public forum
home forum magazine gallery links about faq courtesy
It is currently Thu Sep 18, 2014 7:50 am

All times are UTC - 7 hours [ DST ]




Post new topic Reply to topic  [ 1 post ] 
Author Message
 Post subject: Learning Goals - Age 5 years
PostPosted: Wed Sep 27, 2000 2:15 pm 
Offline

Joined: Mon Feb 21, 2000 12:01 am
Posts: 4725
Location: Australia
<B>Rabbit</B> generously offers the following guidelines. Discussion welcome. <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Learning Goals for Dance Students - 5 years old:<BR>1. Listening & looking skills<BR>*These skills should be reinforced, as they are important learning tools, however by now they should be part of normal classroom behaviour and shouldn't require special activities to teach the concepts.<BR>2. Following the rules<BR>This is the age at which children should be taught to observe the "rules of the classroom" in a more structured manner. Their attention span is greater and they can understand better the concept of the correct way of doing things.<BR>3. Concentration & Control Skills<BR>These skills should continue to be reinforced in this age group as they are another important tool for learning. At this age they should be aware of the concepts of concentrating or focusing on something and being in control of their bodies. The students should be aware of the words and their meaning. If they are asked to concentrate or to show control they should be able to respond to verbal cues.<P>4. Co ordination skills<BR>*Since all dance requires the ability to co ordinate movements in sequences and with different body parts moving at the same time, this skill must continuously be exercised.<BR>*At this age there still needs to be an element of free movement in the class and co ordination skills lend themselves easily to various game type activities.<P>5. Body Awareness Skills.<BR>*This aspect of training is now incorporated into class structure as the teacher automatically moves through a wide range of movements involving different body parts in the course of class material. The students need to continue to be made aware of the way certain efforts "feel" in the body. The process of learning that physical activity can cause some discomfort (e.g. stretching hurts, standing tall requires muscle effort…) is started at this age and continues through out a dancer's training at various degrees.<BR>*Cause and effect between doing things wrong and possible injuries must also be part of a dancer's training process. Examples:<BR>- Rolling ankles can lead to ankle injuries and bunions.<BR>*Continuing the language development skills of this age group, some muscles should now be identified by their correct names when associated with movements. Some bones should also be given their correct names (where applicable). Pictures and diagrams are a valuable aid. Special attention should be placed on helping the student learn about the hip joint. A common error is failing to differentiate between the "hip socket" (acetabulum) and "hip bone" (anterior superior iliac spine) causing some confusion to the young dancer as to where the leg bone joins the trunk.<P>6. Space awareness and Spatial orientation<BR>*The ground rules for these concepts should by now be well laid, however they must continually be reinforced. The students must constantly be motivated to be aware of their spacing in various formations. The concept of lines and spaces can be taught, (straight lines, diagonal lines, curved lines) however it must be remembered that this skill takes several years to master thus be aware that the demands are kept in relationship to the age of the student.<BR>*Spatial Orientation vocabulary should by now be well established and the terminology should be incorporated into regular class room communication.. Example<BR>- The people in the 2nd line will travel forward between the people in the front line while the front line travels back wards.<BR>- You will run on a diagonal and jump over the puddle, when you get to the end of the room you will walk around the room and start a new line in the other corner.<P>7. Shape understanding<BR>* The students should by now understand the concept of shapes and the vocabulary used in the classroom in relationship to the work being taught. E.g. the arms make a round shape, you stand in a triangle formation….<P>8. Locomotor skills/ traveling steps<BR>*All the locomotor skills from the previous year should by now have been explored as movement concepts.