow)/ free (a sense of continuousness)
3. SHAPE- the way the body changes shape during movement

o FORMS- static shapes- wall-like, ball-like, pin-like

o MODES OF SHAPE CHANGE- - the way the body is interacting with and
the relationship the body has to the environment
o SHAPE QUALITIES-describes whether the body is OPENING (growing
larger with extension) or CLOSING (growing smaller with more flexion)
o SHAPE FLOW SUPPORT- the absence or presence of torso movement
(specifically in changing shape to support movements of the rest of the
body)

4. SPACE- GENERAL or PERSONAL SPACE

o GENERAL SPACE
 FLOOR PATHWAYS & AIR PATHWAYS ( while travelling)
 EXTENSIONS- where/what space a movement pattern uses
UpStage (US)-DownStage (DS)-Stage Right (SR)-Stage Left (SL)
 CLASS SPACE- where? A gym, a stage, a room, outside
 SPACE BETWEEN PEOPLE
 LEVELS- low, medium, high

o PERSONAL SPACE (KINESPHERE)

 DIRECTIONS- of the body or body parts
 LEVELS – of body parts used
 EXTENSIONS- of limbs used
 LEVELS- patterns made with body parts

DANCE MOVEMENT IN PHYSICAL EDUCATION

The general purpose of a fundamental rhythm program is:

 To provide a variety of movement experiences

 To enable children to move efficiently and effectively
 To develop a sense of rhythm
 Creativity should be a part of all dance & rhythm activities
 Allow the scope of the activity to determine the degree of freedom
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BASIC POSITIONS OF THE FEET AND HANDS

ARMS

First Second Third

Fourth Fifth Open Fifth

FEET

First /1st Parallel Second/2nd Parallel Third

Fourth/4th Parallel Fifth

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BASIC MOVEMENT PRINCIPLES

Describe each movement.

Add examples from class using dance vocabulary/terminology like:

arabesque, chasse, jeté, pas de bouree, chaine, pirouette

1. BALANCING:
For example:

2. TURNING:
For example:

3. LOCOMOTION (Travelling)
For example:

4. JUMPING
For example:
LEVELS IN DANCE

Exist in our:

PERSONAL SPACE (within our kinesphere)

Include descriptions and examples from class for each category.

High:

Medium:

Low:

GENERAL SPACE (travelling)

Include descriptions and examples from class for each category.

High:

Medium:

Low:
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THEOLOGICAL PRINICPLES

Movement/Dance- How does this fit in with our Christian Perspective of Dance?

What basis is there for the purpose of dance, for the fact that it has intention for us as
Christians? Three theological principles of the Biblical Worldview provide affirmation of the
body, as it can be seen through the historic Christian beliefs of CREATION, INCARNATION
AND REDEMPTION. These three stated “provides a framework for appreciating the art of
dance” (Schroeder, 1993, p120). Through “the aesthetics of bodily language” dance declares
the truth that the body and soul are interconnected (ibid, p119).

CREATION:

Christians believe that God is the Creator of the heavens and the earth and all that is
within them. They also believe, according to Genesis 1:27, that humans are made in the
image of God. With these beliefs, a Christian perspective of art in general sees art as a
response to God’s creative power to the resultant creativity of humans. Susan Bauer
states that ‘in their public performances in liturgy, dancers and choreographers make
visible their call to be co-creators in the life and mission of the church’ (Bauer, p182).

INCARNATION:

God became manifest in human form through Jesus Christ. This confirms the truth that
God affirms the body. Dance is theologically legitimate in this sense for: “the incarnation
affirms that God uses human flesh and delights in doing so. This is highly applicable for
the dancer, for it testifies to the fact that the “physicality of the body is something that is
honoured by God” (Schroeder, 1995, p122).

REDEMPTION:

Redemption affirms that God is interested in the restoration of the whole body. The
abundant life promised by Jesus (John 10:10) includes being complete human beings,
both spiritually and physically. This is evidenced by Jesus’ healing miracles. “In the art
form of dance, we can tangibly affirm that our physical and spiritual natures are
intertwined” (Schroeder, 1995, p123).

