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DANCE WORKSHOP

Spring 2012

www.bbc.co.uk/schoolradio

A series provided by the BBC at the request of the Educational Broadcasting Council for the United Kingdom Age: 9-11 CD: These programmes are available to order (for UK schools only) on pre-recorded CDs from: BBC Schools’ Broadcast Recordings Tel: 0370 977 2727 Monday to Friday 0800 to 1800 Or visit www.bbc.co.uk/learning/schoolradio/ordercd for more information Audio on demand: These programmes are also available as audio on demand from the School Radio website for 7 days following the original date of transmission. Refer to programme titles below to find out when programmes are available as audio on demand.

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Dance Workshop

Spring 2012 These programmes are available as audio on demand from the School Radio website. Refer to dates below to find out when each one is available. Introduction 3 Unit 1: South American carnival 5 1. Getting ready 5 AOD 11/01/2012 2. Carnival steps 9 AOD 18/01/2012 3. Carnival parade! 12 AOD 25/01/2012 Unit 2: In the gym! 14 4. Pulse rates rising! 14 AOD 01/02/2012 5. Complete work out! 19 AOD 08/02/2012 Unit 3: Shape up! 22 6. Angles and lines 22 AOD 22/02/2012 7. Patterns and symmetry 25 AOD 29/02/2012 Unit 4: Victorian childhoods 27 8. Down the mine 27 AOD 07/03/2012 9. Life in service 31 AOD 14/03/2012 10. At the mill 33 AOD 21/03/2012

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Introduction

Aims of the series:

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

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

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

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

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

movement skills To practise listening, sequencing and movement memory.

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

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Using the audio on demand service is just as flexible as using a pre-recorded cassette or CD of the programmes. You are able to pause the programme whenever you wish and also scroll forwards and backwards through a programme to locate other sections or to listen to sections again. Some tips for teachers:

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

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

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

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

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

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

Using these Teacher’s Notes: These Teacher’s Notes include a detailed content grid for each programme. The information includes: CD / Track – use this column to navigate each programme. Programmes are close to 20 minutes in length and are made up of several CD tracks (if you are using the programmes from pre-recorded CDs). Movement content – detailed information on the actual movements included in each sequence. This column also indicates clearly when you are expected to pause the programme to practise or discuss. Teacher guidance – offers practical advice on how to get the best out of the programmes with suggestions for assessment. Hall time: You will need considerably more hall time than the actual length of the programmes. About 40 minutes should be ideal. Dress as if for PE: bare feet and shorts and T-shirt, or loose layers that can easily be peeled off.

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Unit 1: South American Carnival

Three programmes exploring some of the hip-swinging samba rhythms and step patterns of the Rio Carnival. Groups or ‘samba schools’ practise a selection of samba based movements to perform in a final carnival procession which includes paired flag-waving sequences, follow-the-leader samba lines, and group themed carnival dances. 1: Getting ready! Programme summary: Warm up: Practise a hip-swinging samba step pattern – on the spot first, and then travelling round the room Sequence 1: Carnival costumes – repeat the samba step pattern from the warm up to travel and turn through the spaces, showing off an imaginary carnival costume Sequence 2: Flag waving – Performing different flag waving patterns (figure-of-eight, circling round on the spot, throwing-spinning-catching); on own and then mirroring a partner Sequence 3: Samba steps – A selection of samba based moves including the box step, shoulder shimmies, and flamboyant carnival turns. Cool down: Walk slowly through the spaces, swinging arms round in large, figure-of-eight patterns, followed by a few gentle stretches to finish.

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Programme structure: CD 1 track

Lesson content Teaching points Evaluation

1 Warm-up: Practise the hip-swinging samba step pattern – it’s ‘Step! Step, step! Step! Step, step!’ – on the spot, and then travelling round the room.

- Keep body loose and relaxed so hips swing from side to side as you step from one foot to another.

- Do pupils master the samba rhythm and perform the step pattern with hip-swinging samba style?

2 / 3 Sequence 1: Carnival costumes – Repeat the ‘Step! Step, step!’ samba pattern practised in the warm-up to travel and turn through the spaces, showing off an imaginary carnival costume.

- Stretch arms out to the sides and hold head high to really show off! - Don’t forget to swing hips from side to side.

- Samba step pattern should be performed with correct timing, confidence and style. - Dancers should look relaxed and flexible.

4 / 5 Sequence 2: Flag waving Practise different flag waving patterns: - Swing imaginary flag round to trace large figure-of-eight patterns in front of you. - Stand up straight and turn on the spot to swing flag round in a big circle. Turn in the opposite direction to swing flag back round the other way. - Throw flag high into the air, and spin round quickly on the spot before catching it again. With a partner, work out a flag-waving sequence using the moves above and your own ideas too.

- Bend the top half of your body down to the sides as you circle your flag round and round with big, sweeping arm movements. - Keep looking at imaginary flag all the time. - Spins should be quick and focused. - Stand next to partner to perform with a sense of symmetry, or facing partner to mirror one another’s movements.

- Flag-waving moves should be large, exaggerated and convincing. - Do partners create a smooth flowing performance which can be repeated?