<BR>*We now begin the process of "cleaning": Gradually we incorporate awareness that the toes point, the knees stretch, (body awareness) and tall posture. Musicality becomes of ever-greater importance. We continue to practice traveling in different directions and speeds, being able to stop a movement with control, combine with stationary movements (e. g. claps) and develop sequences.<BR>*Progressions in locomotor skills: - Free movement in the space<BR> - By lines<BR> - In lines<BR> - With partners<BR> - In groups<BR> - In patterns<BR> - On a diagonal<BR>*Once the polka rhythm can be clapped begin the learning the rhythm as a body movement, - On the spot, hop stamp stamp stamp<BR> - Traveling, hop run run run<BR> - Skip gallop<P>9. Flexibility<BR>*Increasing acceptance of the discomfort that comes with stretching<BR>*Increase the length of time a stretch is held with control<BR>*Encourage the concept of "stretching is your dance homework"<BR>*Increase the number of stretches they know<BR>*Start encouraging them to try splits "like the big kids!"<P>10. Strength<BR>*Continue upper body and abdominal strength exercises,<BR>*Add exercises for back strength e.g. the seal<BR>11. Feet exercises<BR>*This continues to be one of the most important areas to focus on as the students learn to become aware of the correct use of the foot. The understanding that the foot should never sickle is one of the most important lessons the young dancer must learn (land on a sickled foot and you have a sprained ankle)<BR>*The speed at which the ankle points and flexes must be developed.<BR>*Pointing and flexing of alternate feet is the 1st step toward learning the coordination of the feet necessary for petit jeté Learning to place a pointed foot in the "ankle pocket" (parallel coups de pieds) can also be done as part of feet exercises. (this allows the child to see the correct "unsickled" position and hold it long enough to establish muscle memory without worrying about balance) In all feet exercises reinforce sitting tall plus length and alignment and strength of the legs so that this becomes an automatic reflex.<BR>* While seated and later standing, metatarsal work to demi point and push to full point (develop strength of the foot)<P>12. Right and left skills<BR>*This concept must now be incorporated into class work. The students must be able to do everything equally on both sides of the body.<BR>*This is another area where a game or fun type activity can be useful to maintain the interest level needed for the constant repetition to do its job.<BR>*Turning to the right and to the left should now be encouraged (up until now it was enough to let them feel the concept to their favorite side.)<P>13. Posture and stance skills<BR>*Gradually introduce the concept of POSTURE as a special thing a dancer does. I use all kinds of game/activities that capture my students' attention on this so important aspect. Things to develop<BR>- feet flat on the ground, no rolling in the ankle<BR>- straight alignment of the legs (ankles, knees)<BR>- fix alignment problem like bows, hyperextension and knock knees<BR>- Super straight stomach spine and seat<BR>*abdominal muscles working<BR>*long spine and neck<BR>*gluteus (popo) muscles working<BR>- shoulders down<BR>- two hip bones face front, "headlights" even<BR>14. Dance Vocabulary<BR>*To be learnt technically precise:<BR>*demi plié in parallel and 1st<BR>*rises in parallel<BR>*tendu devant in parallel and 1st<BR>*heel tendu devant, parallel & 1st<BR>*posture in 1st and 2nd position<BR>*bouncing in parallel<BR>*parallel retiré<BR>*transfer of weight side to side in turn out and forward and back in parallel<BR>*curtsey<BR>*To be learnt as free movement skills<BR>*to be learnt as a movement spinning on one foot<BR>*hopping and leaping<P>15. Technical concepts to understand<BR>*Posture is always maintained, understanding use of stomach, seat spine in the control of posture<BR>*The hips are level and both face the front<BR>*Turn out is a movement that happens from the hips.