Dance is worship. God is pleased with whatever form of dance (no matter how small or great) it
is. He is pleased with our worship. So whether swaying side to side in chapel or dancing on a
stage, God can be honoured with the right heart and intentions.
HKIN 342

DANCE MUSIC TERMINOLOGY

RHYTHM is the basis of music and dance

o Expressive movements are made with or without music
o Body movements tend to be rhythmic (heartbeat, rocking)

Music has essential characteristics that all students should

recognize, understand and appreciate:

TEMPO: speed of the music; can be constant or show acceleration or deceleration

BEAT: the underlying pulse of the music and is always continuous (even if not heard)
 Can be strong or weak throughout the music
 Can be even or uneven

METER: the organization of beats into regular reoccurring pattern of measures or bars
 ex. 4/4, 2/4, 3/4, 6/8, 9/12

ACCENT: notes or beats in a rhythmic pattern that receives more force than others
 ex. 2/4 versus 4/4

INTENSITY: loud, soft, light, heavy

PHRASE: a natural grouping of measures, coherent segments that make up a melody

Early experiences center on functional and creative movement forms

 Addition of music can enhance development

 Music positively capitalizes on locomotor skills children already posses
 Fundamental rhythms are a major factor in program construction and the progression
of basic and specific dance steps
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TEACHING PROGRESSIONS

Step 1: Listen and move to the music

 Include exploration, clap to the beat/rhythm, move to the beat/tempo, use words to assist
exploration and explanation
 Help students distinguish and identify key parts or changes in the music
 Show the dance (optional)
Step 2: Teach Part 1 of the dance without and with the music
 Break down steps into parts, showing individual movements and counts
 Go slowly and repeat a number of times increasing the tempo but maintaining the
rhythm
 Do part 1 with the music
Step 3: Teach Part 2 without and with the music
 Do step 2 with Part 2
 Count out loud, cue key movements or sections
Step 4: Do Part 2 and 2 together without and with the music
Step 5: Repeat with the additional parts, adding to the last section
 It is helpful to start at the last 4-8 counts of the previous phrase
Step 6: Put the entire dance together without music
 After reviewing without the music, put the dance together with music
Step 7: Identify Trouble Spots
 Watch for sections or movements the majority of the class is struggling with
Step 8: Review and Refine
 Practice sections or movements that are weak, breaking them down into parts and
counts
 Ask for questions from the class
 Clarify movements counts, qualities, shapes
Step 9: Practice without the teacher
 Repeat to build confidence to the point where cues are no longer needed
Step 10: Perform without the teacher
 Perform for classmates, peers, or parents

KEYS TO GOOD TEACHING

 Eye contact
 Enthusiasm
 Use of voice (projection, articulation)
 Clarity of demonstration and explanation
 Professionalism
 Familiarity of material
 Ability to count music
 Effective introduction, warm-up and closing
 Ability to adjust to class needs and abilities
 Consideration of safety, space and students
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THE PHRASE
A phrase is to dance as a sentence is to a book.

A phrase:

 is considered the smallest and simplest unit of form

 has a beginning, a middle and end
 is made up of individual movements that share common elements of intent

When a phrase is manipulated or changed it is commonly referred to as a MOTIF.

This practice of manipulation is a commonly used dance improvisational
technique or practice as well as a commonly used tool in the choreographic
process.