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Sequence 3: Samba steps – The box step: Stand straight with feet about a ruler’s width apart, and step feet round to make a box shaped pattern on the floor. It’s step 1 – right foot forward, in front of left foot. Step 2 – left foot crosses in front of right foot. Step 3 – right foot steps back behind left foot. And step 4 – left foot steps back to where it started, next to the right foot with a gap in between. Shoulder shimmies: Stand with feet quite wide apart and arms held loosely out to the sides. Wiggle shoulders so that as one shoulder moves forwards, the other shoulder moves back. Shimmy shoulders over to the right side, and then to the left side. Bend knees to shimmy down low, close to the floor, and then straighten them to shimmy back up. Carnival turns: Stand with feet about a ruler’s width apart and arms stretched out to the sides. Keep arms stretched out and swing hips from side to side as you circle round on the spot. Try tipping outstretched arms so that one arm points up to the ceiling and the other points down to the floor. Swing hips as you step round the downward pointing arm. Tilt arms the other way so they swap positions, and step back round in the opposite direction. Travel through the spaces with the ‘Step! Step, step!’ samba pattern, stopping with the carnival whistle to perform one of the special carnival moves above.

- Once you’ve had a practise, try not to look down at your feet. - Relax your body and wiggle your hips to perform with samba style. - Wiggle shoulders quickly to get that shimmying action. - Maintain a strong forward focus. - Hold head high, relax your body and swing those hips! - Go for a confident carnival performance. Listen out for the carnival whistle and be ready to perform the special samba moves.

- Can pupils perform the box step with accuracy and confidence? - Can they swing their hips at the same time? - Look for vibrant, carnival style shoulder shimmies with the music. You may want to choose a few good examples to demonstrate. - Can pupils maintain a strong forward focus throughout? - Can pupils combine the hip-swinging actions with the turning steps? - Do pupils respond quickly to the carnival whistle and the presenter’s instructions?

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8 Cool down: Walk slowly

through the spaces, swinging arms round in large, figure-of-eight patterns. Breathe in and stretch up on tiptoe. Breathe out and lower heels back down onto the floor. Sit down on the floor with soles of feet together and knees pointing out to the sides. Hold both feet with hands, and lean slowly forward from the waist.

- Feel your heart rate gradually slowing back to normal. - Increase the stretch by lowering chest down towards feet. H & S! Only stretch as far as is comfortable.

- Pupils should feel calm and relaxed.

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2: Carnival steps Programme summary: Warm-up: Repeat the ‘Step! Step, step!’ hip-swinging samba pattern from previous programme. Add alternate arm swings, tracing large circles out to the sides. Perform movements on the spot and then travelling through the spaces. Sequence 1: Paired flag waving – travel forwards together, as if in a carnival procession, stopping with the whistle to perform special flag waving moves from previous programme, standing next to or facing partner. Sequence 2: Follow-the-leader – stay with partner and join 2 other pairs to make a long, follow-the-leader line of 6. The person at the front of the line performs a simple step pattern or movement combination for the rest of the line to copy and repeat. Carnival whistle cues leader to move to the back of the line, and the new leader takes over. Sequence 3: Samba school moves – stay with group and travel through the spaces together with hip-swinging step pattern. Carnival whistle cues groups to perform special samba moves from previous programme; the box step, shoulder shimmies and carnival turns. Cool down: Slowly walk away from group, swinging arms smoothly round to trace large figure-of-eight patterns. Finish with a few gentle stretches. Programme structure: CD 1 track

Lesson content Teaching points Evaluation

9 Warm up: Repeat the ‘Step! Step, step!’ hip-swinging samba pattern from previous programme. Add alternate arm swings, tracing large circles out to the sides. Perform movements on the spot and then travelling through the spaces.

- Keep body loose and relaxed so hips really swing from side to side as you step from one foot to another. - Arm circling movements should smoothly join in with the step pattern.

- Dancers should look relaxed and happy. - Arm circling movements should co-ordinate smoothly with samba step pattern.

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Sequence 1: Paired flag waving – Use the hip-swinging samba step pattern to travel forwards together as if in a carnival procession. Stop with the whistle to perform special flag waving moves from previous programme, standing next to or facing partner. a. Figure-of-eight: Stand with feet quite wide apart and wave flag round to trace large figure-of-eight patterns in front of you. b. Circling on the spot: Step round on the spot to swing flag round in a big circle. Turn to face the opposite direction, and swing flag back round the other way. c. Throw-spin-catch: Throw flag to partner, then spin round quickly on the spot before catching partner’s flag.

- Starting position: stretch out clasped hands to hold imaginary flag high out in front of you. - Listen out for the carnival whistle! - Bend the top half of your body down to the sides as you circle your flag round. - Keep watching imaginary flag all the time. - Spins should be quick and neat.

- Do partners travel forwards at the same time using hip-swinging rhythmic steps? - Are the flag waving patterns large and convincing?

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Sequence 2: Follow-the-leader – Stay with partner and join 2 other pairs to make a long, follow-the-leader line of 6. The person at the front of the line performs a simple step pattern or movement combination for the rest of the line to copy and repeat. Carnival whistle cues leader to move to the back of the line, and the new leader takes over. Keep the sequence moving smoothly forwards by deciding what your pattern’s going to be before you get to the front of the line.

- Keep step pattern and movement combination simple and clear so that rest of line can copy and repeat it easily. - Perform your chosen pattern in time with the music. - When it’s time to swap, the leader needs to move quickly to the back of the line, ready to join in copying new leader’s pattern.

- Performance should be smooth and continuous; swapping from one dance leader to the next with the whistle. - Movements should always be in time with the music.

