Revelations - Music Center

Transcription

2011 Institute for Educators
Culver City USD Arts Integration Partnership (AIP)
Model Lessons – Grades 6 - 12
Prepared by
Madeleine Dahm, Master & Mentor Teaching Artist
In collaboration with
Melinda Williams, Director of Education
Susan Cambigue-Tracey, Director of Special Projects
Music Center
Assisted by
Elena Muslar, Los Angeles County Arts Commission Intern
Curriculum Unit featuring the Anchor Work
Revelations by Alvin Ailey
The Institute for Educators is funded in part by a grant from The Boeing Company.
The Music Center expresses deepest gratitude to The Ahmanson Foundation for establishing
the Music Center Institute for Educators Endowment Fund with a landmark contribution.
The Foundation's vision and commitment will help ensure that the Institute continues
providing learning opportunities and inspiration for future generations of educators.
Table of Contents
MODEL LESSON ONE
Introduction to the Anchor Work and Performance Project
1
MODEL LESSON TWO
Group Unity, Directed Focus and Committed Movement – Dancing an Excerpt from
Revelations
MODEL LESSON THREE
The Power of Language and the Spoken Word
MODEL LESSON FOUR
Choral Speaking
MODEL LESSON FIVE
Movement Design
MODEL LESSON SIX
Personal Poetry
MODEL LESSON SEVEN
Preparation – Solo Recitation
MODEL LESSON EIGHT
Sequencing and Dramatic Staging
MODEL LESSON NINE
Rehearsing and Refining
MODEL LESSON TEN
Performing and Reflecting on the Performance
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8
11
15
19
22
25
28
31
Background: Alvin Ailey
33
Background & Poetry by Pablo Neruda
35
Dance Terminology / Rhetoric & Techniques for Speaking with Power and Clarity
37
Additional Web Resources
38
VAPA Key Content Standards
42
Music Center Arts Learning Sequence
48
The Music Center’s Arts Integration Partnership (AIP) Program
49
AIP Logic Model – BEYOND YEAR ONE
50
Sequence of 10 Classroom Support Visits
52
Music Center Anchor Work Model Curriculum Unit: Revelations
© 2010 Music Center/Performing Arts Center of Los Angeles County. All Rights Reserved.
Model Lesson One – Introduction to the Anchor Works and Performance Project
Grades 6 – 12
Materials: DVD or CD player; “An Evening with the Alvin Ailey American Dance Theater” DVD; Teacher & Student assessment portfolios.
Enduring Understanding: Exploring issues of personal meaning, value and empathy through artistic work helps us to understand the transformative power of the
performing arts.
Essential Questions Related to Lesson and Unit: What is an “Anchor Work”?
Big Idea for Lesson: Artistic work that has personal meaning and a social conscience
SUMMARY
Creative Task & Criteria
Lesson One Outcomes
Students will be able to:
• Understand the significance of the work of artists
who speak to personal and social issues.
• Understand the significance of the work of Alvin
Ailey, and be able to view and thoughtfully interpret a
section of Revelations
Teacher will be able to:
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Teach the lesson effectively.
Assess student learning outcomes.
Document, label and collect the evidence of student
learning from this lesson.
Assessing Prior Knowledge
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What is a live performance?
Where does the word theatre come from?
What is performance poetry?
Who has heard of the dance maker, Alvin Ailey?
What is the meaning of the word “revelation”?
Assessment Strategies
Teacher:
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Evaluates student comprehension, response to the
choreography segment and the interpretation of
meaning and messages in Revelations.
Identifies elements that should be re-taught and/or
included in review.
VIEW & DISCUSS – Becoming an Expert
Student Prompts & Questions:
Task
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Watch the DVD for a second time.
Contribute to a democratic and cooperative
environment.
Discuss your observations with the group.
Identify images of both “struggle” and
“transformation.”
Criteria
Student will be able to:
• Share in a democratic and cooperative environment.
• Listen to, and show respect for, the opinions of
others.
• Identify and be able to discuss images showing both
“struggle” and “transformation.”
Describe images that you can identify.
Why do you think the choreographer used
movements that reach out and then contract in?
Enduring Understanding:
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Why is Revelations an Anchor Work?
Describe what you think the author is saying in this
anchor work.
o What are key themes or ideas?
1
Step-by-Step Sequence of Learning
using these cognitive processes: experience, inquiry, creation, performance, reflection, assessment
Model Lesson One – Introduction to Revelations by Alvin Ailey & the Art Forms of Dance, Theatre & Poetry: Making Meaning
ASSESS PRIOR KNOWLEDGE
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What is “performance poetry”?
What is contemporary dance?
Where does the word theatre come from? (From the Greek. It is both a place and an action.)
EXPERIENCE – Getting Smarter: Becoming Familiar with Revelations
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Consider how artists use the disciplines of performance to not only entertain but to examine important personal and social issues.
Give an overview of the art forms we will be exploring: Dance, Theatre and Poetry.
Provide an overview of the final goal and the performance content.
Introduction: Alvin Ailey is one of the great American dancers and choreographers. As a young male dancer, Ailey was a member of the Lester Horton
Company in Los Angeles. He went on to create one of the world’s leading contemporary dance companies based in New York City, The Alvin Ailey American
Dance Theater. His work particularly reflects upon the experiences and challenges facing the African American community, although his themes expand to all
cultures, races and genders that face discrimination.
• View the DVD.
• Watch carefully for big ideas.
• Become aware of your “first impressions” of the piece.
• Identify key themes and the emotions conveyed.
INQUIRE
Questions regarding the meaning of the Revelations choreography:
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How did the performance make you feel? (Describe)
What images can you identify? (Select)
What ideas in the dance do you think that the choreographer was trying to convey? (Interpret)
Directions for a “Pair Share”:
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Turn to a partner and identify three things you appreciated about the work, and tell why.
Partners share their thoughts with the larger group.
o Teacher writes down student responses, so that the class can compare thoughts.
Class brainstorms the meaning of the piece.
o Teacher writes all ideas down.
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Teacher reads background from Artsource® on page 33 about the intended meaning of Alvin Ailey’s Revelations.
o The entire piece is broken up into three parts: “Pilgrim of Sorrow,” “Take Me to the Water” and “Move, Member, Move.”
The group brainstorms ideas on the theme of “Transformation”, and how it might relate to Revelations.
The group discusses ways that performers address social issues or speak about personal struggles in their work.
o Students give examples that they have encountered in music, film, or literature.
VIEW & DISCUSS - Becoming an Expert: Understanding the Deeper Meaning, Broader Connections and Nuances of Revelations
Task
• Watch the DVD for a second time, looking specifically for images that connect to the theme of “personal struggle” and “transformation” as well as Alvin
Ailey’s overall message as the artist and choreographer.
• Become aware of how a performance piece can be used to subtly explore a difficult social theme.
