Dance Workshop Autumn 2011downloads.bbc.co.uk/schoolradio/pdfs/danceworkshop... · Dance Workshop - Autumn 2011 School ... Kathak is a form of classical dance that originates from

Dance Workshop Autumn 2011

School Radio © BBC 2010www.bbc.co.uk/schoolradio

School Radio

Veejay Kaur - presenter Unit 1

Age: 6 - 8

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

BBC Schools’ Broadcast RecordingsTel: 0370 977 2727 Monday to Friday 0800 to 1800. Or visit the Order CD page of the BBC School Radio website:

www.bbc.co.uk/schoolradio/ordercd

Audio on demand: These programmes are also available as audio on demand for 7 days following transmission from the BBC iplayer.

Refer to the transmission dates below to f nd out when programmes are available as podcasts and audio on demand.

Andy Instone - presenter Unit 2

Dance Workshop on bbc.co.uk/schoolradio

These Teacher’s Notes are primarily intended for print. The content - with additional features - can also be found on the Dance Workshop pages of the School Radio website.

The website pages include details of other series from Dance Workshop broadcast this year. Go to:

www.bbc.co.uk/programmes/b03g64pm

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

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Dance Workshop - Autumn 2011


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

Contents:

Introduction 3

Unit 1: Indian Classical and Bhangra dance 5

1. Kathak 5AOD available from 21/09/2011

2. Krishnan vs the Demon 8AOD available from 28/09/2011

3. Bhangra harvest 10AOD available from 05/10/2011

4. Bhangra celebration 12AOD available from 12/10/2011

5. Tamasha 14AOD available from 19/10/2011

Unit 2: Hip Hop Step 17

6. Funky street 18AOD available from 02/11/2011 7. Rock your body and soul 24AOD available from 09/11/2011

8. Disco dance 27AOD available from 16/11/2011

9. Hip hop street 30AOD available from 23/11/2011

10. Mix it up 33AOD available from 30/11/2011



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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 quality2 a) plan, use and adapt strategies, tactics and compositional ideas for individual, pair, small group and small team activities3 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/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 hif by connecting the output of the computer into a suitable input on the amplif er (which offers enhanced sound quality) or by connecting the computer to an IWB.



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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 f nished 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 theprogrammes 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.

Or you can write to us at:Dance WorkshopFloor 3, Bridge HouseMediaCityUKSalfordM50 2BH.

We look forward to hearing from you.



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Unit 1: Indian Classical and Bhangra dance

Introduction:

This unit takes some basic elements from two contrasting styles of Indian dance and provides an opportunity to build from simple steps into extended sequences. The dances are appropriate to the constraints of the classroom, a non-specialist teacher and an audience that may not be familiar with the music or moves of these dances. By building each sequence around some simple elements it is hoped each child will some fun moves they can take away from the unit…and build into their own dances! The unit of programmes embraces the fact that traditional Asian dance and music have fused with modern styles, with some vibrant and exciting results.

1: Kathak

Kathak is a form of classical dance that originates from northern India. The word ‘kathak’ derives from the Sanskrit word ‘katha’ - meaning ‘story’. The dancers, or story-tellers are known as ‘Kathakaris’.

Kathak is an ancient form of dance the origins of which are linked to Indian mythology. The narra-tive element of Kathak concentrates on the main characters of Hindu mythology – Lord Brahma, Lord Vishnu and Lord Shiva. It is characterised by fast footwork, plenty of spins and elegant poses. A Kathak performance usually progresses from slow steps to fast, ending with a dramatic climax. It will also in-clude sequences which is exclusively footwork, with intricate rhythms passing between the accompany-ing percussion and the dancers’ feet.

Some key elements of Kathak that are included in this programme are:

Tihai – a sequence using just the feet in which the dancers copy the intricate rhythms of the percus-sion

Naman – the starting pose for the tihai. Stand upright, heels together but feet pointing outwards to form a V; left hand in front of chest, palm facing up; right hand on top of left hand, palm facing down.

Tukra – a short dance sequence, forming part of a longer Kathak performance. The tukra in this pro-gramme includes the following elements:a) Uthpathi – an opening pose. Stand upright, heels together and feet pointing outwards (as with Na-man). Hands are held in front of the chest, both palms facing downwards, f ngertips together.b) Namashakar – the ‘greeting’. Hands are brought together into the ‘prayer’ position; prayer hands then move in a semi-circle from left to right and back to in front of the chest.c) Chakar – a spin. The spins in this programme are through 360 degrees to four beats.d) Sum – a regal pose.

The dances are usually performed wearing traditional costume – saris for the women and the men bare-chested and wearing dhoti.



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Movement summary:

• Warm up: isolating individual body parts – ankles etc – based on yoga moves.

• Tihai: repeating a sequence of claps and foot stamps following a drum rhythm, in two groups

• Tukra: Making the Uthpathi pose and then moving through the Namshkar greeting

• March: four steps forward then back, with arms extended alternately to right and left with each marching step

• Chakra / Sum: A spin through 360 degrees in time with the music ending in the regal pose.

• Sequence: putting the moves together to form a tukra sequence based on: uthpathi, namshkar, march, chakra, sum.

• Cool down.

Programme 1 structure: Kathak

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CD 1Track

Content Guidance Evaluation

1 Warm upJogging around room in time to music, travelling in all directions.Stretches. Circular movements of joints and stretches based on yoga which is used in Kathak warm ups.

Control running movements to beats of music. Lift knees high.Circular movements of all joints wrists, shoulders, hips and ankles.Bend over to touch toes.

Is the running in time to music?Are they aware of space when running?Are circular movements of joints controlled?