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Sequence 3: Samba school moves – Stay with group and travel through the spaces together with hip-swinging step pattern. Carnival whistle cues groups to perform special samba moves from previous programme: a. The box step – Feet step round tracing box-shaped pattern on the floor. b. Shoulder shimmies – Keep feet still as you move the top half of body over to the sides. Then bend and straighten knees to shimmy down low. c. Carnival turns – Step round on the spot to circle with outstretched straight or tilted arms; in both directions.

- Step! Step, step! In time with the music. - Keep it relaxed and happy. - Listen out for and respond quickly to the carnival whistle. - Relax body and swing hips to give box-step samba style. - Hold arms loosely out to the sides and maintain forward focus for shoulder shimmies. - Aim to step round using same ‘Step! Step, step!’ samba rhythm.

- Do group members stay close to each other throughout the sequence? - Sequence should look smooth and continuous as dancers respond quickly to the carnival whistle to perform the different samba moves. - Performance should look both relaxed and energetic.

16 Cool down: Slowly walk away from group, swinging arms smoothly round to trace large figure-of-eight patterns. Finish with a few gentle stretches.

- Keep with the slow, regular beat of the music. - Breathe slowly in as you stretch up on tiptoe, and out as you lower heels back down onto floor.

- Heart rate should return to normal. - Stretching warm muscles will give a greater range of movement, increase performance, and reduce the risk of injury – but only ever stretch as far as is comfortable.

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3: Carnival parade Programme summary: Warm-up: Travelling through the spaces with the ‘Step! Step, step!’ samba pattern from previous programmes. Add a few flamboyant carnival turns every now and then. Sequence 1: Themed carnival dance. Each group chooses a theme to base their carnival dance around – a bird, an insect, or some other animal. They use the samba moves from previous programmes, as well as their own ideas, to create a sequence. The quality of their movements should reflect the characteristics of their chosen theme. Sequence 2: Carnival parade. In samba school groups to parade round the edge of the room to perform the complete carnival dance – paired flag waving, group follow-the-leader and themed carnival dance. Cool down: Walk away from group with the slow, regular beat of the music, gently swinging arms round to trace big figure-of-eight pattern. Lie down on the floor for a few gentle stretches to finish. Performance music: All the music is repeated without the presenter’s voice at the end of the programme. Programme structure: CD 1 track

Lesson content Teaching points Evaluation

17 Warm-up: Travelling through the spaces with the ‘Step! Step, step!’ samba pattern from previous programmes. Add a few flamboyant carnival turns every now and then.

- Hold your head high and really show off as you travel and turn with the beat of the music.

- Pupils should perform the samba steps and turns with confidence and style.

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Sequence 1: Themed carnival dance. Each group chooses a theme to base their carnival dance around – a bird, an insect, or some other animal. They use the samba moves from previous programmes (the box step, shoulder shimmies and carnival turns), as well as their own ideas, to create a sequence. The quality of their movements should reflect the characteristics of their chosen theme.

- Does the quality of your movements reflect your chosen theme – e.g. Quick, light, graceful movements for a bird or butterfly. - Make your sequence more interesting to watch by performing some of the movements at the same time as the rest of your group (in unison), and some one after the other (in canon).

- Can you guess each group’s chosen theme by the quality of their movements? - Has each group practised and set their sequence so that it’s the same each time they perform it?

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Sequence 2: Carnival parade. In samba school groups to parade round the edge of the room; performing the complete carnival dance:

a. Paired flag waving – stand next to your partner and stay close to the rest of your group. b. Group follow-the-leader – When the music changes, quickly stand behind your partner to form your group follow-the-leader line. c. Themed carnival dance – Carnival whistle cues 2 groups at a time to come into the centre of the room to perform their themed dances while the other groups travel round the edge of the room using the ‘Step! Step, step!’ samba pattern.

- Spread out round the edge of the room, one group behind the other. - At the end of the flag waving music, point the tip of your imaginary flag down to rest on the floor in front of you. - Listen out for and respond quickly to the carnival whistle. - The main thing is to relax and enjoy yourself!

- Do the groups remain evenly spaced round the edge of the room? - Do the dancers organise themselves quickly into pairs and then groups? - Does the dance move smoothly from one sequence to the next? - Does each dancer convey the excitement and fun of carnival time with their face and movements?

22 Cool down: Slowly walk away from your group to a space, gently swinging arms round to trace big figure-of-eight patterns. Lie down flat on the floor for a few gentle stretches to finish: a. Stretch arms straight out to the sides. Try to keep both legs straight with your knees together as you slide them round on the floor towards one arm – your lower body should naturally twist around. Hold the stretch for a few seconds before sliding legs back again and round towards the other arm. b. Bend knees and tuck them in close to chest. Wrap arms around knees and lift head up so upper back lifts slightly off the floor.

- Step with the slow, regular beat of the music. - Only stretch as far as is comfortable. - Try to hold each stretch for a few seconds before releasing.

- Heart rate should gradually return to normal. - Pupils should feel calm and relaxed.