• Discuss your observations with the group.
Criteria
• Listen and show respect for the opinions of others.
• Share in a democratic and cooperative environment.
• Demonstrate understanding of how to use the performing arts to explore meaningful content that conveys a political or social conscience.
• Identify and discuss your responses to images of personal struggle and transformation.
REFLECT & ASSESS – Making Connections
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Why is Revelations an Anchor Work?
How do the arts (dance, theatre, music, visual arts, and film) impact our lives?
Describe a live or recorded performance you have seen that challenged your perspective or way of thinking.
Did that experience influence or change your perspective or way of thinking?
Do you think that the arts can force us to examine challenging and difficult subjects?
VOCABULARY dance, anchor work, choreographer, imagery, theatre, transformation, theme, composition
3
Model Lesson Two – Group Unity, Directed Focus and Committed Movement: Dance an Excerpt from Revelations
Grades 6 – 12
Materials: DVD or CD player; “An Evening with the Alvin Ailey American Dance Theater” DVD; Teacher & Student assessment portfolios.
performing arts.
Essential Questions Related to Lesson and Unit
Big Idea for Lesson: Understand the personal commitment needed to perform with power, directed focus and unity
SUMMARY
Lesson Two Outcomes
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Apply the knowledge and skills they have gained
to their performance of the opening section of
Revelations.
Understand the significance of artistic work that
speaks to the human experience
Demonstrate clear directed focus.
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Document, collect and label the evidence of
student learning from this lesson.
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What do you think is the difference between modern dance
and other forms of dance?
What does it mean to focus in performance?
What is personal commitment?
Teacher:
•
Uses rubric for Model Lesson Two at the end of
the lesson to assess student learning outcomes.
CREATE & PERFORM – Becoming an Expert
Task: Perform the opening section of Revelations.
Criteria
• Sustain a clear, strong focus in their performance of the
movement.
• Use slow, smooth, sustained movements.
• Accurately perform movement in time with the music.
• Maintain a deep commitment to fulfilling the movements.
• Move in unison with the group.
• Communicate a specific mood (i.e., courage,
determination, enduring strength, etc.) through their
movements.
• Memorize movement sequences.
4
Model Lesson Two – Group Unity, Directed Focus and Committed Movement: Dance an Excerpt from Revelations
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Have you ever seen a live dance performance?
What do you think is the difference between modern dance and other forms of dance?
What does it mean to “focus” in performance?
What is personal commitment?
EXPERIENCE – Getting Smarter: Learning Revelations
Preparation: The majority of this section focuses on learning the movement excerpt from “Pilgrim of Sorrow”
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Begin by first listening to the music and examining the lyrics.
Facilitate an open discussion about the music (an African American Spiritual) for students to share their thoughts:
o What is this song about?
o What is the mood?
o What do you think the lyrics are saying – in your own words?
o What kind of events inspired these lyrics?
Preparation: Take a moment to view the Ailey dancers performing “Pilgrim of Sorrow” once again.
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What kinds of “reaches” are used in this section?
Where is the focus of the dancers?
How would you describe their level of commitment?
How do they show strength and unity as a group?
What is their formation?
Learn the Choreography for “I’ve Been Buked” – the first dance in the Pilgrim of Sorrow section.
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Identify the seven points of directed focus in the dance.
Find “position of power.”
Stand in second position, your right arm will reach out straight, your left will come to your hip, and you do a grand plié (bending the knees until thighs are
parallel with the ground).
Stand up. Return to second position without moving your feet. Your focus it up to the sky; chest is up to the sky as well.
Lean over to the other side and grand plié (bending the knees until thighs are parallel with the ground). Left arm reaches out to the side and right arm comes to
the right hip.
The right arm reaches up to the sky on “I’ve been scorned.” The left arm is still reaching down.
Step the feet together with the right arm still held in the air. Take the left arm up to meet the right arm in the air.
5
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Keeping both arms in the air, circle the upper body to the right going forward first (down and around). Do this circle twice.
Slowly bring your arms down to make two over-curving arches as you step back into plié.
Slowly come up to standing, bringing your feet back to parallel first position. Cupping the hands, reach the arms straight up to the sky.
On a given count – keeping arms straight and palms extended forward – take your arms down an inch then stop. Then go another inch and stop. Repeat that
pattern until your arms are at your sides.
CREATE & PERFORM – Becoming an Expert: Perform the Dance
Task: Perform the opening section of Revelations pulling from all of their newfound knowledge about dance and this “signature work.”
Criteria
• Sustain a clear, strong focus in their performance of the movement.
• Use slow, smooth, sustained movements.
• Accurately perform movement in time with the music.
• Maintain a deep commitment to fulfilling the movements.
• Move in unison with the group.
• Communicate a specific mood (i.e., courage, determination, enduring strength, etc.) through their movements.
• Memorize movement sequences.
Instruction:
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Divide the students into two groups – performers and audience members.
o Ask one group to sit on the floor in the front of the room and the other group to find their positions to begin the dance.
Review the criteria above for performing and viewing.
Based on the criteria, after the first group performs, guide a reflection with the performers and then a critique with the audience to give feedback.
Switch performing and viewing groups and repeat the process.
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How does dance serve as a form of self-expression? Has it helped you to express yourself? Have you observed this in others? Describe.
How do you think studying dance might improve your life? What sorts of things do you think it might teach you?
What have you learned about yourself so far?
In which areas of your own life do you dedicate a great amount of energy and focus?
VOCABULARY dance, ‘buked, rebuked, revelations, dedicate, commitment, directed focus, excerpt, “signature work”
Excerpt from “I’ve Been ‘Buked” (African American Spiritual)
I've been ‘buked and I've been scorned,
I've been ‘buked and I've been scorned,
Children, I've been ‘buked and I've been scorned, I’ve been talked about shows you know….
6
MODEL LESSON 2 / ASSESSMENT RUBRIC
Above Proficient
Proficient
Below Proficient
Dance Revelations
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Consistently sustains clear focus in
performance
Movements are consistently performed
with slow, smooth, sustained energy
All movements are performed
accurately in time with the music
Demonstrates a deep commitment to
fulfilling the movement
Demonstrates sensitivity to the group
and consistently performs in unison
Clearly communicates a specific mood
through the movement.
Movement sequences are confidently
memorized
Is deeply engaged in the performance
Has the means to work in a disciplined
way to achieve mastery
Is consistently curious about learning
Finds value in the performance process
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Mostly sustains clear focus in
performance
Movements are mostly performed with
slow, smooth, sustained energy
Most movements are performed in time
with the music
Usually demonstrates a commitment to
Shows some sensitivity to the group and
mostly performs in unison
Communicates a specific mood through
the movement.