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Sequence 1: TihaiWorking in two groups, called A and Ba) Naman - Kathak poseb) Tihai- rhythm dancePractice rhythm work with hands and feet through clapping and stamping in kathak style.Learn kathak starting pose - NamanPupils will learn and practice Tihai three rhythmic patterns:a) clap, f ve stampsb) clap clap, f ve stampsc) clap clap clap, f ve stamps

Pupils will f rst work individually to learn pose and learn rhythms.Divide class into two facing each other – groups A and B.A will start with f rst rhythm a) clap then f ve stamps. B will respond doing second rhythm b) clap clap then f ve stamps.Then both A and B will do clap clap clap then f ve stamps.The sequence done three times.

Do pupils stand strong in kathak Naman pose?Do children clap and stamp in time?Do pupils understand what rhythm they will follow?



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Sequence 1: Tukraa) Uthpathi pose and Greeting NamshkarUthpathi pose – feet pointing out in V position; arms raised at chest height, elbows out, f nger tips touching. Greeting Namshkar; hands together in ‘prayer’ position. Move hands from right to left.

Make sure children stand tall.Make sure stance is strong.

Are pupils in correct stance?Is the greeting Namshkar move clear?

7 Sequence 2: Tukrab) March: tut tut tut tut- (1 2 3 4)From uthpathi pose, travel forward right leg f rst and right arm extended with head turning to right. Then left arm extended and left leg in front, looking left. And right and left again.End by coming back to uthpathi pose. Practice greeting namshkar, tut tut tut tut, ending to uthpathi pose.

Make sure co-ordination of arms, legs and head - moving at same time.Greeting namshkar to tut tut tut tut - 4 steps forward with arm extending right left right left, uthpathi pose. Practice three times.

Are pupils making strong movements?Is co-ordination of arms, legs and head correct?Are pupils ending move to uthpathi pose?

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Sequence 3: Tukrac) Chakra- Three foot turn d) Sum- regal poseChakra- from uthpathi kathak pose, turn around 360 degrees taking 3 steps. Right foot f rst, left and right. Ending back to uthpathi pose.As turn, extend both arms for two steps right and left and last step back to uthpathi.Sum - after turn stamp with right and place left foot behind right foot with arms in air.

Make sure the right foot steps f rst, as they turn.Make sure arms are extended as children turn around.

Make sure they end in uthpathi after turn.

Make sure the Sum regal pose is strong and f xed.

Are pupils co-ordinating arms and legs in time?

Is the regal pose strong and clear?Are the children returning to uthpathi.

11 Sequence 4: Tukra a b c dStarting pose uthpathiGreeting namshkarTut tut tut tut– 1234 extended armsThree foot spin - chakraStampRegal poseDone three times.

Encourage pupils to make the moves smooth, graceful, clear and with physical strength.Make sure poses are all well def ned.

Do pupils remember the sequence well?Do pupils make strong clear movements?Do they make def ned poses?

12 Cool downWalk to own space with slow, exhausted steps.Stretch, lie down and relax all muscles.

Encourage tired heavy steps. Stretch body long and tall in own space.

Pupils should feel calm, relaxed and stretched.

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2. Krishan vs Demon

This programme focuses on the narrative element of kathak by telling one of the stories from Hindu mythology. The dance shows Lord Krishan – the hero – and how he takes on and defeats a fearsome demon.

Movement summary:

• Warm up: a sequence of steps and stamps, preparing for the demon gestures that will be part of today’s dance

• Krishan playing the f ute: hands held close to the face as if playing the f ute; a sequence of steps based on right, left, right, then tap left behind right; carrying on leading with the left for four beats, then right again for four beats

• Krishan banging the drums: simple forward steps for the feet, accompanied by alternate bangs on a huge drum in time with the music. Becomes playing f ute for 16 beats and drum for 8 beats.

• Demon stomp / demon hiss: stamping forwards 4 steps and back 4 steps with demon arms changing with the change of direction; staying on the spot to make a demon gesture and sound!

• Krishan defeats the demon: in pairs – A as Krishan circles the demon for 16 beats playing the f ute; then A switches to banging the drum while B – the demon – makes the demon hiss. Swap over if possible.

• Cool down.

Programme 2 structure: Krishan vs Demon

CD1 Track


13 Warm upSequence of eight steps, four stamps, shaking arms and pulling funny faces. Travelling forward, back, side to side and diagonally.

Practise and repeat several times to raise pulse. Ensure pupils stamp, shake their arms and pull funny faces at the same time.

Are the pupils spatially aware? Are they in time?

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Sequence 1: Krishan playing f ute – ‘the f ute dance’Pupils use hands to make movement of stylised f ute.Practise travelling through the space, in beats of four with right 2, 3, tap left 2, 3, tap, in circular shape and f gure of eight.Travelling through the space with f ute mudra.

Make sure hands are correctly making the f ute mudra.Make sure head is tilted slightly to the side as if playing f ute.Make sure pupils travel through the space, making small light steps of right 2, 3, tap and left 2, 3, tap.

Are the hands creating the f ute mudra?Are hands away from the face, at lip height?Is head tilted to one side?Are pupils correctly doing footsteps of right 2, 3, 4, then left 2, 3, 4?

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17 Sequence 2: Krishan banging the drums – ‘the drum dance’On the spot, practise heel steps. Make the movement of playing drums. Both feet and arms together.Practice playing f ute for sixteen beats then playing drums for eight.

Make sure heels make solid movements as they hit the ground. Make sure arms are wide apart and palms are making movement of banging the drums.Make sure they move with ease from f ute to drum action.