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Performance. All the music is repeated without the presenter. Flag waving sequence: ‘Batucada No. 1’ by Wanda Sa. Follow-the-leader: ‘Maria Moita’ by Rosalia de Souza. Themed carnival dance: ‘Magica’ by Celia Vaz

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Unit 2 In the gym

A unit of two programmes focusing on personal health and fitness. Both programmes include an energetic aerobic warm-up followed by gentle stretching exercises; dance sequences inspired by a typical ‘in the gym’ workout and a gradual cool down phase followed by a selection of appropriate muscle stretches to finish. Throughout the programmes, pupils are encouraged to consider the benefits of regular exercise and are reminded about key safety aspects such as the importance of gradually warming up and cooling down to maximise performance and reduce the risk of injury. 4: ‘Pulse rates rising!’ Teachers please note: Pupils are encouraged to check their pulse rates before and after the aerobic section of the warm-up. Probably the easiest way to do this is to place two fingers on the wrist to find the pulse in the radial artery, then taking care not to press too hard, count the number of beats per minute. To monitor long-term fitness levels, pupils could continue to check their heart rate before and after exercise using a personal fitness record sheet such as the one illustrated below.

Date of exercise session

Heart rate before exercise (beats per

minute)

Heart rate after exercise (beats per

minute) Programme summary: Warm up: Aerobic phase designed to gradually raise the heart rate with a combination of high knee lifts and arm swimming actions – front crawl, backstroke, butterfly and breaststroke – on the spot and then travelling. The aerobic phase of the warm-up is followed by a selection of gentle stretches – chest, back, arms and legs. Sequence 1: Upper body workout – an energetic sequence of rhythmic box push-ups, followed by boxing ‘speedball’ arm movements (making fists then quickly rotating one wrist around the other). Sequence 2: Fancy footwork – practising the quick, precise step patterns or foot drills often used by footballers and other athletes to develop speed and agility – high knee running, side-stepping and heel to bottom backwards steps. Cool down: Gradually slowing the heart rate – walking through the spaces taking deep, controlled breaths in through the nose and out through the mouth, followed by a series of gentle stretches on the spot to finish.

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Programme structure: CD 2 track

Lesson content Teaching points Evaluation

1 2

Warm up: A combination of high knee lifts and arm swimming actions – front crawl, backstroke, butterfly and breaststroke – performed on the spot and then travelling. A selection of gentle stretches: Arms, back and chest - Put palms of hands together and stretch them straight up above your head. Gradually increase the stretch – pushing arms upwards, then backwards. Legs (hamstrings) - Stand with feet about shoulder width apart. Step one foot forward, and keeping the front leg straight, bend the back leg, resting both hands on the bent thigh. - Swap legs and repeat. - Finally, shake out whole body to loosen up and relax.

Listen carefully and keep with the beat of the music. Movements should be performed with energy and focus. H&S! Only stretch as far as is comfortable for you. - Breathe in as you stretch arms upwards and backwards. And breathe out as you relax both arms back down by sides. - Breathe out as you gently sink down into the stretch, and breathe in as you straighten leg to come back up. - You can increase the stretch by starting with the toes of the front foot lifted towards the ceiling.

Heart rate should be higher after the aerobic phase of the warm-up. - Gradually stretching warm muscles will give you a greater range of movement, increase your performance and reduce the risk of injury.

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3 / 4 Sequence 1: Upper body

workout An energetic sequence inspired by box push-ups, and boxing ‘speedball’ arm movements. a. Box push-ups - Get down onto your hands and knees; hands underneath shoulders with fingers facing forward and knees underneath hips with feet resting on the floor behind. - Bend at your elbows, lowering your chest down, no lower than 10 cms from the floor. - Keep a straight line through your spine and avoid arching your back. - Push down on your hands to straighten your arms and return to starting position. - Develop a sequence performing the rhythmic press-ups at single and double time. It’s 2 press-ups at single time, followed by 4 at double time. Repeat this pattern to the end of the music. - Finally, sit back onto heels ready to perform speedball boxing movements below. b. Boxing speedball arms - Work the arms at speed; make fists and quickly rotate one wrist around the other. - Try different variations; keeping one arm still while you rotate the other arm around it, changing the direction of your rotation, working with your arms close or away from your body, and raising your arms from waist height to up above your head, or out to the sides.

- Make a box shape with your arms, trunk, thighs and the floor. - Aim to make a right angle with your arms but stay within your own limits. - Avoid jerky movements and aim for a smooth, controlled rhythm throughout. - Changing the speed of a dance move looks very effective but demands split-second timing! - Imagine there’s a boxer’s speedball hanging down from the ceiling in front of your chest. - Move fists round in a roly-poly action as if you’re hitting the speedball. - Keep arms bent at around 90 degrees.

Can pupils remember the sequence - performing the correct number of push-ups at single and double time? Are they performed in time with the music? Do pupils link the two parts of the dance smoothly together?

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5 6 7 8

Sequence 2: Fancy footwork Practising the quick, precise step patterns or foot drills often used by footballers and other athletes to develop speed and agility – high knee running, side-stepping and heel to bottom running. Footdrills: Imagine a rope ladder flat on the floor in front of you. a. Double leg run: Using high knee or heel to bottom jogging steps, step the left then the right foot into the first box of the ladder. Repeat to travel forwards and then backwards along the length of the ladder. b. Single leg cross-over: Using high knee jogging steps, step the left foot into the first box of the ladder, then cross the right leg in front of the left leg and step the right foot into the second box. Keep crossing over legs as you step into each box of the ladder, travelling forwards and then back again. This time, imagine a rope ladder flat on the floor to the side of you. c. Side step cross-over: Side step along the rope - take your leading leg both in front and then behind the trailing leg. Reverse to come back. Develop forwards, backwards and sideways step patterns into a quick, rhythmic sequence.