Movement sequences are mostly
memorized
Insight Assessment (Motivation/Affect)
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Is engaged in the performance
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Has the means to work toward mastery,
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but needs more discipline to achieve it
Is somewhat curious about learning
Mostly finds value in the performance
process
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Lacks clear focus in performance of the
movement
Movements are inconsistently
performed and lack slow, smooth,
sustained energy
Most movements are not performed
accurately in time with the music
Does not demonstrate a commitment to
Lacks sensitivity to the group and
performing in unison.
Does not communicate a specific mood
through the movement.
Has difficulty memorizing movement
sequences
Is not engaged in the performance
Lacks discipline and avoids
opportunities to work toward mastery
Lacks curiosity about learning
Lacks the desire to find value in the
performance process
7
Model Lesson Three – The Power of Language and Spoken Word
Grades 6 – 12
Materials: DVD or CD player; Teacher & Student assessment portfolios.
Enduring Understanding: Exploring issues of personal meaning, value and empathy through artistic work helps us to understand the transformative power of
the performing arts.
Essential Questions Related to Lesson and Unit: How does the dynamic use of the voice help us to fully express the meaning in words?
Big Idea for Lesson: The Power of words and the value of an expressive voice.
SUMMARY
Lesson Three Outcomes
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Understand the techniques of enunciation.
Understand the power of words to inspire,
transform and challenge the perspective of others.
Understand the principles of Rhetoric.
Demonstrate recitation of a poem using various
speaking techniques, including dynamics
(loud/soft), word emphasis, rhythm of speech, and
pauses.
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What is a Poem?
Why do we use poetry as a form of expression?
What poets are you familiar with?
Teacher:
• Identifies elements that should be re-taught and/or
included in review.
Task: Recite a poem by Pablo Neruda as a group
• Describe images from the poem.
• Why do you think poetry is relevant?
demonstrating a variety of vocal techniques.
Criteria
Students will demonstrate:
• Clear enunciation.
• Strong directed focus.
• Respect when listening to others.
Enduring Understanding:
• Why is Pablo Neruda an anchor work poet?
• Describe what you think the author is saying in this
anchor work, “Poetry”.
• What are key themes or ideas?
8
Model Lesson Three – The Power of Language and Spoken Word
Preparation – review and experience a section of the Revelations choreography.
INQUIRE:
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How is body language different from words?
Do the two come together to enhance what we are trying to communicate?
How do we impact others through the use of words?
What is Rhetoric?
Discuss and examine the meaning of Rhetoric.
Discuss the history of Rhetoric and the forms it takes (pathos, egos, logos).
Discuss how these techniques are used to influence a listener, create emotional responses and even ‘call them to action’.
o Rhetoric is prevalent in live theatre, film, politics, social debate, journalism, speeches, and even poems.
Why do we use poetry as a form of self-expression?
What poets are you familiar with?
Identify a speech, lyrics from a song and a poem that falls into either pathos, ethos or logos.
EXPERIENCE – Getting Smarter: Becoming Familiar with Pablo Neruda and His Poem Entitled “Poetry”
Instruction: Pablo Neruda was a deeply respected Chilean poet. He was inspired to write poetry as a young man.
Task
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Read and discuss an excerpt of “Poetry” by Pablo Neruda.
Identify how his works are about the transformative power of love.
Listen to “Poetry” by Pablo Neruda, read by Miranda Richardson.
Ask a few questions regarding the meaning of the poem:
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How did the poem make you feel? (Describe)
What images came into your mind as you heard the poem? (Describe)
What is this poem about? (Describe)
9
EXPERIENCE – Getting Smarter: Becoming Familiar with the Techniques of Dynamic Spoken Word.
Task
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For a second time, listen to ‘Poetry’ by Pablo Neruda, read by Miranda Richardson.
Identify the techniques used by the actor to bring dramatic emphasis to certain words and ideas.
Identify key words or sentences in a section of the poem.
As a group recite section of the poem using the following techniques:
o Clear enunciation of all words.
o Dramatic pauses.
o Changes in dynamics, soft and loud.
o The subtle use of word emphasis.
CREATE & PERFORM – Becoming an Expert: The Power of Words and the Value of an Expressive Voice
Task
Standing in “Position of Power,” each student will recite a line from “Poetry” in front of the class.
Criteria
Students will demonstrate:
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Clear enunciation, pauses and dynamics.
Confidence.
Respect and support for each other.
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How are we affected by words in our everyday lives?
How do poets use words to create images?
How could we combine poetry and movement to express and idea with greater impact?
VOCABULARY Rhetoric, ethos, pathos, logos, subtlety, enunciation, listen, emphasis, poem, poet, theme, imagery, collaborate, assess, criteria, respect
10
Model Lesson Four – Choral Speaking
Grades 6 – 12
Essential Questions Related to Lesson and Unit: How do we experience the power of unity through learning to speak as “one voice”?
Big Idea for Lesson: The dynamic power and emotional value of Choral Speaking
SUMMARY
Lesson Four Outcomes
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Experience and confidently perform techniques in
Choral Speaking.
Apply these techniques to the recitation of the Pablo
Neruda poem.
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What is Choral Speaking?
Why might Choral Speaking be an effective way to
read text aloud?
Where might you experience Choral Speaking?
Teacher:
• Develops more specific criteria for assessing
students’ Choral Speaking.
• Uses rubric for Model Lesson Four at the end
of the lesson to assess student learning
outcomes.
Task
•
In their assigned small groups, students choose and
apply two Choral Speaking techniques to their reading
of the poem by Pablo Neruda.
o Each group then presents to the class.
Criteria
• Enunciate and speak with clarity.
• Effectively project their voices.
• Work collaboratively to create a democratic
environment.
• Clearly demonstrate creative use of the Choral
Speaking techniques chosen.
• Demonstrates some variations that include solo, duet
or small group voices.
11
Model Lesson Four – Choral Speaking
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What is Choral Speaking?
Why might Choral Speaking be an effective way to read text aloud?
Where might you experience Choral Speaking?
EXPERIENCE –Getting Smarter: Understanding the Dynamic Power and Emotional Value of Choral Speaking
Experience the warm-up: review Revelations choreography emphasizing group unity and unison.
Ask a few questions regarding the meaning of Choral Speaking and voice projection:
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In Revelations you have to move as if you are one for part of the dance. How are you able to stay in unison?
If you are speaking “as one,” what might you have to do to continue speaking together?
What is voice projection?
Teacher introduces simple call and response exercise for voice projection and enunciation.
Students practice “filling the room with their voice.” Useful analogy is the example of “Mono” vs.” Stereo” sound amplification.
Teacher introduces dramatic techniques that can be applied to Choral Speaking.
Teacher Tip: Choral Speaking is a technique used to recite a poem or piece of text that utilizes many voices to sound as one. It brings power and dynamic
emotion to the reading.
Instructions:
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Brainstorm and write down Choral Speaking techniques on the board.