Is the playing-the-drum pose clear and solid?Are pupils moving in time to the music?Are they making clear contrast between f ute and drum moves?

18 Sequence 3: Demon dancea) demon stompb) demon hissLearn and practice upper body movements. Angular arms and palms. Refer to diagram.Demon stomp - stomping forward four steps and back four steps with arm movements.Demon hiss - stand in demon stomp pose. Adding facial movement, rolling eyes and hissing.

Make sure upper body and stamping is solid, strong and clean. Stress co-ordination of arm movements are clear as stamping forward and back. The arm movements for the demon stomp are particularly challenging and will take time to get.

Do pupils create an Indian demon pose? Are their arms co-ordinating and moving in time as they stamped back and forth?Are the facial expressions big?

19 Sequence 4: Krishan vs demon - a) Krishan f nds the demon; b) Krishan kills the demonIn partners: A and B.A is Krishan, B is the Demon.a) Krishan f nds the demon. A plays the f ute circling B. B does the demon stomp. Both are danced for 16 beats.b) Krishan kills the demonA stands in front of B, A bangs the drums to scare Demon. B does demon hiss. Both for eight beats.Replay the music as often as you’d like. Partners swap over characters.

Make sure A and B understand what movement they are doing. A Krishan B demon.Make sure A Plays f ute movement around B and B does demon stomp at the same time.Make sure after 16 beats A faces B and plays drums and B does demon hiss action.Partners swap characters.

Do pupils understand the game? Do they work together well, carrying out their individual movement and dancing in time together?Is there a clear contrast between their movements?

20 Cool downBasic yoga stretches. Encourage stretching but not

over-stretching muscles.Body and limbs should feel stretched and relaxed.



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3: Bhangra harvest

‘Bhangra’ is a dance form that originates from the Punjab region and is perhaps the best-known of South Asian dance styles. The word ‘bhangra’ comes from the word ‘hemp’ and the dance was originally a celebration of the harvest – and consequently the dance is lively and happy. It grew gradually to become a traditional dance at times of celebration – at weddings and parties.

In recent years bhangra has seen a huge surge in popularity – not just as a dance form but with a genre of music also named bhangra. As it has moved into the mainstream bhangra – both dance and music – has fused with many other inf uences, including Bollywood, hip-hop, jazz, house, drum-and-bass and reggae.

Wherever Punjabi emigrants have gone they have taken bhangra with them…and the dance has evolved in relation to new styles and inf uences. The choice of music for these programmes ref ects this fusion of inf uences. The emphasis is on learning several discrete components of a sequence and then putting them together. Each of the moves can also feed into the children’s own dances.

Movement summary:

• Warm up: Isolation sequence based on previous programmes

• Bhangra hop and bhangra arms: practising the basic step and then adding shoulder shrugs in time to the feet

• Tying the turban: left hand on ear; right hand extend straight; arm swoops from right to left creating a circle as the turban is tied; adding feet

• Cutting the crops: a new bhangra step which is accompanied by arm movements suggesting cutting the crops – a scythe is held in one hand and moves smoothly to cut the crops

• Harvest day sequence: Adding the elements together to make a sequence

• Cool down.

Programme 3 structure: Bhangra harvest

CD1 Track


21 Warm up.Circling joints to warm up their bodies and jogging.

Ensure movements are controlled. Make sure movements are energetic and bold.

Do pupils move in time? Are they aware of the space?

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Introduction to bhangra

Sequence 1: Bhangra bounce and bhangra arms

Bhangra bounce: learn and practise basic bhangra step.

Bhangra arms: shoulder shrug moves with arms extended. Bhangra footwork in time to music. Travel through the space with basic step.

Bhangra bounce and arms together

Make sure arms are extended and elbows soft, and shoulders are constantly moving to time of music.

Are pupils’ shoulders in time to music? Is the bhangra kick in time? Are children able to move both shoulders and bhangra step together in time?

26 Sequence 2: Tying the turbanLeft hand on ear, right arm extended shoulder height. Move right arm from right to left, then back again. It creates a circle. Shoulder shrugging all the time the movement is being carried out.Basic bhangra bounce footwork with arms.

Make sure left hand on left side of head and right arm is clearly moving from right to left and back again.Make sure both shoulders are shrugging in time to music, as right arm is moving from right to left.

Do pupils move arms from right to left and shoulder shrug in time to music?Were movements clear?

27 Sequence 3: Cutting cropsFeet: Bhangra hop: learn and practise second bhangra step. Arms - left hand is a f st and held out in front. Right hand as if holding a scythe, moves from right to left, underneath left hand. Shoulders always shrugging up and down in time to the music. Both footwork and arms practised together.

Once the step is learnt, make sure the children move in time to the music, as if bouncing as they do the step.Stress to children that they are cutting a crop, so movement is large and circular.Make sure both footwork and arms are in time to music.

Are pupils bouncing a little as they step in time to music?Do they appear to be cutting crops?Are they in time to the music?

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Sequence 4: Harvest day danceFirst recap all the steps again:Tying the turban Cutting cropsBhangra armsGet in to groups of four/ f ve. Make two lines facing front. Do each move twice and the sequence twice. Allow pupils to jumble sequence to their own preference. Show rest of the class.

Make sure movements are clearly different.Make sure shoulder shrugs and footwork is in time to music.Divide class into groups of four/f ve.Encourage the children to create their own sequence from moves learnt.Make sure they work together and dance in time to the music.

Are pupils making the different moves smoothly from one to another?Are they moving in time to music?Are they aware of their own and group spatial awareness?Do pupils work together as a group to make their own sequence with moves they have learnt?