- Encourage accurate placing of steps; pupils need to run lightly using the ball of the foot. - Encourage pupils to look at how footballers or other athletes use these foot drills in their training sessions. - As pupils improve the accuracy of their steps, they should then aim to increase the speed! Teachers could choose good examples to demonstrate.

Can pupils perform the step patterns and foot drills with accuracy and speed? Can they keep in time with the music? - Do they lift their knees high for each exaggerated forwards or sideways step? - Heel to bottom flicking action should be quick, sharp and neat.

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9 Cool down: Gradually slowing

the heart rate – walking through the spaces taking deep, controlled breaths in through the nose and out through the mouth. Followed by a series of gentle stretches on the spot to finish: - Lie down straight on the floor. Roll over onto your side, resting your head on your lower hand. Bend your top leg to bring the heel up towards your bottom and grasp hold of the foot with your free hand. Breathe in as you slowly pull your heel in towards your bottom, and gently push your pelvis forward. Hold it for a few seconds, then breathe smoothly out and relax. Roll over and repeat on the other side.

Listen to the music and focus on smooth, controlled breathing. H&S! Stretch only as far as is comfortable!

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5 ‘Complete workout!’ NB As in the previous programme, pupils are encouraged to check their pulse rates before and after the aerobic section of the warm-up. Programme summary Warm-up: Gradually increasing the heart rate; performing high knee jogging steps with swinging arms, followed by strong fist punches, one at a time, high above head – on the spot and then travelling. A selection of gentle stretches – focusing on arms, chest, and legs. Sequence 1: Fancy footwork – developing the quick, precise step patterns from the last programme; performing the final sequence at single and then double time. Sequence 2: Lower body workout – A paired sequence developed around forward lunges, quadricep stretches and lying abductor stretches. Sequence 3: Complete workout! – Performing all 3 sequences – upper body, fancy footwork, and lower body – for a complete workout finale. Cool down: Gradually slowing the heart rate – walking through the spaces taking deep, controlled breaths in through the nose and out through the mouth, followed by a series of gentle stretches on the spot to finish. Programme structure: CD 2 track

Lesson content Teaching points Evaluation

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Warm up: Gradually increase the heart rate with high knee jogging steps and swinging arms, followed by strong fist punches, one at a time, high above head – on the spot and then travelling. A selection of gentle stretches: Arms and chest Stand straight with hands on hips and elbows pointing out to the sides. Breathe slowly out while gently pulling elbows back towards one another – you should feel the stretch across your chest. Relax and repeat a few more times. Inner thigh muscles Stand straight with both feet forward. Put hands on hips. Without moving feet, slowly breathe out as you bend your right leg and bring your bodyweight across to the right side. Keep your left leg straight and try not to lean forward. Hold for a few seconds before slowly straightening right leg to come back up. Repeat.

- Listen carefully and move with the beat of the music – it’s 8 jogging steps, followed by 8 arm punches. - Keep the movements light and energetic. H & S! Never over stretch as this could lead to injury. - Keep your breathing smooth and controlled.

- Heart rate should have increased by the end of the aerobic phase of the warm up.

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12 / 13 / 14

Sequence 1: Fancy footwork Developing the quick, precise step patterns from the last programme – performing the final sequence at single and double time.

Encourage pupils to really concentrate, listen to the music, and count the steps in their head as they go.

Is the footwork fast and accurate? Can they remember the sequence so that it’s the same each time they perform it?

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Sequence 2: Lower body workout A paired sequence developed around forward lunges, quadricep stretches and lying abductor stretches. Once pupils have practised the exercises below, they work with their partner to discuss, try out and select ideas to create a joint dance sequence. a. Forward lunge - Stand tall with feet shoulder width apart, hands by sides or straight out to sides to help balance. - Lunge forward with one leg so that thigh is parallel to floor, with knee over toes. Rear heel should naturally rise off the floor. - Keeping abdominal muscles contracted, push down on front foot to push yourself back up to starting position. - Repeat with the other leg. b. Quadriceps stretch - Stand tall with one hand stretched out to the side to help balance. - Raise the opposite heel up toward your bottom and grasp hold of your foot with the free hand. - Breath in as you slowly pull your heel in towards your bottom while gradually pushing your pelvis forward. - Aim to keep both knees together, with a slight bend in the supporting leg. c. Lying abductor stretch - Lie on your side, legs together, so that the outer thigh of your top leg is facing up towards the ceiling.

Partners could mirror one another or perform with a sense of symmetry. Partners could perform movements together at the same time (in unison) or one after the other (in canon). - Keep a strong, forward focus. - Keep back straight and head up. - Movements should be smooth and controlled. - Stretches should be small and gentle. Always work within your own limits. - Think tall and straight to maintain balance. - Focus on feeling the outer side muscles of the upper leg and buttocks do all the work. - Perform abductor stretches facing towards and then away from your partner.

Can partners select appropriate ideas and link them together to form a dance sequence that is varied and interesting to watch? Can partners set their sequence so that it’s the same each time they perform it? Can pupils keep leg movements slow and controlled; mirroring your partner?

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Sequence 3: Complete workout! Start with the upper body sequence – performing controlled box push-ups at different speeds, then sitting back onto heels for fast speedball boxing actions. Next it’s onto the footballer’s fancy footwork routines – performing step patterns at single and double time. Finally, join your partner for the lower body sequence – mirroring your partner or performing one after the other, moving smoothly from one leg stretch to the next.

- Co-operation is vital here to pull the whole dance together. -Pupils need to be aware of what’s happening around them and use the space well. - Pupils should aim to move smoothly from one dance sequence to the next.