<BR>*All ten toes are in contact with the ground, ankles do not roll<BR>*The legs are held in straight alignment, correct for bows and hyperextension<BR>*In parallel learn that the knees are over the toes in posture, when doing knee bends, plié, bounces and sauté…<BR>*In 1st position the knees continue to be aligned over the toes in all movements<BR>*When the feet are stretched the foot must not sickle<BR>*The knee is stretched in tendu<BR>*In 1st position tendu devant the heel is presented forward (show the audience the diamond on your heel)<BR>*When standing on one leg the upper body is maintained in a centered position (transfer of weight and no lean)<P>16. Allegro<BR>* Knee bounces<BR>*Sauté in parallel - single and two in a row<BR>*Échappé sauté in parallelJumps in parallel traveling forward and backwards (free movement)<P>17. Turns<BR>* As a free movement<BR>*Twirling - turning on two feet<BR>*Spinning - turning on one foot<BR>*With appropriate technical elements<BR>*changing directions, examples<BR>- marches with ¼ turns<BR>- parallel jumps with ¼ turns<P>18. Hand movement skills<BR>Be able to differentiate between soft and sharp hands<BR>Awareness of the wrist and that it should not look bent<BR>Awareness of the placement of the fingers in a dancers hand<P>19. Port de bras<BR>*Emphasis on quality of movement (use images and props to get the quality)<BR>*Use of hands on waist looking precise<BR>*Swinging arms front and back in opposition<BR>*Demi 2nd (for girls like holding a skirt)<BR>*Circling of the arms (develop awareness of the movement of the shoulder)<BR>*High V position (to begin learning the arms go up and the shoulders stay down)Arm waves<BR>*Continue to combine arm movements with other movements where appropriate to develop co ordination skills<P>20. Head movements<BR>Incorporate all the learnt head movements into class work at some level<BR>Begin calling attention to the connection between head and hand movements<P>21. Musicality Skills<BR>*concept of rhythms:<BR>*skip "&1" accented on the up<BR>*gallop "&1" a more even accent<BR>*march even beat of music but accent up for dancer<BR>*polka "&1&2" (po-ta-to chips)<BR>*concept of ¾ time signature (candle smartie smartie ie. 123), able to clap ¾ , - 1st beat of the bar<BR>- every beat of the bar<P>22. Musical Qualities<BR>*Concept of scales and pitch<BR>*Concept of phrasing e.g. run and pause<BR>*Slow and fast, e.g. does the music say walk or run?<BR>*How does the music make you feel? Is it happy or sad music?<BR>*Listening for A and B phrase. (e.g. two groups, one dances on phrase A and freezes on phrase B, other group does the reverse)<P>23. Energy and Dynamics<BR> This concept should now be incorporated into the other work in the class.. Example: relating how the arms move in a soft supple energy. The dynamic of a jump is sharp and fast, etc.<BR> Music affects energy and dynamics, e.g. sad music leads the body into one kind of movement whereas happy music initiates a different kind of action.<P>24. Enchainement (Patterning and Memory skills)<BR> This is now part of the lesson as movements are combined into simple patterns.<BR> Over the course of the year very gradually increase the number of different elements in one enchainment.<P>25. Interactive Skills<BR> Continue to find ways to incorporate use of props and partners into class work. E.g. port de bras activity with a scarf, stretching with a ball, galloping while holding hands with a partner.<P>26. Improvisation and Action Skills<BR>* Expose the children to an ever increase vocabulary of "action" words, (see the chart on Movement Characteristics for Body Parts for ideas)<BR>*Continue with all the ideas explored in the 4-year-old program and expand on their awareness of the relationship between their ideas and the movements they have explored (movement and action skills). As they develop more skills encourage them remember what they did so they can show it to the class.<BR>*When you catch a student in an interesting combination give them a chance to show off what they discovered.<BR>*When they start to develop patterns let them teach them to the class.<BR>*Let two or three patterns be combined into their own enchainement.<BR>*Give them a story and ask them to dance the story so they can practice mime and pantomime skills.<BR>*Goal is to develop expressive use of music.<P>27. Mime and Pantomime Skills<BR> Incorporate mimes into enchainment and dances.<BR> Incorporate Pantomime into Improvisation<P>28. Building respectful relationships<BR>*formal ending to class<HR></BLOCKQUOTE><p>[This message has been edited by grace (edited January 09, 2001).]

_________________
<BR>


Top
 Profile E-mail  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 1 post ] 

All times are UTC - 7 hours [ DST ]


Who is online

Users browsing this forum: No registered users and 4 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Search for:
Jump to:  
The messages in this forum are posted by members of the general public and do not reflect the opinions or beliefs of CriticalDance or its staff.
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group