Suggested Choral Speaking Techniques:
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Whispering
Accenting words
Saying words as if asking a question
Speaking rhythmically
As a class, read “Poetry” aloud, with a focus on reciting the piece in unison. Enunciate and speak clearly.
As a class, apply each of the choral speaking techniques to reading a section of the poem: Teacher and students will choose a technique together, and teacher
will lead the class in the recitation of the poem using that technique.
Try combining several techniques at once. For example: First two lines said as a whisper, the next two lines said while accenting words.
Explore dividing up sections of the poem into solos, duets and group echoes.
Discuss which of the techniques was the most effective and why.
12
INQUIRE – Exploring Possibilities
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How can Choral Speaking affect the meaning of the poem?
How did the experience of a collaborative reading feel?
Did you have more confidence as a performer reading collectively?
Can you think of examples where collective voices are used? (Athletic events, political rallies, demonstrations, etc.)
CREATE & PERFORM – Becoming an Expert: Understanding the Deeper Meaning of the Found Poem
Task
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In their assigned small groups, students choose and apply two or more Choral Speaking techniques to a Choral Reading of a section of the Pablo Neruda poem.
Each group then presents interpretative reading of the poem to the class.
Criteria
Students will:
• Enunciate and speak with clarity.
• Effectively project their voices.
• Create a democratic environment in which to work collaboratively.
• Clearly demonstrate creative use of the chosen Choral Speaking techniques.
REFLECT & ASSESS - Making Connections
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Why is the collective voice so powerful?
How were you affected by speaking as one voice?
Did Choral Speaking give more meaning to your section of the poem?
VOCABULARY Choral Speaking, clarity, enunciation, emotion, unison, vocal quality, contrast, range of expression, dynamics
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Above Proficient
Proficient
Below Proficient
Choral Speaking
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Consistently enunciates words clearly
Consistent projection of voices
Consistently works collaboratively, and
democratically, in making decisions
Demonstrates effective application of two or
more Choral Speaking techniques
(whispering; accenting words; changing
speed; saying words as if asking a question;
using a strong, specific emotion; speaking
rhythmically)
Includes three or more variations that include
solo, duet or small group voices
Is highly motivated and energized
Greatly values the learning process of creating
and working with others
States one or more new insights gained
through the work
Consistently solves problems in a creative
way
Is highly focused on the task
•
Mostly enunciates words clearly
Some demonstration of voice projection
Mostly works collaboratively, and
Demonstrates use of one or two of the Choral
Speaking techniques (whispering; accenting
words; changing speed; saying words as if
asking a question; using a strong, specific
emotion; speaking rhythmically)
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Includes one or two variations that include solo,
duet or small group voices
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• Is often motivated and energized
• Mostly values the learning process of creating
•
and working with others
States one new insight gained through the work
• Mostly solves problems in a creative way
• Is mostly focused on the task
• Rarely, or never, enunciates words clearly
• No awareness or ability to project voices
• Has difficulty working collaboratively, and
Does not demonstrate use of any of the
Choral Speaking techniques (whispering;
accenting words; changing speed; saying
words as if asking a question; using a
strong, specific emotion; speaking
rhythmically)
Does not include any voice variations
(solo, duet or small group voices)
• Is neither motivated nor energized
• Does not value the learning process of
•
creating and working with others
Lacks insight gained through the work
• Rarely (or never) solves problems in a
•
creative way
Rarely focused on the task
14
Model Lesson Five – Movement Design
Grades 6 – 12
Essential Questions Related to Lesson and Unit: How is a message transformed by the relationship between movement and language?
Big Idea for Lesson: Integrate movement to dramatize Choral Readings.
SUMMARY
Lesson Five Outcomes
Teacher:
• Integrate movement to dramatize small group
•
Choral Speaking.
• Show understanding of the principles of design.
• Demonstrate effective collaboration.
• What is dramatization?
• What is movement design?
• How do directors and choreographers use elements of
design?
• Teach the lesson effectively.
• Assess student learning outcomes.
• Document, collect and label the evidence of student
Uses rubric for Model Lesson Five at the end of the
lesson to assess student learning outcomes.
Task: Create a series of movement designs to dramatize the
small group Choral Readings.
Criteria
• Work democratically and cooperatively.
• Create movement design that enhances, rather than
distracts, from the Choral Reading.
• Show strong focus and intention.
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Step-by-Step Sequence of Learning using these cognitive processes: experience, inquiry, creation, performance, reflection, assessment
Model Lesson Five – Movement Design
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What is dramatization?
What is movement design?
How do directors and choreographers use elements of design?
EXPERIENCE – Getting Smarter: Movement Design
Preparation – review Revelations, Choral Speaking Techniques and Solo Recitations:
•
Teacher introduces concept of movement design:
o “Design: an arrangement of lines or shapes created to form a pattern”
o “Design with a specific purpose or intention in mind”
o “Movement: changing physical location or position or of having this changed”
Definitions of design and movement are from the Oxford Dictionary.
Directions to Explore Movement Integration and Design:
•
The way a group organizes themselves in presenting a Choral Reading, affects how the actors can hear each other and how interesting it is for an audience to
observe as well as hear.
o Discuss how small groups could arrange themselves into a formation that is dynamic but practical.
o Demonstrate using one group of about seven students.
•
Teacher guides students in exploring a variety of Movement designs (ways to organize themselves in their Choral Reading groups)
o Spread out and facing different directions
o Arranged in a zig-zag
o Facing in or out in a circle
o A circle within a circle
o A “V” – open or closed
o A spiral
o Two lines facing each other
o A 1-dimensional pyramid, each student on a different level
Teacher Tip: Call out each design and give students 4 counts to complete. Encourage students to face different directions. Drumming accompaniment can be
used in the background to assist in creating a more comfortable environment.
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•
Choose two specific designs and slowly move from one to another. Example: Start “Spread Out’’ and move slowly into a “circle”.
o Try some of the designs while connected: holding hands.
o Try some of the designs with performers on different levels.
o Try some of the designs going abruptly from one level to another or changing position very quickly.
o Call out a line from “Poetry” and have students create an instant movement design that demonstrates an appropriate image.
CREATE & PERFORM - Becoming an Expert: Movement Integration
Task
In small Choral Reading groups:
•
•
Create a series of movement designs to dramatize the Choral Reading
Perform Movement Designs with Choral Reading of “Poetry” by Pablo Neruda.
Criteria
Students will:
• Create movement design that enhances, rather than distracts, from the Choral Reading.
• Show strong focus and intention.
•
•
•
How challenging was it to create a design as a group?
How did you resolve differences of opinion and make a decision?
How did the design impact your presentation?
VOCABULARY emotion, communicate, focus, sequence, individual voice, ensemble, design, dramatization, movement, dimension, spiral, circle, formation,
Choral Reading
17
Above Proficient
Proficient
Below Proficient
Movement Design
members of group
• Designs are consistently clear and have
dynamic energy qualities
• Designs are well organized and sequenced
to enhance the Choral Reading.