Are the sequences performed with ‘in the gym’ energy and vitality? Have the exercise workouts been developed into effective dance sequences? Can pupils change the speed at which they perform their foot drill step patterns – listening carefully and responding to the music?

19 Cool down: Gradually slow the heart rate – walking through the spaces taking deep, controlled breaths in through the nose and out through the mouth. Sit down with your legs straight out on the floor in front of you. Rest the palms of your hands on the floor behind you, with fingers pointing backwards. Keep your bottom on the floor as you arch your back and bring your head back to look up at the ceiling. Repeat. Rest your hands on your legs in front of you, and let them slide towards your feet as you curl your back forwards, bringing your head down towards your legs. Hold for a few seconds, and then sit back up again. Repeat.

Listen to the music and focus on smooth, controlled breathing. H&S! Stretch only as far as is comfortable – keeping within your own limits.

Pupils should feel calm and relaxed. Heart rate should gradually return to normal.

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Unit 3: Shape up!

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

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

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

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

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

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

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

hands then legs and feet

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

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

steps, turns and small jumps work on dynamic contrast

5. Mirror image perform the sequence in symmetry

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

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

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Programme structure: CD 2 track

Lesson content Teaching points Evaluation

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

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

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

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

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

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

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

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

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

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

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

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

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25 Mirror image:

Partners work together to make their design symmetric.

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

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

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

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

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

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

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

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

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

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

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

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

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

BAB) Programme structure: CD 2 track

Lesson content Teaching points Evaluation

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

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

Are they warmed up ready to dance?

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

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

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

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

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

Can they look at another pair and describe the pathway?

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31 This way and that

Pupils make the pathway symmetric by moving in opposite directions.

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

Look for interesting relationships.

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

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

Can they memorise and perform their sequences?

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

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

Perform to another pair – can they identify the order?

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

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

Pupils should feel relaxed.

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Unit 4: Victorian Childhoods

Introduction: A unit of three programmes exploring the harsh reality of many Victorian childhoods. The Industrial Revolution created a huge demand for child labour – with children, some as young as five, working long hours in frightening and often dangerous conditions. National Curriculum links: History – The Victorians Homes Factories, mills and mines Child labour, conditions, health and safety Rich and poor childhoods – a comparison PHSE Safety and danger Work, Education, Leisure Children’s Rights Programme 8: Down the mines Movement focus: Solo and pair work Gesture Developing sequences Travelling through imaginary environments Travelling using different movement qualities Conveying mood and feelings through movement Music: Warm up: ‘Working in a coalmine’ by Devo Sequence 1 – Trapper’s story: ‘Insomnia’ by Forever Faithless Sequence 2 – Underground maze: ‘Ballad of the Beaconsfield miners’ by the Foo Fighters Sequence 3 – Escape the flood: ‘Insomnia’ by Forever Faithless Cool down: ‘Hometown Glory’ by Adele

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Programme summary: Warm-up: ‘Waiters’ – Sorting out the coal from the pyrite. Curling and uncurling the body to bend low and stand up straight; scooping arm movements to pick up and throw away the rocks. Jogging to a new space to repeat the bending, scooping up and throwing away movements. Sequence 1: Trapper’s story – Solo dance After hearing a short dramatisation about a Trapper boy working alone in the dark, confined tunnels of the mine, pupils devise and refine a sequence of gestures to show how he may have felt. In the second part of the dance, pupils perform a strong pulling action as if to open the heavy trap door of the mine. The dance conveys the fear, isolation and boredom of the trappers. Sequence 2: Underground maze – Solo dance A travelling sequence using different levels and directions; pupils move through a variety of restricted spaces and sloping tunnels as they explore the mine. Sequence 3: Escape the flood – Pair work Travelling through flooding tunnels with a partner. Tension grows as the water level rises and partners explore the quality of moving with resistance, as if through water. Conflict and co-operation as partners decide which way to go before finally escaping to safety. Cool down: Trudging home – Slow, heavy travelling steps before sinking down onto the floor to relax. Programme structure: CD 3 track

Programme content Teaching points Evaluation

1 / 2 Warm-up: ‘Waiters’ – Sorting out the coal from the pyrite. Knees in a turned out position, with the back curving down and forwards as alternate hands scoop up an imaginary rock. Straighten back up again to throw the rock away. Develop these movements into a rhythmical pattern: ‘Bend and scoop! Straighten and throw!’ Jog to a new space and repeat.

Knees should point out to the sides over toes as pupils bend low. Co-ordinate the ‘bend and scoop’ movements, and also the ‘straighten and throw’ movements.

Are the movements performed in time with the music? Are the movements strong and well co-ordinated?

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Sequence 1: Trapper’s story – Solo dance Selecting and linking gestures to convey the fear, boredom and loneliness of the trapper in the dark, cold, confined tunnels of the mine. Develop the sequence by performing different gestures at different levels – high, middle and low. Reaching high, then bending knees and pulling down imaginary rope to raise the trap door open. Slow release of rope, un-bending the knees to stand up as the trap door closes again. Complete sequence.

Make gestures clear and simple. Use different parts of the body to make the dance more interesting and easier to remember. Incorporate changes of level to add contrast e.g. high to low and back to high again. For the pulling action, add resistance to the arm movement to show the weight of the trap door.

Can you see each gesture clearly? Is there enough contrast and variation in the sequence? Does the quality of the pulling action convey the weight of the trap door?

