One of the best things to be said about dancing is that like all the arts there really is no end to it. Therefore it is always interesting and no sooner has one learnt one thing than one realises how much more there is still to know; and with each lesson a little progress only opens up more possibilities.

It is almost impossible to turn dancing into anything malevolent or really unpleasant or even mean. So the practise of dancing brings people together in a friendly spirit.

Models for teaching should always be dynamic and constantly changing, so to define and promote any one model for teaching may seem over-prescriptive.

The object of dance is judged more in terms of personal gains: e.g. sense of satisfaction, release of emotions, feelings of joy. The educator should provide frameworks within which learners can explore.

Dance activities should be guided by the educator in that the overall structure and range of content for the dance can be set before the class takes place. Together with a knowledge of stylistic conventions the educator should provide the balance which will eventually lead towards the learners gaining greater autonomy, not only in making dances but in performing and appreciating them too.

The teacher as an instructor, facilitator and guide enforces what is to be done, how it is to be done, for how long the activity will take place and the standard it reaches. The learner must be disciplined, succumb to educator control and work towards optimum physical performance. This is educator-centred education.

With this module the main learning outcome focus is the demonstration of personal and interpersonal skills through individual and group participation in Dance.

Our organising principle includes the learner participating and collaborating in Dance activities, using a wide variety of natural and physical resources.

The time schedule for this module is ± two weeks.

Assessment Standards:

Activity 1 : The Warm-up: preparing body for activities

Activity 2 : Partners: demonstrating trust building partner skills

Activity 3 : The Cooldown and Stretch: recovering active muscles

Assessment grid

Dance: Move with rhythmical steps, glides, leaps, revolutions, gestures, etc., usually to music, alone or with a partner or set. Jump about, skip, and move in lively way.

CONCISE OXFORD DICTIONARY

Activity 1

Warming up:

You are going to embark on an exciting journey taking you on the adventure that is Dance.

Before any creative activity the body must be warmed and loosened up in order for the learner to move comfortably. The warm-up also puts the learner at ease with the physical situation and is introductory to the activities that are to follow.

To avoid any injuries during the class it is important to warm up the muscles. Start all warm-up sessions with breathing (controlled inhaling and exhaling), in order for the muscles to have enough oxygen to execute the movements.

Warm-up exercise:

These exercises can be done to music – preferably modern pop music to which the learners can relate. Tempo must be approximately between 125 and 136 beats per minute, which is a mid-tempo beat. (Compared to a slow tempo of between 84 and 125 beats per minute and a fast tempo of between 139 and 160 beats per minute.)

Refer to ‘Activities for Learners’ for the warm up exercise.

Helpful hints:

Learners should breathe normally throughout the warm-up.

Make sure learners have full range of motion when executing each movement.

Count audibly throughout the warm-up.

Learners must be able to hear your instructions above the music.

Take note of any learner not executing the exercise properly.

Take note of any learner not knowing left from right.

ACTIVITY 2

At the beginning of the 19^th century, the difference between steps for men and the steps for women became more obvious.

Women moved lightly and gracefully, while men emphasized strength and nobility in their movements.

The men began to lift and support the women and sweep them up. (As we can see in Ballet with the pas de deux – pronounced pa-de-du)

The pas de deux is, above all, a partnership between two dancers, physically, musically and artistically.

Partnership depends on the rapport with the partner.

Line the learners up from the shortest to the tallest.

Divide the learners up into pairs from this line-up, so that the partners are more or less of the same height.

The partners can be of the same or opposite sex – depending on their height.

Have the learners explore their space in relation to each other:

- side by side.

Have the learners explore the relationship between one learner’s movements to another’s – are the movements similar or different?

Have the learners explore movement that occurs between partners:

- immediately after another learner.

Have the learners explore the following:

- meeting and parting: describes how partners move in space with each other – towards each other to meet and move away as they part

Select movements from the previous exercise and have the class experiment with the selected movements.

Add music to the movements – preferably music with a 4/4 beat to which the learners can relate and that is not too fast.

Combine the movements to make a short dance.

With the previous exercises the learners have experienced moving with each other and even touching and lifting each other – with this exercise your aim is to install an element of trust between the partners in order for them to move comfortably and freely without feeling self-conscious or afraid.

Have the learners stay with their previous partners – even if they did not like them.

The exercises are fully described in Activities for the learner.

Have the learners execute these exercises with your guidance.

Work at a relatively slow tempo.

Install a disciplinary structure as these exercises can create excitement amongst the learners.

Exercise 4 : Partners!

Have the learners select movements from the previous exercises.

Combine the selected movements and have the learners execute the movements in succession to music.

Divide the class up into two.

Have the groups perform their combinations to each other.

Helpful hints

It is important that partners match each other physically.

Have the learners practise feeling their own central line of balance and its relationship in order to work successfully with a partner.

Partners must learn to breathe and balance together.

Do not have the learners do movements that are too complicated or physically demanding – they will get hurt.

Lifts require precise timing and co-ordination from both partners.

To avoid damaging the backs, the partners that lifts must hold his abdominal muscles tight while bending his knees, keeping his weight centred through his body

Be sure to get the attention of the class by linking the exercises with any special interest they might have, such as games.

Each exercise can be taught first without music, so that you can correct and explain.

Make explanations brief and interesting.

Disciplinary structure: every time you feel that the class is getting to be too boisterous you can have the partners stand still back to back in an upright position on a command of your choice, e.g. clap your hands, blow a whistle, beat a drum, stop or start music, etc.

ACTIVITY 3: COOLDOWN AND STRETCH AFTER THE ACTIVITY

[LO 3.3]

It is important for the muscles used during the activities to be stretched and the learners to be cooled down in order for them to function in the other classes.

Muscles contract during exercise and dance, creating lactic acid build-up. If the muscles are not stretched and lengthened after the exercise, the lactic acid build-up will cause stiffness and sore muscles, lasting up to three days. With stretching exercises lactic acid is distributed through the muscles and absorbed into the body.

Choose music with a slow tempo (between 84 bpm and 125 bpm). Ballads work very well.

Helpful hints:

Hold all stretches for 8 counts/beats.

The cooldown should not be less than three minutes or more than five minutes.

All stretches must be executed slowly to avoid injury.

Make sure the class executes the stretches correctly to avoid injury.

Deliver your instructions and demonstration clear and audible.

If the class still appears lively after the cooldown, extend the time stretching on the floor and delay the class getting up for a few minutes while the music is playing softly in the background.