SIXTEEN WAYS TO MANIPULATE A MOTIF

METHOD DESCRIPTION

Repetition Simply repeat the exact movement

Retrograde Perform it backward. Start at the end and follow it back through space
– like a movie run backward.
Inversion Turn the movement upside-down (becomes) or invert it laterally
(becomes). These can be tricky or even impossible (ie. You may need
to stand on your head!) but don’t instantly dismiss this option on
those grounds!
Size Condense or expand. Take the motif and do it as small as you can. Try
it even smaller Now take the movement and make it bigger, as big as
you can.
Tempo Fast/Slow/Stop. Take the motif and do it as fast as possible. Try it
again, even faster. Be careful not to let it get smaller. Do it as slowly
as you can. Remember to keep the space constant, the same size it
was originally. Find places for stillness in it.
Force Vary the amount of force you use in producing the movement. Do it
with great deal of strength, from beginning to end. Now repeat again,
with very little force, gently, weakly. Carefully try to keep change in
 force only.
Instrumentation Perform the movement with different body part; try several different
parts of the body. Let another performer do it.
Fragmentation Use only a part of the motif, any part. Use it to attend to a detail, a
part worth isolating that might otherwise be over looked. Or use
several parts of it, but not the whole thing – such as the beginning
third, a tiny piece halfway through, and very, very, end.
Additive/ Additive: while doing the original motif, simultaneously execute any
Incorporative kind of jump, turn, or locomotor pattern (triplet, run, slide).
Incorporative: make the original motif into a jump, turn, or locomotor
pattern. Although this can be tough or impossible with some motifs,
approach it with a sense of “how can x (original motif) be jumped,
turn, moved from place to place?
Embellishment The movement itself can have the embellishment (e.g little loops of
jigjags occurring along the path of movement); or a part of the body
can be embellished as it is involved in movement (as the arm moves,
wiggle the finger or make a fist); or try embellishing both the body
and the path of movement at the same at the same time.
Quality Try the same movement with a different quality, for example, try it
quivery, drifting, with tension, etc.
Background Change the design of the rest of the body from its original position
and repeat the motif. Let the rest of the body be doing something
while motif is going on. Instead of stand. Try perhaps twisting all the
rest of you.
Staging Perform it at a different pace on the stage and/or with a different
facing to the audience, sideways, or on diagonal.
Rhythm Vary the rhythm but not the tempo. The variety and pattern of the
beats should be altered, not the speed or the length of time it takes to
accomplish.
Change of Change the motif to a different plane: the horizontal, the vertical, the
Planes/Levels sagittal or any other slice of space. Do it on a different level. Trace the
path of the gesture and use it as a floor pattern. Move along that.
Combination Combine any of the above so that they happen at the same time. This
lets you combine affinities (faster with smaller) or antagonists (faster
with larger) for choreographic interest and technical challenge.
Fragmentation is particularly effective when combined with others.
You may combine three or four manipulations at the same time
(fragmentation/ inversion/embellishment, or
inversion/retrograde/slower/different background). Variety and
complexity grows as you combine more manipulations.
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CHOREOGRAPHY-THE CREATIVE PROCESS

The creative process provides teachers/choreographers with structure for developing their
movement ideas and creative dance lessons. It involves:

1. STIMULUS-perceive the stimulus

-the starting point, inspiration, theme
(see the list of Dance Motivations)
2. EXPLORATION-discover and explore
-helps the students expand movement possibilities through experimentation and
creativity
3. SELECTING & REFINING-select then combine, select and re-evaluate
-narrowing movement options and organizing them into a set sequence as well as
considering linking steps/transitions
4. REFINING & PERFORMING-an opportunity to polish movement sequences and transitions to
a performance level through repetition (practice)

DANCE MOTIVATIONS:

 Visual/sight  Kinesthetic/movement
 Auditory/sounds  Imagery
 Tactile/touch  Props

THINGS THAT ASSIST IN THE CREATIVE PROCESS:

 Trial and error  Exploration of movement

 Try different spaces (especially (through manipulation of
the performance site) movements/ “manipulate a
 Mirrors motif” concept)
 Improvisation  Video/ recording movements

These assist in how to create specific ideas for specific dance routines:

 Choose a style of dance  Find music that inspires you/listen to

 Choose a theme/ idea that inspires you music and move to it
  Learn the music (lyrics & counts)  Write down & record your dance in a
 Don’t always start at the beginning way that you understand it- never
assume you will remember!

The Five Principles of Choreography

 Dynamics- How it moves…
 Space- Where in space…
 Actions- Which actions are used…
 Relationships- Where are the relationships…
 Body Parts- Which actions are used…