7 / 8 Sequence 2: Underground maze – Solo dance A travelling sequence using different levels and directions; pupils move through a variety of restricted spaces and sloping tunnels as they explore the imaginary mine.

Travel along clear pathways – bending, crawling, crouching, stepping sideways or struggling uphill. Decide which part of your body is leading the movement.

Can you guess the shape, direction, gradient and height of the tunnels by the way pupils move? Is the sequence varied and interesting to watch?

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Sequence 3: Escape the flood – Pair work Travel together to the sound of running water – first with small, quick steps and then with increasingly stronger steps; pushing with knees and then torso, as if travelling through rising water. Co-operation and conflict between partners as they choose directions and support one another as they travel. Escape sequence through an imaginary gap and freeze against the light.

Strong, slow movements with muscles tensed will give the appearance of travelling through water. Stay close to your partner. Each pair needs to decide the number of arm pulls and which direction they will travel in at the fork in the tunnel. Create a powerful image of heroic escape, and freeze in a shape that conveys your enormous sense of relief.

Is there a sense of moving through deeper and deeper water? Does the tension, effort and sense of fear increase throughout the sequence? Do partners portray a believable conflict and resolution at the fork in the tunnel? Is there a real sense of dramatic tension throughout the escape?

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11 Cool down: Trudging home –

Slow, heavy travelling steps becoming slower and closer to the floor. Stop and slowly bend knees to lower body down onto the floor. Lay still, close eyes and relax whole body.

Tired, heavy steps with the slow beat of the music. Control the lowering movement – as if in slow motion. Think about releasing the muscles in different parts of your body until you’re completely relaxed.

Is there a clear sense of exhaustion? Is the lowering movement slow and controlled – no sudden flopping! Limbs should feel heavy to lift as muscles are relaxed.

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Programme 9: In service Movement focus: Different qualities of travelling steps and movements Individual, pair and small group work Gesture and mime Responding to different music to convey mood Music: Warm-up: ‘Epoca’ by Gotan Sequence 1: ‘Sho Nuff’ by Fatboy Slim Sequence 2: ‘Family life’ – Mood music from the Editor’s Companion Sequence 3: ‘Vida la Vida’ by Coldplay Cool down: ‘Hometown Glory’ by Adele Programme summary: Warm-up: ‘Making space’ – ‘servant’ dancers bow or curtsey and then shrink back as ‘master’ dancers travel confidently by. Swap roles and repeat. Sequence 1: Laundry dance – In pairs Rhythmic, repetitive gestures inspired by pummelling, wringing, ironing and carrying heavy piles of laundry. Sequences 2 & 3: Rich or poor? – Solo then small group work. A carefree, playful sequence based on the life of wealthy Victorian children is contrasted with a sequence portraying the drudgery of life as a child in domestic service. Cool down: Slowly lowering the head towards the chest, then gradually curling the spine to lower the top half of the body towards the floor. Bending legs and using hands to help sit back onto bottom. Programme structure: CD 3 track

Programme content Teaching points Evaluation

12 Warm-up: ‘Making space’ – Divide the class into 2 groups; masters and servants. Masters travel with confident striding steps while servants travel with small, nervous steps. When masters pass close by, servants bow or bob a curtsey, then step back out of the way to let them pass. Swap roles and repeat.

Masters hold their body tall and take confident longer steps in clear direction. Servants use small scurrying steps with frequent stops to show respect to passing masters.

Were the contrasting qualities of the masters and servants travelling steps conveyed clearly? Did both groups use the space well?

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Sequence 1: Laundry dance. Each dancer creates a rhythmic dance phrase based on the repetition of a gesture or two taken from the laundry process eg. Filling a bucket of water and heating it on the stove; pummelling or pounding then wringing out the laundry; carrying it out and hanging it on the line to dry; folding and carrying the laundry back inside. Partners take turns to perform their own laundry dance, then when the music gets louder, they repeat their dance, moving at the same time as their partner. Finally, partners move away from one another, carrying their imaginary pile of laundry through the spaces with small, busy steps. Combine above elements to perform the complete sequence.

Laundry gestures must be clear and easy to repeat – yet interesting enough to hold audiences attention. Perform gestures to the rhythm of the music. Timing is crucial; listen to and perform within the correct musical phrasing. Travel with small, busy steps – as if holding a pile of clean laundry.

Are the gestures clear and performed in time with the music? Is there a clear beginning – straight into the rhythm of the music? When one person is dancing, does their partner remain very still? How might you position the pairs to create a more visually interesting dance? Did the dancers appear to be carrying a heavy pile of laundry and how did they convey this?

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Sequences 2 & 3: Rich or poor? – Solo then small group. a. Rich. A carefree sequence based on the life of wealthy Victorian children; playing with imaginary ball/hoop/rope, using light, playful movements. b. Poor. A rhythmic sequence portraying the drudgery of life as a child in domestic service: Floor sweeping – 2 steps forwards and sweep the floor, then 2 steps backwards and sweep again. Floor scrubbing – go down on alternate knees, using small, circular hand movements to scrub. Tidying actions – Travel through the spaces, bending down occasionally to pick up discarded toys and clothes. c. Combine sequences.

Set the playful movements using repetition and clear floor patterns. Keep the weight of the body up by skipping or jumping to convey lightness. Stay close to the rest of your group. Use regular rhythms and continuous movement. Keep the transitions smooth from the standing sweeping actions, to the kneeling scrubbing actions, to the travelling and bending tidying actions.