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30 Cool down

Walk around room. Taking large slow steps. Lie on the f oor and take in slow deep breaths.

Encourage large, slow steps. Pupils should be calm and relaxed for class.

4: Bhangra celebration

Movement focus:

• Warm up: revision of bhangra steps from the previous programme.

• Bhangra feet plus clapping and pointing: continuing with bhangra foot moves from last time and adding clapping in time to the music and dramatic pointing gestures

• Gidha: focus on pair work; partners perform a sequence of the moves in pair formation, passing each other and turning to face for the next move

• Kikalee: partners swing each other round with a cross-hand hold

• Bhangra party: group focus; everyone forms a big circle; pairs take it in turns to dance one move together in the centre of the circle, before the next pair take over

Programme 4 structure: Bhangra celebration

CD2 Track


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Warm upRevision of Bhangra steps from previous programme: Bhangra bounce and arms.

Then bhangra hop.

Practise and repeat several times.

Are pupils warmed up ready to dance?

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Sequence 1: New bhangra moves a) clapping b) pointing in air

a) ClappingFootwork from previous programme. Add claps in time to music. Clap diagonal up and down. Travel forward 4 steps. Spin round and travel forward for 4.

b) Pointing in air. Left hand on hip, right hand stretched in air, hand pointing up as if waving for the teacher’s attention. Practise both a and b in space. Shrugging shoulders in time to music.

Make sure pupils are doing bhangra basic step correctly to music.Make sure pupils are clapping in time and doing bhangra point move with their shoulders shrugging in time.

Are pupils moving in time to music?Do they move through space with ease?Are they spatially aware of each other?



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Sequence 2: GidhaPartner up as A and B.A and B should stand a metre apart facing each other to dance all moves so far learnt. They will travel with one movement crossing each other to swap places. Then continue to do second movement crossing each other to swap places again. They will do this until all moves have been danced.In following order:Bhangra hopBhangra armsBhangra clapBhangra pointPupils will then do their own sequence of the moves.

A and B are a metre away facing each other. On the spot children will do bhangra hop. Travelling across each other they will do bhangra arms to swap places.Then bhangra clap, crossing each other to swap places again.Then bhangra arms then move across each other again to swap places.Encourage the children to ref ect the moves with each other, so that they dance in unison and with joy!

Do pupils ref ect each other’s moves, dancing with joy? Did they move smoothly from one move to another?Are they working well in partners?Are pupils spontaneous in making their own sequence from the moves given?

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Sequence 3: a) Kikalee b) bhangra starFind another partner as A and B.

a) Kikalee. Both feet on ground. A and B extend arms in front of themselves, cross over arms. A and B take hold of each other’s hands. Spin round in a circle in time to music.Practice moving from one to another.

c) Bhangra star jump. Body in a star shape, jump down and jump up.

Then combine bhangra hop, kikalee and star jump.

Kikalee- Make sure pupils do not spin out of control.

It’s a bit like a frog going up and down, but with bhangra arms. The up and down is very fast and energetic!

Do pupils have good control of both moves?



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Sequence 4: Bhangra extravaganza! Pairs decide two favourite moves that they will use in the bhangra extravaganza.

Class makes a circle. Ensure that partners are standing next to each other.Everyone does bhangra arms with either bhangra bounce or bhangra hop. While circle continues to dance; one set of partner goes into the middle of the group doing any of the movements learnt. As partners f nish and goes back to the circle, another set goes in. Until all partners have a go.

Invitation to replay the music.

Make sure circle is big and all pupils have enough space to go around in a circle as they move. Plenty of time is allowed for this activity in the programme (the music lasts for about 3 mins 30 secs).Encourage partners to do their move in circle energetically and boldly choosing from:

ClappingPointing in airBhangra armsBhangra stuntKikaleeBhangra starAnd any learnt from the previous time.

Are pupils moving in time? Do the partners work together deciding what movement they do in the middle?Are all partners doing clear movements?Are all partners using arrange of all different bhangra moves learnt from this programme and the previous one?

14 Cool down

5: Tamasha

‘Tamasha’ is a traditional form of performance with singing and dancing. The word can also mean something like a ‘commotion’ – so it’s just right for this f nal programme that brings together elements of the previous programmes in the unit and runs them as a performance.

Programme 5 structure: Tamasha

CD2 Track


15 Warm up. Bhangra style warm up. Bhangra bounce with arms, hop and star.

Refer to programmes 3 and 4 for details.

Are pupils moving to beat? Were movements energetic?



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16 and 17

Set class up for the dance.Instructions for the tamasha are explained as follows:

Tihai - clap and stamps.

Kathak tukra - uthapthi, greeting, march, peacock, ballet.

Krishan vs demon - f ute, drum, demon stomp and hiss.

Bhangra extravaganza - bhangra hop, star, arms, bounce, kikalee, tying turban.

Divide class into groups of six. In their groups, ask pupils to f nd a partner to become A and B. Move the groups in a space away from other groups. Encourage children to sit and listen carefully for next set of instructions.

18 Sequence 1: TihaiRevision of steps.Clap stamp 2, 3, 4, 5…Clap clap stamp, 2, 3, 4, 5…Clap clap clap stamp 2, 3, 4, 5.Links:As children are in their groups they remain where they are. Prepare to get into uthpathi kathak pose.

Ensure pupils are clapping and stamping in time. Ensure that they have enough space between them.

Refer to programme 1 for details

19 Sequence 2: Kathak tukraRevision of steps.Please refer to programme 1 for detailed information on this sequence.Links:A prepare for Krishan pose; B demon pose, for next dance.