• Consistently demonstrates strong focus and
clear intention in communicating ideas.
• Mostly cooperates with other members of
group
• Designs are clear and have some dynamic
energy qualities
• Designs are organized and sequenced to
enhance the Choral Reading.
• Demonstrates focus and clear intention in
communicating ideas
• Lacks cooperation with other members of
group
• Designs are not clear, nor have dynamic
energy qualities
• Designs are not well sequenced to enhance
the Choral Reading.
• Lacks focus and clear intention in
communicating ideas
• Is diligent and persistent in working
• Is fairly persistent in working creatively on
• Has a tendency toward disorganization and
• Consistently cooperates well with other
creatively on the task
the task
procrastination
• Values the creative learning process
• Mostly values the creative learning process
• Is able to work through problems to a viable • Is able to work through problems to an
• Does not value the creative learning process
• Avoids or resists working through problems
solution
• Enjoys interacting with others with
potentially varying viewpoints to find best
solution
to a solution
• Withdraws from working with peers who
have varying viewpoints or resists finding
solutions to problems
adequate solution
• Engages with others with potentially
varying viewpoints to find some solutions
18
Model Lesson Six– Personal Poetry
Grades 6 – 12
Materials: CD player; Paper and pens. Teacher & Student assessment portfolios.
Essential Questions Related to Lesson and Unit: How can ideas of personal meaning and relevance transform and challenge the perspective of others?
Big Idea for Lesson: The Power of Intention – “What do you have to say?”
SUMMARY
Lesson Six Outcomes
•
•
•
•
Identify poetry that has meaning and
transformative content: Maya Angelou, Pablo
Neruda, (AP, CE, HCC)
Identify and discuss political speeches of meaning
and inspiration: Gandhi, Nelson Mandela, The Dalai
Lama (AP, HCC, AV, CRA)
Understand the power of words to inspire,
transform and challenge the perspective of others.
Create or select the elements of a first draft of a
speech/poem that speaks to the theme of
Transformation. (CE, AV)
•
•
•
Document, label and collect the evidence of
•
•
What does a political speech do?
What impact does an impassioned poem or song lyrics
have on us?
Teacher:
•
•
Review student material, for content and application
of appropriate criteria.
Work with students on developing poems and
speeches.
Task: Identify content of personal meaning or relevance
to include in a speech or poem, no more than one minute
long.
•
Criteria
• Choose a speech or poem.
• Identify key points or content.
• Apply focus and concentration while working.
• Demonstrate respectful listening to others’ ideas.
•
Democratic societies allow “Free Speech”, and have
systems in place to encourage it. For example,
newspapers and open internet access. Why is this
important?
How do we maintain a society that embraces “Free
Speech”?
19
Model Lesson Six – Personal Poetry
Preparation – review and experience Revelations through the lens of Emphasis – “What are you saying?”
•
•
Students will also review voice projection exercise and the small group Choral Speaking.
Define emphasis as “expressing the meaning of the words”.
•
•
•
•
•
•
What is “Free Speech”?
Why have people died for the right to share ideas openly?
Why are books burned in situations of conflict or opposing values?
What is a political speech intended to do?
What impact does an impassioned poem or song lyrics have on us?
Why is having an opinion important?
EXPERIENCE – Getting Smarter: Power in Intention
•
•
•
•
•
Students listen to an excerpt of a song of social conscience by U2. The song is about the struggles for independence in Southern Ireland.
o Why does the singer perform with such passion about the subject matter?
o Why is it important to feel a personal connection to something you write about or perform?
Read students a selection of speeches and poems that have a connection to personal transformation or are intended to transform the perspective of the listener.
Discuss the similar elements found in each.
Identify some transformative experiences:
o Being Loved, or loving another
o Finding your voice
o Meeting new people
o Developing empathy for others
o Group unity and connection
o Hearing and responding to a ”call to action”
o Losing someone close to you
o Spiritual experiences
o Learning new skills
o Traveling to new places
o Expressing yourself artistically
o Trying something new
Discuss the differences in form between a speech and poem.
20
•
•
•
•
Which of the selected poems/speeches were you most moved or impacted by?
Why do people feel compelled to share personal stories of struggle and transformation?
How do you begin to write about something important to you?
Why is it important to have an opinion?
CREATE & PERFORM – Becoming an Expert: Making Choices
Task: Identify content to include in a speech or poem of personal meaning or relevance. (No more than one minute long).
Criteria
• Choose a speech or poem.
• Identify key points or content.
• Apply focus and concentration while working.
• Demonstrate respectful listening to others’ ideas.
•
•
Was it difficult to put personal thoughts out into the group?
Why did you choose the form you did to write in?
VOCABULARY communicate, focus, meaning, intention, opinion, poetry, speech, lyric, impassioned, concentration, content, transformation, experience.
21
Model Lesson Seven – Preparation: Solo Recitation
Grades 6 – 12
Materials: CD player, Student poems, Teacher & Student assessment portfolios.
Essential Questions Related to Lesson and Unit: How does your method of delivery impact the way your words are received and perceived?
Big Idea for Lesson: It is not just what you say, but the way you say it.
SUMMARY
Lesson Seven Outcomes
•
•
•
•
Identify words to emphasize in speaking
Speech/Poem aloud. Identify places to pause, and
increase volume. (AP, CE, AC)
Learn memorization techniques. (AP)
Overcome fear of speaking in front of others.
Understand how to refine and edit.
•
•
•
Document, label and collect the evidence of
•
•
•
What is memorization?
What does recitation mean?
What is difficult about speaking in front of others?
Task
•
Solo Recitation of Speech or Poem
Criteria
Student will be able to:
• Clearly enunciate and project.
• Maintain confident body posture.
• Sustain strong, directed focus.
• Show respect when listening to others.
Teacher:
• Notes level of students’ openness and/or comfort
during recitation
• Identifies elements of each student text, to review
and clarify.
•
•
Describe what you learned about speaking in front
of others?
Describe what you learned about how to use pauses,
and your breath in reading your text aloud
22
Model Lesson Seven – Preparation: Solo Recitation
Preparation: Review and experience “Revelations” with an emphasis on” Solo Execution”
•
Review Voice Projection exercise and Choral Speaking Groups.
•
•
•
•
Have you ever had to read something to a large group?
What is a dramatic pause?
Why do actors and political speakers try to memorize their words?
What is memorization?
EXPERIENCE – Getting Smarter: Finding Your Voice
•
•
•
•
In Revelations, the dancers show a strong sense of unity at the beginning of the dance, but in the middle of the piece, they separate from the group and they
move as individuals. Review this section of the dance.
Discuss the fears and concerns of sharing and performing solo material.
Sitting in a circle, each reads their poem or speech to the rest of the group.