Do the movements appear light and carefree? Are solo sequences linked to form an effective group dance? Is the space used well? Did the heavy, arduous, never-ending nature of these domestic tasks contrast strongly with the light, carefree mood of the rich children’s playful sequence?

21 Cool down: Slowly lowering the head towards the chest, then gradually curling the spine to lower the top half of the body towards the floor. Bending legs and using hands to help sit back onto bottom.

Encourage pupils to focus on lengthening their spine and gently stretching the backs of their legs.

If the spine does not curl forwards much, bend more from the knees to get a better stretch all along the spine – otherwise only the top of the spine is stretching.

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Programme 10: The Cotton Mill Movement focus: Individual and group work Tight rhythmic sequences Swift and sudden movements Working on the spot and travelling Different ways of travelling – walking, crawling and rolling Music: Warm-up: ‘Outsiders’ by Franz Ferdinand Sequence 1: ‘Golden Skans’ by the Klaxons Sequence 2: ‘Special Cases’ by Massive Attack Sequence 3: ‘Time’ by Pink Floyd Cool down: ‘Hometown Glory’ by Adele Programme summary: Warm-up: Spinning and weaving – Travelling in and out of the spaces making wavy floor patterns, stopping occasionally to spin round quickly on the spot. Sequence 1: Wake Up Call – In groups of 3 or 4. Sleeping children being woken by parents. Travelling with tired, stumbling steps. Sequence 2: The Weaving Machine – In groups of 4 or 5. Creating a conceptual weaving machine or loom. Using different parts of the body to perform repetitive actions and layering each other’s movements to build the complete machine effect. Sequence 3: Scavenger Child – Solo work. Travelling on hands and knees as if beneath the enormous looms of the cotton mill; collecting imaginary bits of fluff and cotton. The occasional sound of approaching machinery cues sudden lying flat and rolling away movement. Cool down: Stretch back straight and arms out to the sides in a big circling action. Programme structure: CD 3 track

Programme content Teaching points Evaluation

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Warm-up: Spinning and weaving – Travelling along wavy pathways, weaving in and out; stopping occasionally to spin round quickly on the spot.

Keep a smooth and quick pace for the travelling steps. Vary the size of the waves in the floor patterns. Vary the length and direction of the spins.

Are the weaving and spinning actions clear and distinct?

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24 Sequence 1: Wake Up Call – In

groups of 3 or 4. 2 pupils representing the parents, press gently on their children’s shoulders to lower them slowly down towards the floor. 1 or 2 pupils representing the children, slowly bend their knees and sink down into a crouching position, then use their hands to sit back onto bottom, and lie down straight on the floor. Parent dancers tiptoe round their sleeping children. Music cues parents to gently shake their children awake, and the children sit up suddenly and then lie back down again. After the third attempt, the parents help the children up onto their feet. Everyone yawns and stretches before travelling through the spaces with tired, stumbling steps.

Maintain gentle contact between parents and children for the lowering movement. Children aim for a smooth transition down onto the floor. Parents tiptoe round with small, light steps. Parents must keep the shaking awake movement gentle; more symbolic than actual! Children need to use their arms and stomach muscles to help them sit up quickly and lie back down again – aiming to keep with the phrasing of the music. Stumbling steps should follow an irregular rhythm.

Does the sequence clearly convey the story? Do the child characters look drowsy and exhausted? Do the parent characters look anxious and urgent?

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Sequence 2: The Weaving Machine – In groups of 4 or 5. Creating a conceptual weaving machine or loom. Each person in the group performs a different rhythmic movement to the music: From stretching tall with arms above head, to crouching and touching the floor with fingertips, to stretching tall again. From standing position, lunge one leg forwards, then push back to standing again. Then lunge the same leg backwards, and push down to come back up to standing. Swap legs and repeat. From standing, circle the hips one way and then the other. Add circling movement with clasped hands above head. Lunge to the side with one leg, lean towards the leg and clap to the beat of the music. Push down to come back to standing position. Each dancer in the group is given a number, and then listens out for the presenter’s cue to perform their own rhythmic sequence – until all the different parts of the machine are moving.

Rhythmic machine movements must be performed in time with the music. Keep the stretches tall, and your head up as you crouch low. Keep the spine long and the knees springy. Make hip circles as big as you can, keeping head up, spine long, and arms stretched over head for clasped hand circling actions. Lean the body over the lunging leg and then push through the lunging foot as well as the springy knee to come back up to standing. Members of the group should stand close to one another to give a visual coherence to the machine.

Does the group move in time with the music? Are the claps in time? Are the movements sharp and repetitive?

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Sequence 3: Scavenger Child – Solo work. Travelling on hands and knees as if beneath the enormous looms of the cotton mill; collecting imaginary bits of fluff and cotton. The occasional sound of approaching machinery cues sudden lying flat and rolling away movement.

Vary the directions of travelling and reaching out movements. Control the body from the centre as you suddenly lie flat and roll away. Pull in tummy muscles and stretch the spine in the roll.

Is the crawling and reaching out sequence varied and interesting to watch? Is the lying down and rolling away action really sudden and sharp?

30 Cool down: In a kneeling position, stretch back straight, and circle arms backwards and out to the sides. Finally, relax hands gently on lap.

Can you feel shoulder blades moving closer together as arms circle backwards?

Look for big circles and stretched spines.