Refer to programme 1 for details. Aim for light, graceful, yet strong movements.Starting pose- UthpathiGreetingMarchPeacock spinBallet

Refer to programme 1 for details.

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Sequence 3: Krishan vs. DemonRevision of steps.Please refer to programme 2 for detailed information on this sequence.

Links:Prepare for bhangra sequence. They all have space between them.

Please refer to programme 2 for details.

Keep the sequence bold with strong mudras and actions of both characters. Ensure pupils have enough space in the group to dance. Krishan vs. DemonA is Krishan. B is the Demon.Krishan f nds the Demon - A does playing the f ute action circling B, while B does demon stomp action.Krishan scares the Demon - A bangs the drums facing B, while B does demon hiss action.Swap characters and repeat.

Refer to programme 2 for details.



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22 Sequence 4: Bhangra ExtravaganzaRevision of steps.Kikalee - In groups children will form big circle. Holding each others hands they will spin around.

Please refer to programmes 3 and 4 for detailed information on this sequence.

Refer to programme 3 and 4 for details.

Aim for sequence to be energetic and joyful.Bhangra bounce, star, arms, kikalee, tying turban.Done twice.

Refer to programmes 3 and 4 for details.

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TamashaChildren will dance sequence 1 to 4 with guidance where to change dance sequence.

a) Tihai

b) kathak tukra

c) Krishan vs Demon

d) Bhangra extravaganza!

Encourage the pupils to practice and remember moves. Encourage smiles.Encourage children to perform for each other.

Replay the music sequence (tracks 23 to 27) as often as you’d like – e.g. for a performance to others.

Are pupils moving in time? Do they have space between them to dance? Are they spatially aware of group dancers?Are movements clear and bold?

28 EndingInvitation to replay the music.



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Unit 2: Hip, Hop, Step

Introduction:

The ‘Hip, hop, step!’ unit has been devised to teach specif c simple ‘street dance’ steps and moves. The aim is to build the children’s conf dence with a range of moves – many of which will be familiar – enabling them to take part in a performance…whether as part of a show or at the school disco.

Taken as a whole the unit provides a ‘toolkit’ of moves which pupils will be to experiment with, creating their own street dance routines based on a realistic and achievable number of steps.

These programmes encourage plenty of aerobic exercise, promoting greater f tness health, so pupils will need plenty of energy!

The ‘Hip, hop, step!’ programmes have been written by Omar Paloma, an experienced dance practitioner and specialist teacher of American hip-hop with his own dance school called ‘idance studios’. Omar also appears in these notes modelling some of the moves. More information available at this address:

www.idancestudios.com If you would like to see some hip hop dance performance from Omar’s dance troupe go to:

www.cultureshock.info

The programmes are presented by Andy Instone, a young choreographer and teacher of hip-hop. Andy directs the pupils through each of the moves with clear, steadily-paced instructions.

Each programme adopts a similar format. The programme is divided into 10 CD tracks, allowing teachers to conveniently navigate each programme and allowing sections to be simply and quickly repeated. Use Dance Workshop as f exibly as you wish: all the track positions have been carefully chosen to allow easy re-cueing of material and a full list with details of all the moves is attached within these notes for every programme. However there is a natural progression in the diff culty and complexity of routines as the unit progresses, so it is primarily intended to be used chronologically.

Each programme starts with a substantial warm up routine and ends with a cool down. The warm up varies a little but has been designed to be generic, so that it becomes familiar. They should gain greater conf dence with it each session, encouraging them to perform it in their own style.

The music used includes funk, R and B, soul, disco and hip-hop. Details of all the music used is listed as part of these notes.



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6. Funky street

Programme 6 structure: Funky street

CD2 Track


29 Introduction James Brown - “Make it funky”. There is no right or wrong way to move, this should be funky and fun!

30 Warm up - solo:Dr. Dre – “The Watcher” This generic walk sequence is

used at the beginning of each programme.Walk forward 2 3 4Back 2 3 4Bouncing on the spot Walk forward 2 3Jump back 2 3 jump.Walk left 2 3 CLAPWalk right 2 3 CLAP.

OPTIONAL STOP SIGNAL

Encourage the children to make their movements bouncy, to emulate the funky style and add their personality. As they become more familiar with these moves and more conf dent, they should develop their own style.Keep the walks low, emphasise the rhythm and keeping in time to the music.

Run the sequence again, if the children need more practice.

If time permits, choose the some of the funkiest dancers to perform their warm-up to the rest of the class. Get the audience to comment on who looks cool, and why they think so. Is this something they could emulate when they have a go?

The children could perform it in pairs doing a high f ve slap for the clap, walking towards to face each other, or one behind the other shadowing.



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31 Isolations:Heads & ShouldersDr. Dre –“Big Egos”

Head turns from side to centre to side.Shoulders lifting up and down.The children should be developing their rhythm awareness and keeping in time to the music.

The children should be warming up their necks and shoulders through this exercise, but they should be keeping the rest of their body completely still. Learning to control individual muscle groups, only moving one specif c part of their body at a time as instructed.

32 The Slide - solo:Dr. Dre – “Still Dre”

Another move which will feature in quite a few programmes.Sliding with bent knees side to side with a clap.Slow time f rst, then full speed.Then freestyle slide - changing direction, forward and back, diagonal to diagonal.

STOP SIGNAL

[Photos 1 and 2]

Encourage the children to get a speed skater sliding action, keeping low to the ground with knees bent. They should try to travel as far as possible with each sliding move, transferring their weight to each side. They should keep in rhythm.Make sure the children are aware of their own space and that they really stretch their arms out wide as they slide.Stop the programme to practice. You could repeat the section choosing the best to perform to the rest of the class.