As a group discuss the general content as it relates to the criteria for creating the text, and give feedback
Directions:
•
Teacher introduces concept of recitation, students will need to eventually memorize their poem or speech.
•
Teacher chooses one poem or speech as a sample and demonstrates techniques of memorization:
o Reading one line and repeating it several times without looking at page. Then try this process with two lines at a time.
o Try writing out the text several times.
o Come up with visual associations for a sentence.
Teacher now demonstrates how to use symbols on the paper, to create visible cues to break up text and create a more dramatic recitation. The emphasis being on
identifying places to pause, emphasize words, and how to speak in a pace that leaves room for the listener to absorb the meaning of all the words.
•
•
To recite – verb: repeat aloud or declaim (a poem or passage) from memory before an audience.
23
Task #1: Preparing for a Dramatic Reading
Students use symbols to create visible cues for a more dramatic and effective delivery of their poem or speech.
Criteria
• Work with focus and concentration.
• Use symbols clearly and concisely
• Identify places to pause and words to emphasize
• Complete the task within 3 minutes
Task #2: Performance of a Dramatic Reading
Solo Recitation of Speech or Poem with relevant pauses and word emphasis
Criteria
• Clearly enunciate and project.
• Maintain confident body posture.
• Sustain strong, directed focus.
• Show respect when listening to others.
•
Forming a circle, teacher and students will reflect on ways they can be more effective in respectfully speaking up and sharing ideas within the classroom.
VOCABULARY Solo, recitation, enunciation, emphasis, respect, symbol, projection, focus, concentration, confidence, posture, memorization.
24
Model Lesson Eight– Sequencing and Dramatic Staging
Grades 6 – 12
Essential Questions Related to Lesson and Unit: How does effective and thoughtful sequencing bring more clarity to artistic work?
Big Idea for Lesson: Dramatic Staging and Sequencing
SUMMARY
Lesson Eight Outcomes
•
•
Show a clear understanding of the elements of
composition.
Sequence and stage a theatrical performance.
•
•
•
What have we experienced so far?
Identify key vocabulary and concepts learned.
What skills do you need to utilize to truly collaborate
and work as an ensemble?
Teacher:
• Uses rubric for Model Lesson Eight at the end of the
lesson to assess student learning outcome.
•
•
•
Task: Students practice the entire sequence from start
to finish, remembering all entrances, exits, transitions
and staging.
Criteria
• Demonstrate a clear and specific sequence and
staging.
• Demonstrate a specific transition choice.
• Move with intention and strong focus.
25
Model Lesson Eight– Sequencing and Dramatic Staging
•
•
•
What have we experienced so far?
Identify key vocabulary and concepts learned.
What skills do you need to utilize to truly collaborate and work as an ensemble?
EXPERIENCE – Getting Smarter: Sequencing, and Stage Design
Preparation – review and experience:
•
Revelations, Choral Readings and Solo Recitations.
Directions:
•
•
•
•
Teacher and students discuss the concept of staging: A way of sequencing events, and organizing the actors to create a fully authentic theatrical experience.
Good “staging” supports the main action and does not distract the audience’s focus.
Teacher demonstrates how to create a dramatic “stage picture” with a few students
Teacher and students discuss and sequence each of the following pieces:
o Choral Reading groups
o Solo Recitations
o Revelations
Teacher and students create staging and sequence:
Suggested order:
•
Enter: Group 1 – Choral Reading and Movement Design
Group 1 separate into “stage picture” created by teacher and students
Group 1 Solo Recitations….EXIT
Music transition
Enter: Group 2 into a new ‘stage picture’ - Group 2 Solo Recitations
Group 2 come together for Choral Reading and movement Design… EXIT
Music Transition
AND SO ON…
Ending: ‘Revelations” All groups
Teacher arranges the “waiting groups” so they have an accessible entrance to the stage.
26
CREATE & PERFORM – Becoming an Expert: The Final Sequence
Task: Students practice the entire sequence from start to finish, remembering all entrances, exits, transitions and staging.
Criteria: Students will be able to:
•
•
•
•
Work democratically and cooperatively.
Show a clear understanding of the sequence and staging.
Demonstrate a specific transition choice.
Move with intention and strong focus.
•
Students will reflect in their journals (for 5 minutes), answering the following questions:
o What part of this creative journey so far has been the most joyful or motivating for you?
o What part of this creative journey has been the most challenging or difficult for you?
o How and in what ways has creating a performance with Revelations, the poems of Pablo Neruda and your own personal poetry transformed your selfconfidence and connection to the group?
VOCABULARY communicate, collaborate, practice, focus, sequence, transition, stage design, unity, intention, democratic, entrance, exit.
Above Proficient
Proficient
Below Proficient
Sequencing and Dramatic Staging
• Consistently collaborates well with peers
• Consistently accepts and applies constructive
feedback to develop/refine sequence & staging
• Demonstrates clear & specific transition choices
• Moves with clear intention and strong focus
• Collaborates with peers most of the time
• Mostly accepts and applies constructive
feedback to refine sequence & staging
• Demonstrates a specific transition choice
• Moves with intention and focus
• Resists collaborating with peers
• Shows resistance to accepting and applying
feedback and refining sequence
• Does not demonstrate a specific transition choice
• Lacks intention and focus in movement
• Is highly motivated to create and accomplish task
• Is motivated to create and accomplish task
• Lacks focus and motivation to create and
• Sometimes works to solve problems in a
• Has difficulty in solving problems in a creative
accomplish task
• Often works diligently to solve problems in an
original way
• Often gains new insights through the process of
improvising
• Takes leadership and high responsibility in
contributing to the success of the group
creative way
• Gains some new insights through the process
way
• Lacks new insights in the process of improvising
of improvising
• Usually contributes to the success of the
group
• Is resistant to cooperating with, contributing to or
supporting the work of the group
27
Model Lesson Nine – Rehearsing and Refining
Grades 6 – 12
Materials: DVD or CD player
performing arts.
Essential Questions Related to Lesson and Unit: How does constant refinement improve the quality of work and keep it exciting?
Big Idea for Lesson: Preparation and Refinement
SUMMARY
Lesson Nine Outcomes
• Demonstrate an understanding of the importance of
critique and refinement.
• Refine and develop their performance based on critical
feedback.
•
•
•
What does it really mean to rehearse?
Why do performance artists rehearse?
What other areas of study require this level of
preparation and practice?
Teacher:
• Observes and makes notes about student outcomes.
• Applies criteria from relevant Model Lessons to
assess increased performance skill development and
evidence of understanding.
Task: Students will run through the performance, then give
and receive feedback from the teacher and from one another.
Criteria
• Give constructive feedback.
• Suggest rather than tell (“Have you considered…”).
• Perform with strong, purposeful intention.
28
Model Lesson Nine – Rehearsing and Refining
•
•
•
What does it really mean to rehearse?