Gesture, Contact
Dynamics-words which Lift, Catch
describe the qualities of the Adage, Allegro, Stillness
actions Counterbalance
Time- fast/slow
Weight-strong/gentle Relationships-where are the
Space- direct/indirect relationships…
Flow-bound/free solo/duet/trio/group
Tempo-rhythm near/far from other dancers
near/far from the audience
Space-where in space… narrative/thematic/abstract
3 levels canon/unison
Pathways with/without music
Personal space type of music
General space costuming/props
US, DS, SR, SL. Centre reduced/repeated/reversed/
reordered
Actions-which actions are
used…
Jump, Turn, Travel, Balance, Body Parts-which body part is
Fall used…and how…
Head, Neck, Eyes, Hands,
Fingers
Feet, Legs, Hips, Toes
Chest, Arms, Shoulders
Curved, Straight
Free, Angled
Wide, Tall, Twisted
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PERFORMANCE TERMS
 Upstage—the back of the stage
 Downstage—the front of the stage
 Center stage – center
 Stage left/Stage right—taken from the dancer’s perspective

 Apron—the most downstage area of the stage (usually addition space

beyond the last wing; sometimes a stable covering of the orchestra
pit when not in use)
 Wings—areas at the sides of the stage (usually incorporates the use
of fabric hung from the guides)
 Curtain—fabric material downstage that covers the front of the stage
when drawn
 Cyc- large screen covering the upstage “back wall” that has images or
colours projected on it

 Front of house—audience area and lobby

 Back stage—concealed area used by performers and crew
 Green Room—prep area for performers/artists
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YOU TUBE VIEWING: Dance Scenes in Dance

 Musical Theatre/ Broadway

o Gene Kelley
 “ Singing In The Rain”—Gene Kelley - Singin' in the Rain (1952)
 1080p HD "Good Morning" - Singin' in the Rain (1952) Gene Kelley
with Debbie Reynolds & Donald O’Connor
o Fred Astaire
 “ Dancing in the Dark” by Fred Astaire and Cyd Charisse, 1953- The
Band Wagon (1953)
o Bob Fosse
 “ Various Clips of Bob Fosse Dancing”- Bob Fosse as a dancer
 Bob Fosse as a choreographer; his dance numbers " The Rich
Man's Frug” -- Sweet Charity (1969)

 Ballet
o Swan Lake – “Dance of the Little Swans”
o Karen Kain
 Giselle “Mad Scene”
o Mikhail Baryshnikov
 any links including “11 pirouettes”

 Modern
o Martha Graham
 “Exploring the World of Modern Dance through Martha Graham”
 “Lamentation”
o Merce Cunningham
 “The Six Sides of Merce Cunningham”
 “Beach Birds”
 Contemporary
o Ballet BC previews
o Your choice of viewings (they are endless)
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PERFORMANCE SELECTIONS

 “Fix You”, Choreography by IaMEmiliodosal & Kelsey Landers, Music by Coldplay, 3:44min
 Search : fix you Coldplay choreography

 “Down”, Choreography by IaMEmiliodosal & Erica Klien, Music by Marian Hill, 2:11min
 Search: Down IamEmiliodosal

 “Slip”, Choreography by Phillip Chbeeb & Renee Kester, Music by Elliot Moss, 2:41min
 Search: Slip Phillip Chbeeb Elliot Moss

 “Medicine- A Dance Film”, Choreography by Zack Benitez, Assistant Choreographer

Priscilla Villa, Dancers: Zack Benitez Tamara Marthe, Music by Daughter, 4:24min
 Search: Medicine- A Dance Film

 “Missing You” , Choreography by Tessandra Chavez

 Search: Blake McGrath Missing You

 “Recovery”, Choreography by Janelle Ginestra , Dancers: Zach Venegas, Macy Swaim,

Emily Crouch, Alex 'Sparkles' Lund, Chiara Gonzalez, Monika Felice Smith, Sam
McWilliams, Cat Cogliandro, Catalina Moore, Kira Leach, Idaliz Cristian, Deanna Jenkins,
Sam Holmberg, Audrey Lane-Partlow, Liv Simone, Caleb Brauner, Carly Lawrence, Janelle
Ginestra, Savanna Kubat, Amari Smith , Music by James Arthur, 4:26min
 Search Recovery James Arthur Janelle Ginestra x Tim Milgram
HKIN 342

DANCE PERFORMANCE ANALYSIS/CRITIQUE- 3-5pages

A dance analysis should include a technical analysis of numerous dance elements. A dance
critique is a personal reflection on the performance presented. Most importantly, a critique
summarizes whether a choreographer is successful in communicating a theme or message
consistently through the piece, providing the audience a sense of connection to the piece from
beginning to end.