33 Move 1:The Bird

The movement is introduced slowly without music, so that pupils practise in real time with the presenter,staying on the spot, then moving all round the room.

[Photo 3]

Bending knees, f ap arms up…Legs straighten, f ap arms down.

When the music starts, the move is slow to start with before it speeds up.

Help the children to stay in rhythm by modelling yourself, so that they achieve a strong contrast between up and down, bending at the knees and bouncing in rhythm.

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34 The Bird - pairs:Funky little beats – “Smooth Drive”

STOP SIGNAL Working in partners the children practice a bird dance in pairs. They can stand facing each other, or one behind the other. Flapping in unison, or as opposites.Encourage interpretation of the music, the bird should look bouncy.

35 The Bird performance:“Smooth Drive” Clean music track There is no voice over here,

so the children are free to interpret their bird moves as they wish.You may want to pause to repeat this section.

36 Move 2: The SmurfFunky little beats “Mellow Yellow” A rocking-horse movement,

transferring weight from one foot to the other.3 rocks forward and back and then a tap.

STOP SIGNAL

[Photos 4 and 5]

You may need to re-run this sequence. An opportunity is provided to stop and have a practice.The tricky bit is the transfer of weight after the tap, where the move restarts on the other foot.Encourage the children to give the move personality, to add their own individual arm movements. Pushing and pulling, using a clap or shaking their hands.They can interpret The Smurf side to side or forward and back.



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37 The Smurf - performance solo

Presenter guidance at the beginning of music track to establish the rhythm.

STOP SIGNAL

The children are encouraged to travel.

There is an opportunity to try The Smurf in groups, or lines, or partners if you have time.

38 Cool downKool & the Gang - “Summer Madness”

The cool down is deliberately very slow paced and around 2 minutes long.The moves for the cool down stretches are generic and similar in each programme.

Stretch right arm up and over to left side – hold for 8.Change sides – hold for 8.Flop whole body over to the centre hold for 8.Slow roll up the spine for 8Final stretch f ngers and arms above head for 8 and relax.

If you f nd you don’t have time to run the full programme, it is advisable to skip forward to this section allowing the children to cool down and feel a sense of calm at the end of a very aerobic dance session. This is important to prevent injury and to ensure that heart rates return to normal.

This should look rag-doll like, with legs slightly bent, head towards the f oor.If you have time the class are invited to invent their own funky move and give it a cool name!



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PHOTO 1: THE SLIDEThe slide should have a wide, skater-like

action.PHOTO 2: THE SLIDE

At the end of ‘The Slide’ feet come together with a clap.

PHOTO 3: THE BIRDArms f ap up into a vulture like shape.



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PHOTO 4 : THE SMURFAs body rocks back the arms push forwards.

PHOTO 5 : THE SMURFAs body rocks forwards arms push back.



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7. Rock your body and soul

Programme 7 structure: Rock your body and soul

CD2Track


39 Introduction Marvin Gaye - “I heard it though the grapevine”

Are pupils warmed up ready to dance?

40 Warm up:Funkadelic –“Groov-allegiance”

Isolations:

Walk forward 2 3 4Back 2 3 4Walk right 2 3 jumpWalk left 2 3 jumpBouncing on the spot

Head right centreLeft centre.Full arm circles right and left.STOP SIGNAL

Today’s warm up has a more laid back feel, encourage the children to interpret a soulful style as they do the walks. The jumps should be small and low to the ground, landing lightly.

Remind the children to keep the rest of their body still, just moving the head or arms as instructed.

41 The slide:Roger –“I heard it through the Grapevine”Slide right and clap

Slide left and clapSlow, then faster.March on the spotSliding, changing direction.

Remind the children to keep to their own space, so they don’t bump into each other.

Encourage them to travel as they change direction. It’s the speed skater action, low to the ground with bent knees.

42 Move 1:Smash the plate! The move is broken down into

small parts without music.[Photo 6]

Encourage the children to reach up high with both arms above their head.

43 Smash the plateClub Rouge –“Rock me baby”

With voice over instruction. Half time to start with:Right, left, right, hold.Left, right, left, hold.Then faster with plate smash only on 4th count.Variation:Right left, right RIGHT.Left, right left LEFT.STOP SIGNAL

Encourage the children to listen out for the plate smash FX. Each time they hear it they should be smashing the plate on their knee.In the 2nd faster sequence the plate smash is placed to accentuate the hold on the 4th beat each time.If some children are confused between right and left, tell them to alternate between legs.



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44 Smash the plate -Pairs Performance

Presenter voices at the opening only.

Partners can be in unison, or working alternately; performing one sequence each, in cannon. One partner can freeze in a pose while other dances. They can stand facing each other, side by side, or as several bigger group in lines!Encourage the children to listen for the plate smashes and to use them to keep in rhythm.

45 Move 2:The WatutsiOlatunji Drums of passion – “JIN-GO-LO-BA”Solo

Like a swimmer making a front crawl arm movement.Right arm over holdLeft arm over holdHalf time f rst, then faster.

[Photos 7 and 8]

This should look strong and powerful. Encourage arching of the arm as it comes over the shoulder, keeping hand in line. Imagine the resistance of swimming the front crawl dragging through the arm through the water.This is a tricky African drum rhythm, so the children need to follow the presenter’s lead closely to keep in time. If they achieve the hold on counts 3 and 4 they will be in time. Remind them to keep knees bent so body is low to the ground.