Why do performance artists rehearse?
What other areas of study require this level of preparation and practice?
EXPERIENCE – Getting Smarter: How to refine
Ask a few questions regarding the meaning of “critique”:
•
•
•
Why is a critique necessary? (Describe)
How would you like to be critiqued?
What kinds of words would be helpful and constructive? What kinds of words would be destructive? (Select)
Directions: Teacher and students discuss effective ways to critique and give constructive feedback
o
o
o
o
Rather than saying “I like” or “I don’t like,” identify specific movements or choices that convey the meaning of a piece or confuse its meaning.
Focus on the group as a whole rather than single out one person.
Relate the critique to the criteria.
Think before you speak – Is what you are going to say constructive? Will it help the group, or is it just something you want to say?
CREATE & PERFORM - Becoming an Expert: Understanding the Importance of Rehearsal and Refinement
Task #1: Run-Through of Performance:
•
Class will run through entire performance. Students and teacher will give and receive feedback to each other at the end.
Criteria for Performers
• Demonstrate strong group unity.
• Demonstrate self-confidence.
• Move with awareness and clarity.
• Enunciate and project their voices.
• Use Choral Speaking techniques and movement designs with dramatic emphasis.
• Maintain focus during stage pictures.
29
Instructions: Teacher and students identify “what worked” and “what needs refinement” in their Performance.
Criteria to Prepare Students for Giving a Critique:
• Give constructive feedback.
• Suggest rather than tell (“Have you considered…”).
• Identify what works, as well as any challenges.
TASK #2:
•
Students will work on small refinements, using critical feedback.
Criteria
•
•
•
Work democratically and collaboratively
Maintain focus and concentration
Work effectively within time frame given (5 minutes).
•
Students will reflect and write in their journals about critiques of their piece that have been given.
VOCABULARY gesture, communicate, focus, sequence, transition, design, unity, refine, rehearse, critique, confidence, intention
30
Model Lesson Ten – Performing and Reflecting on the Performance
Grades 6 – 12
Materials: CD player; Teacher & Student assessment portfolios.
performing arts.
Essential Questions Related to Lesson: How are we transformed by the experience of performing?
Big Idea for Lesson: It is empowering to learn to perform with confidence, purposeful intention and personal meaning.
SUMMARY
Lesson Ten Outcomes
• Perform a Performance Poem/speech inspired by the
theme of Transformation, with confidence, emotional
maturity and self-awareness.
• Demonstrate effective and clearly intentional use of
Choral Speaking, in a group reading of “Poetry” by
Pablo Neruda.
• Perform an excerpt of Revelations demonstrating
dynamic and powerful movement and a unified
ensemble “voice”.
Teacher:
• Uses rubric for Model Lesson Ten at the end of the
lesson to assess student learning outcomes.
Task: Students will perform a theatre piece of collective
work: Performance Poems, Choral Reading and
Revelations.
Criteria
• Perform with strong group unity and focus.
• Perform with a range of emotion and strong,
purposeful intention.
• Move with clarity and defined effort.
• Enunciate and use Choral Speaking techniques.
• Demonstrate clear transitions.
• Convey the power of the individual-within-anensemble unified “voice.”
31
Model Lesson Ten – Performing and Reflecting on the Performance
Preparation
•
Students will have 5 minutes to prepare and review sequence.
CREATE & PERFORM – Becoming an Expert: Understanding the Deeper Meaning of Performance
Task: Students will perform their Performance Poems, Group Choral Readings and Revelations.
Criteria for Performers
• Perform with strong group unity.
• Move with clarity and defined effort.
• Enunciate and project their voices.
• Use Choral Speaking techniques and movement designs with dramatic emphasis.
• Convey the power of the individual-within-an-ensemble unified “voice.”
•
Forming a circle, teacher and students will reflect on the final performances and on the essential experiences that led to this mutual accomplishment.
VOCABULARY perform, emotion, communicate, focus, sequence, transition, design, unity, Performance Poem, rehearse, refine, critique, constructive
feedback, criteria, enunciate, project, Choral Speaking, Choral Reading, ensemble, confidence, intention, clarity, theatre, design, sequence, movement, express,
experience, convey
32
33
34
Pablo Neruda Background
Pablo Neruda (1904-1973) Chilean poet, diplomat, winner of the Nobel Prize for Literature in 1971: for a poetry
that with the action of an elemental force brings alive a continent's destiny and dreams. Two equally powerful
childhood influences shaped Neruda's personality. From his compassionate stepmother he learned sensitivity, and
from his dogmatic father, who vehemently opposed his son's interest in poetry, he learned militant determination.
He also wrote love poems, 'Twenty Love Poems and a Song of Despair' (1924). Neruda is the most widely read of
the Spanish American poets.
In 1920, he became a contributor to the literary journal "Selva Austral" under the pen name of Pablo Neruda,
which he adopted in memory of the Czechoslovak poet Jan Neruda (1834-1891).
Between 1927 and 1935, the government put him in charge of a number of honorary consulships, which took him
to Burma, Ceylon, Java, Singapore, Buenos Aires, Barcelona, and Madrid. His poetic production during that
difficult period included, among other works, the collection of esoteric surrealistic poems, Residencia en la tierra
(1933), which marked his literary breakthrough.
The Spanish Civil War and the murder of García Lorca, whom Neruda knew, affected him strongly and made him
join the Republican movement, first in Spain, and later in France, where he started working on his collection of
poems España en el Corazón (1937). The same year he returned to his native country, to which he had been
recalled.
In 1939, Neruda was appointed consul for the Spanish emigration, residing in Paris, and, shortly afterwards,
Consul General in Mexico, where he rewrote his Canto General de Chile, transforming it into an epic poem about
the whole South American continent, its nature, its people and its historical destiny. This work, entitled Canto
General, was published in Mexico 1950, and also underground in Chile. It consists of approximately 250 poems
brought together into fifteen literary cycles and constitutes the central part of Neruda's production. Shortly after
its publication, Canto General was translated into some ten languages. Nearly all these poems were created in a
difficult situation, when Neruda was living abroad.
In 1943, Neruda returned to Chile, and in 1945 he was elected senator of the Republic, also joining the
Communist Party of Chile. Due to his protests against President González Videla's repressive policy against
striking miners in 1947, he had to live underground in his own country for two years until he managed to leave in
1949. After living in different European countries he returned home in 1952.
35
Poetry by Pablo Neruda
And it was at that age . . . poetry arrived
in search of me. I don't know, I don't know where
it came from, from winter or a river.
I don't know how or when,
no, they were not voices, they were not
words, not silence,
but from a street it called me,
from the branches of night,
abruptly from the others,
among raging fires
or returning alone,
there it was, without a face,
and it touched me.
I didn't know what to say, my mouth
had no way
with names,
my eyes were blind.