TECHNICAL ANALYSIS
This will be based on the information explored through your course pack.

Provide specific examples of the following concepts shown through the choreography:

 GENRES OF DANCE utilized (and description of movement style to support that)

 Laban Movement Analysis
o Provide an example of each the LMA DANCE ELEMENTS:
 BODY, EFFORT, SHAPE, SPACE
For example SPACE--Use of space/staging/levels/patterns
 Incorporate the POSITIONS OF ARMS AND FEET in your descriptions of movement
 Describe the use of the BASIC MOVEMENT PRINCIPLES:
o Balancing, Turning, Locomotion, Jumping
 Discuss the use of LEVELS IN DANCE for both:
o Personal Space and General Space
 Apply the use of MUSIC TERMINOLOGY in your description of the music used
 Identify the use of concepts explored in THE PHRASE MANIPULATE A MOTIF
 Discuss the CHOREOGRAPHY and the Choreographers CREATIVE PROCESS
o DANCE MOTIVATIONS and how they lead to Theme/idea/story/concept
 Use PERFORMANCE TERMS in describing
o Staging (use of the stage)
o Technical affects (lighting, fog, set)
o Props (if applicable)
o Costuming (colours, fabric, design)

CRITIQUE Provide an opinion on how successful the choreographer was; creating a cohesive
piece, communicating a theme or message through the piece, providing the audience a sense of
connection to the piece from beginning to end. Outside sources are essential to supporting your
critique.
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TEACHING : LESSON PLAN GUIDELINES

A well-organized teaching lesson plan should provide a comprehensive strategy to present a
genre of dance to a particular age group of students. It should provide the required equipment
and resources, background information, lesson structure and a detailed, easy to follow chart of
the steps/progressions/choreography that will be presented and acquired by the students. A
backup plan allowing for increased/decreased difficulty should always be included.

Please present your lesson as follows and submit a paper copy to the instructor:

Dance Genre:

Length of time for lesson:

Equipment required:

Level/age of students:

Location/space needed:

Objective (s): keep this simple; one or two sentences

Background/Brief History of Genre: (to be used in your introduction):

Song List: 5-6 songs that match your genre. You should list the song, artist, tempo
and what part of your lesson you are using it for. Your list should start with the
songs for your warm up (1-2), lessons (3 tempos/3 songs), cool down (1 song).

“Jailhouse Rock”- Elvis Presley (slow/medium tempo)-Basics section; slower

Warm- Up Activity: (5 min) A brief description of your activity. This should still be
decipherable by anyone utilizing your lesson. It should be brief but should relate to
your genre and target specific muscles that are to be utilized in your genre of
dance.

Lesson Description: (20 min) This may be structured according to your lesson
objectives and may include different activities/explorations, basic steps,
progressions and choreography. Diagrams, photos, or drawings can be utilized.
All choreography should be recorded in the suggested table format. Allowances for
increased/decreased difficulties should also be included here.

COUNTS/LYRICS STEPS MODIFICATIONS

(broken down; arm (increased/decreased
movements, leg difficulty)
movements, directions
facing/traveling)

Introduction Start facing the audience,

1-8 hands by sides, feet hip
width apart, head down
1-2 R hand to R hip, R foot +Double the stomps for R
stomp (1) & L foot
L hand to L hip, R foot OR
stomp (2) ~Omit stomps and only
do hands
Continue on…
You may also consider
having a shortened or
lengthened piece of
choreography (plan for
more but teach less if
they are struggling)

Cool Down Activity: (5 min) A brief description of your activity. This should still be
decipherable by anyone utilizing your lesson. It should be brief but should relate to
your genre and target specific muscles that were utilized in your lesson. Stretching
exercises maybe included. This section does not include your closing
remarks/lesson wrap up.