46 The WatutsiMarch.Arms & Legs combined.

Bending both legs, lift one foot a little way off the ground, balance, then swap over.Lift right, left, right hold.

The powerful Watutsi march should be low and stomping into the ground. The rhythm for the march is exactly the same as for the front crawl, so when arms and legs are put together, they’re in unison.

47 The WatutsiMarch and Front crawl together.Whole class

Leg march combined with front crawl.

STOP SIGNAL

Dance the Watutsi as a bigger tribal dance group. Splitting the class into two halves, one half grouped to face the other. Or you could try it as inner and outer circles.

48 COOL DOWNDr Dre-“The message”

As for programme 1. It’s important that pupils have a good stretch of their muscles.



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PHOTO 6: SMASH THE PLATEThe moment after the plate has been ‘smashed’

over the knees.

PHOTO 8: THE WATUTSIWatutsi front crawl arms.

PHOTO 7: THE WATUTSIWatutsi March with front crawl arms.



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8: Disco dance

Programme 8 structure: Disco dance

CD3 Track


1 IntroductionBee Gees –“Staying Alive”

The Disco programme opens with ‘Saturday Night Fever’.The f rst 3 tracks are taken from the album.

If you have access to any old disco footage or pictures of dancers in disco gear show them to the group before the session.If you search for images on the internet (e.g. using ‘Google images’) there are photos of John Travolta in the famous white suit!

2 Warm up:Whole class in a long line.KC & the Sunshine Band –“Boogie shoes”

Walk right 2 3 clapWalk left 2 3 clap.Walk forward 2 3 clapWalk back 2 3 clap.March on the spot rolling arms 3 times clapping on 4.

Walks forward and back combined with rolling arms and clap.

Before starting, group the class in one long line or several lines. Tell them to be ready to move to their right side f rst. Then everyone can perform the warm up together – just like a line of disco dancers!

This may be tricky choreography for some children. So run the sequence again, if they need another go, practising it f rst.

3 Isolations:David Shire –“Salsation”

Head right hold, centre hold, left hold.Slow, then faster.Shoulders up and downSlow, then faster.

Remind the group to keep the rest of their body still.

Knees can be slightly bent during this sequence.

4 The Slide:Heatwave –“Boogie nights”

Slide right and clapLeft and clap.

Remind them of their speed skater position, low to the f oor.Encourage a relaxed bouncy interpretation of The Slide to this music.

5 Move 1:The JumpSolo

Facing front with feet hip width apart.Jump turn right, clapJump turn front, clapJump turn left, clap.

The children should just make a small jump and clap simultaneously, returning to the front each time.

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6 The jumpKool & the Gang – “Get down on it”.

Move 2:The carwash scrubRose Royce –“The car wash”Solo

The presenter leads the children through the move with the music.STOP SIGNAL

Imagine standing in front of a car, parked sideways on.Reach over scrub the windscreenBend down low scrub right wheelReach across and scrub left wheelReach up and scrub the roof.The presenter leads the group through the sequence with music.STOP SIGNAL

This is a key move to the following carwash routine so ensure the group are conf dent with this move before trying the next section. Repeat this sequence if needed.

Encourage the children to show dynamics in the levels they move to, stretching high for the roof or windscreen and bending down low and out to the side for the wheels.

Repeat the sequence to practice it, if required.

7 The Carwash Routine(Jump and scrub combined)

Jump right scrub the windscreenJump front scrub right wheelJump left scrub left wheel.STOP SIGNAL

[Photo 9]

The presenter leads the group through the sequence.

Pause the programme and organise the class into small groups, so they form a carwash team. Would they choose to wash any other parts of the car, windscreen wipers, doors, and bonnet?Encourage range and contrast of movement, high and low, reaching and stretching across for the roof and bending down low to shine the wheels.

8 Carwash performance Groups

Move 3:Disco walk

Clean music track so that pupils can interpret as they wish.

This is inspired from the John Travolta scene in ‘Saturday Night Fever’ when he dances in a white suit.

On the right, tap front, tap side, point your arm in the air – freeze.Repeat on left sideWalk in a circle for 8 counts.

You could split the class in half so they can watch each other. Ask them to comment on who they thought was most successful and why? Could they tell which bit of the car was being washed each time? Who is making the moves look most stylish?

Encourage the children to show their personality and style to strut in their walk.

The pointing gesture can be using either arm, straight up in the air, or out to the side, across their body but the arm should be straight, and it should look strong.



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9 Disco walkThe Whispers“And the beat goes on.”

Presenter leads the sequence throughout with music.

STOP SIGNAL

[photo 10]

Choose some of the best dancers to perform to the rest of the class.

Practice and then repeat the sequence as one big class group in lines.

10 Cool downRose Royce“Wishing on a star”

As for previous programmes but ending in lying down on the f oor to relax.

If you don’t have time to try all the moves make sure you skip forwards to the cool down so that pupils have an opportunity to stretch their tired muscles.

PHOTO 9: THE CARWASH SCRUBUse a low body position and stretch to scrub the

right wheel.

PHOTO 10: THE DISCO WALKTap left foot out to the side and point.



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9: Hip hop step

Programme 9 structure: Hip hop step

CD3 Track


11 Introduction Herbie Hancock – “Rocket”

12 Warm upDavy DMX – “One for the treble”

Walk right 2 3 clapWalk left 2 3 clapForward 2 3 clapBack 2 3 clapJump right right right clapJump left left left clapBouncing on the spot for 8 counts.

Encourage pupils to show their personality and conf dence in their walks. They should be very familiar with them now.

After the jumps they should land quietly with bent knees.

13 Head nodsShoulderJonzon Crew –“Space Cowboy”

The slide

Bouncing at the knees while nodding the head.Up and down.Then right and left.Shoulders up and down.

Sliding right and clapLeft and clap.

Today’s head and shoulder nods are kept in a bouncy style, not the usual isolations.

Encourage the children to bounce hip-hop style to the beat, keeping in rhythm.Keep low and body bent over for the slide.

14 Move 1:Robbie the robot!

Two key positions are taught:Robot ReadyDead Battery

[Photos 11 and 12]

These are then practiced with robotic sound fx.

STOP SIGNAL

Two key positions are taught:Robot ReadyDead Battery

[Photos 11 and 12]

These are then practiced with robotic sound fx.

STOP SIGNAL

15 Robby Robot follow me!Tyrone Brunson“The Smurf”Solo

Presenter leads the moves with each body part clearly indicated to music and robotic sound fx.

STOP SIGNAL

The movements should be jerky sharp and clean. They should be isolated movements just involving the specif c body part mentioned.Stop and practice the robot moves – slide feet as if on wheels.



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16 Freestyle Robot DanceSolo

Clean music track for interpretation

If time permits, choose the strongest performers to show their Robot moves to the rest of the class.

17 Move 2:The PenguinArm move

Arms down, head to the right side, legs slightly bent, staying on the spot.Swing right arm out to the side in a half circle and up over the head, then snap your f ngers – then swing the same arm back down.

[Photos 13 and 14]

The arm should be placed in a half moon shape over the head when you click, then it reverses down with the elbow tucked into the waist.

18 The PenguinSolo then pairsMatthew Corbett/Mike Wilkie“Maker Shaker”

This move increases in speed throughout this section. The presenter leads it each time.Circle up snap, down hold.Slower then faster.

The children should jump at the same time as they snap (click their f ngers).

19 The Penguin with jump.

Adding a jump to the right.Jump up snapCircle down.Changing sides jumping to the left, then the right.Then faster…Up down up down.

STOP SIGNAL

The last section is quite fast and may take a bit of practise, but will suit any gifted dancers in the group.Group the children in pairs and get them to practise the move. If they face each other, they can either both move the same way. If they both move to the right at the same time, the effect will be to move apart. Let pupils decide for themselves how they want their penguin dances to be.

20 Cool downClub Rouge“Mellow Yellow”

As for previous programme, ending in a relaxing lying down on the f oor.

If you don’t have time to try out all the moves, make sure you skip forwards to the cool down section.

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PHOTO 11: ROBOT READYPHOTO 12: DEAD BATTERY

PHOTO 13: THE PENGUIN



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10: Mix it up!

Programme 10 structure: Mix it up!

CD3 Track


21 Introduction Pink – “Get this party started”

22 Funk Warm up - Dr. Dre – “The Watcher”

Walk forward 2 3 4Back 2 3 4Bouncing on the spot Walk forward 2 3 jump back 2 3 jump.Walk left 2 3 CLAPWalk right 2 3 CLAP.

Encourage pupils to make their movements bouncy, to emulate the funky style and add their personality. Encourage real performance of this familiar sequence.

Pupils could perform it in pairs doing a high f ve slap for the clap, walking towards to face each other, or one behind the other shadowing.

23 FUNK: The BirdFunky little beats “Smooth Drive”

Instruction reminder.

STOP SIGNAL

The bird should look bouncy and fun!

Pupils form pairs to perform their own freestyle bird dances.

24 The Bird performancePairs

Clean music track If time permits choose the best birds to perform to the rest of the group, or even to another class in the school.

25 SOUL: Smash the Plate Instruction reminder.

STOP SIGNAL

Encourage the children to focus on the plate smash sound fx to get the hold in the sequence.

26 Smash the platePerformance

DISCO –Car Wash routine

Clean Music track with sound fx.

Instruction reminder.

The plate smashing should look powerful and strong.

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27 Car Wash PerformanceGroups

Clean music track The audience should be able to tell which part of the car is being washed each time. The children should be using different levels.

28 HIP HOP:Robbie the Robot

Reminder of sequence with fx:Robots Ready, Dead Battery reminder.

Movements should be sharp and jerky.

29 Robot DancePerformance

Clean music track Encourage individuality so that all the different robots look distinctive.

30 Cool downKool & the Gang“Summer Madness”

A slightly shorter cool down in the same basic format in counts of 4.

Make sure you use the cool down. If you want to extend this sequence use a longer cool down from one of the previous programmes.

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Discography: Unit 1 ‘Hip, hop, step!’

1 Funk The Best of James Brown James Brown NCD 3376-K-tel

Dr Dre 2001Instrumentals only

Dr Dre 069490571-21

Kool and the Gang Funk Collection

Kool and the Gang 5449892

2 Soul Marvin Gaye 15 Greatest Hits Marvin Gaye WD72422

Funkdelic One Nation under a Groove

Funkdelic P253872

The Many Faces of Roger Rogger 8122-78329-2

Olatunji Drums of Passion CK8210

3 Disco Saturday Night Fever Various Polydor 825 389-2

Heatwave the sound of Soul Heatwave BLAT CD 11

Funk Soul Brother Various RADCD 136

Disco Fever Various RADCD 131

Steve Wright’s Sunday Love Songs

Various 560-290-2

4/5 Electrobreakdance Various TTV CD3240

Get the Party Started Pink BMG 74321 91337 2

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Dance Workshop Autumn 2011downloads.bbc.co.uk/schoolradio/pdfs/danceworkshop... · Dance Workshop - Autumn 2011 School ... Kathak is a form of classical dance that originates from