**Please note: When teaching this lesson to the class; the cool down will not be
performed due to time restraints and proper class flow.
TEACHING RUBRIC
 Equipment management
 Safety Considerations /2

 Physical Presentation
o Effectively dressed for genre
o Enthusiasm
o Professionalism
o Ability to work as an effective team /10

 Appropriate Introduction: /4

 Warm Up Activity Effectiveness

o Target appropriate areas (muscles, body parts, etc) for your genre/ movements
o Element of creativity/ connection to your genre /7

 Voice
o Projection
o Articulation
o Dynamics /8

 Appropriate volume of music /2

 Eye contact
 Connection to Students /2

 Ability to Count Music

o Identify & clap the tempo/rhythm of the music
o Ability to count an introduction without music
o Ability to count an introduction with music
o Ability to keep the beat throughout the choreography without music when marking
o Ability to keep the beat throughout the choreography with music when marking /5

 Demonstration/Explanation
o Clarity/Knowledgeable of Genre integrated/ shown through teaching movements/demonstrating
o Familiarity of Materials/Well practiced and prepared
 Lesson well organized, logical and uses a progressive method
 Presented clearly (physically and verbally)
 Effective use of mirroring or facing
 Description of movements and correlating counts is effective and accurate /10

 Organization/design of steps and lesson

o Lesson progressions; teaching progression model used successfully
o Choreography (which are you using)
 A pre-set/ predesigned piece of choreography
 A self-designed or self-choreographed combination /7

 Ability to utilize the studio space

o Able to organize students throughout lesson
o Effective spacing of instructors /2
  Teaching Effectiveness
o Asks for feedback and questions
o Ability to identify difficulties with the class and individuals
o Uses the review and refine method
o Ability to adjust to students needs/ abilities
 Offers ways to increase difficulty
 Offers ways to decrease the difficulty /8
 Time Management: appropriate allotment of time for each of the following:
o Intro: 1-2 min
o Warm up:5-7min
o Lesson: 20-23min
o Closing:1 min
o Lesson total: 30 min /2

 Appropriateness of closing remarks; does this wrap up or conclude your lesson in an effective way? /1

 Music Playlist:
o Wide variety of tempos and styles (within your genre)
o No explicit lyrics
o Easily identified in your write up
 Title, artist, tempo, part of lesson it is intended to be used in /5

Practical work total /75

Written Work

 Outline
o Follows the lesson plan guideline sheet
o Organizes the choreography in a table with three columns
 counts or lyrics, detailed movement descriptions, additional information
 appropriate use of diagrams or pictures/drawings
/18
o Cool down targets/ addresses muscle groups utilized during lesson
o Back Up Plan (either written separately or shown throughout the lesson) methods of increasing or
decreasing difficulty/ ways of responding to the lesson being too easy or too hard for your students
/2

Written work total /20

TOTAL / 95

Group evaluation

This is an assessment of another group’s performance; strengths and areas of concern/needed improvement. /5
GRAND TOTAL /100

Self-evaluation/ critique

Depending on your ability to evaluate your performance both as an individual and as team, your grade will be adjusted.
If you are able to accurately see the areas in which you struggled with/ need improvement/ lacked sufficient planning or
preparation, your mark may be increased up to 5%.
 Adjusted total /100

HKIN 342 Midterm Review

Multiple choice, fill in the blank, short answer, long answer

 Laban’s Movement Analysis

 Laban’s framework for his movement concepts
 4 Main Movement Concepts- details, descriptions, examples
 4 Main Concept Subsections
 The Phrase- definition
 Manipulate The Motif
 definitions, examples
 Levels In Dance
 Personal Space and General Space
 Definitions, examples
 4 Basic Movement Principles
 Definitions, examples
 Biblical Framework/Theological Principles
 explain in detail (with examples) how it is supported
 Creation, Incarnation, Redemption
 Choreography- useful tools
 The 4 steps of the Creative Process

 6 Dance Motivations/ Stimuli used for Choreography/ Dance Creation

 Teaching Concepts
 Keys to successful teaching- see course pack
 Assessment- 6 criteria
 Teaching Model/ 10 Instructional Steps: with details!!!
 Music Concepts
 Rhythm is the basis for music and dance!!
 Definitions
 Dance Positions
 Patterns: know that diagonals and X patterns are the most difficult
 Performance Terms

 Background/History of Dance Forms/Notes on Genres of Dance
 You Tube- choreographers and their dance genres
 Dance vocabulary: example:pas de bourrée, transference of weight, pas de deux
 Definitions and descriptions of DANCE GENRES