Something knocked in my soul,
fever or forgotten wings,
and I made my own way,
deciphering
that fire,
and I wrote the first, faint line,
faint, without substance, pure
nonsense,
pure wisdom
of someone who knows nothing;
and suddenly I saw
the heavens
unfastened
and open,
planets,
palpitating plantations,
the darkness perforated,
riddled
with arrows, fire, and flowers,
the overpowering night, the universe.
And I, tiny being,
drunk with the great starry
void,
likeness, image of
mystery,
felt myself a pure part
of the abyss.
I wheeled with the stars.
My heart broke loose with the wind.
36
Dance Terminology
•
Second Position Turned Out: Legs open with toes pointing out.
•
Second Position Parallel: Legs turned in with feet pointing forward.
•
Plié: A bending of the knees in any of the five positions. The first exercises done in every class to loosen
muscles; the foundation of the dancers’ technique.
•
Demi-plié: A half-bending of the knees, with heels on the floor.
•
Grand Plié: A full bending of the knees.
•
Focus: The gaze of the eye. It is also used in dance and physical theatre, to refer to" internal" or "external"
focus.
o Internal focus is awareness of sensations inside the body.
o External focus is giving full attention to the space outside the body.
o ‘Directed Focus’ is un-broken and has a specific through line
o ‘Emphatic Focus’ is used to emphasis a movement, prop or an action.
o Focus can also refer to the ability to concentrate and fully pay attention.
Rhetoric and Techniques for Speaking with Power and Clarity (Model Lesson Four)
Rhetoric is a system of thought developed in Greek Theatre and later utilized by Elizabethan writers. Rhetoric is
the artistic use of words in order to make a logical point. This system creates the soul of the language or text.
There are three fundamental approaches to using rhetoric:
A) Logos (logic) – The speaker states their facts and makes their conclusions so that the listener will believe the
thrust of their argument. You can spot the use of logos in a speech if you hear words like “therefore” and “since”
and “then.”
B) Ethos (ethics) – This is when the speaker demonstrates, by particular word emphasis, his or her honor or
wisdom or the wisdom of another whom he or she is defending. In hearing praise of these virtues, the listener
believes the value of what is said.
C) Pathos (sympathetic or empathetic) – In this approach, the speaker demonstrates heartfelt emotion, and the
listener feels the truthfulness and thus believes what is being said.
Speaking Techniques:
Breath – Audible breath helps to punctuate ideas and indicate to the listener that the speaker has gone through a
catharsis. There are sighs, quick breaths and ‘inspirations’.
Onomatopoeia – Combine strong specifics with vocal coloring to make a word sound like its specific meaning.
The formation of a word from a sound associated with what it is named. Example: cuckoo, sizzle.
Caesura – The purposeful pausing in the middle of a thought or line to help create tension in the delivery.
Upward and Downward Inflection – Upward inflection helps the listener stay with the thrust of the speaker’s
argument during long or difficult passages. Downward inflection indicates conclusion.
Antithetical – Words of similar tension that are said in close proximity to each other. The speaker chooses the
word that is more pertinent to the thrust of their argument and, through vocal weight and stress, lets the audience
hear the tension between the words.
37
Additional Resources for Alvin Ailey
Cruz, Bárbara. Alvin Ailey: Celebrating African-American Culture in Dance. Berkeley Heights: Enslow Publishers, 2004.
DeFrantz, Thomas. Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture. New York: Oxford
University Press, 2004.
Dunning, Jennifer. Alvin Ailey: A Life in Dance. Reading: Addison-Wesley, 1996.
Gitenstein, Judy. Alvin Ailey. New York: Rosen Central, 2006.
Glass, Barbara S. African American Dance: An Illustrated History. Jefferson: McFarland & Co, 2007.
Tracy, Robert. Ailey Spirit: The Journey of an American Dance Company. New York: Stewart, Tabori & Chang, 2004.
Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey. Chapel Hill:
University of North Carolina Press, 2002.
http://www.alvinailey.org/
Alvin Ailey American Dance Theater
http://en.wikipedia.org/wiki/Alvin_Ailey
Wikipedia (online encyclopedia) entry for Alvin Ailey
http://www.pbs.org/wnet/freetodance/biographies/jamison.html
Great Performances Biography: Judith Jamison, Artistic Director, Alvin Ailey American Dance Theater
38
General Web Resources
Music Center Education and Family Programs
http://www.musiccenter.org/education/index.html
Other Music Center websites:
o Institute for Educators
http://musiccenter.org/institute/
o Sample curriculum units developed by 2005 participants
http://musiccenter.org/education/nea_plans.html
o Artsource® curriculum units
http://musiccenter.org/artsource/index.html
o Online Educator Network
http://www.musiccenter.org/educators/index.html
American Alliance for Theatre and Education
Organization dedicated to promoting standards of excellence in theatre and theatre education, connecting artists, educators,
researchers and scholars with each other, and providing opportunities for membership to learn, exchange, expand and
diversify their work, their audience and their perspectives.
www.aate.com
Americans for the Arts
National organization that supports the arts and culture through private and public resource development.
www.artsusa.org
ArtLex
An online art vocabulary lexicon.
www.artlex.com
Arts Education Partnership
National collation of arts, education, business, philanthropic and government organizations promoting the essential role of
the arts in the learning and development of every child and in the improvement of America’s schools.
www.aep-arts.org
ArtsEdge
The arts education initiative of the Kennedy Center, offering a range of programs, curricula, links and resources for
educators.
www.artsedge.kennedy-center.org/teach
Arts for All – Culver City Unified School District
CREATE is CCUSD’s Arts for All District Wide Initiative to provide quality K12 arts education and integrate the arts into
the curriculum.
http://artsccusd.org
Arts for Learning
A K-12 multimedia professional development project created by Young Audiences Inc, participating Young Audience
chapters and national arts and arts education organizations across the country.
www.arts4learning.org
39
Arts in Every Classroom, The
A collaborative project of The Annenberg Foundation and the Corporation for Public Broadcasting (CPB), Learner.org
offers a video library, sample curricula and resources. www.learner.org/channel/libraries/artsineveryclassroom
Association for the Advancement of Arts Education, The
The AAAE teaches teachers how to use the arts to teach social studies, science, math and language arts through arts
integration.
http://www.oaae.net/OPP/aaae.html
California Alliance for Arts Education
The CAAE promotes, supports and advocates for visual and performing arts education for preschool through post-secondary
students in California schools.
www.artsed411.org
California Art Education Association
http://www.caea-arteducation.org/
California Arts Council
The state arts council for California, offering grant programs, the arts license plate and links to arts organizations across the
state, as well as updates on the state’s funding of the arts and arts education.
http://www.cac.ca.gov/
California Assembly of Local Arts Agencies
A non-profit, member-supported organization representing California’s 250 local arts agencies.
www.calaa.net
California Association for Music Education, The
http://www.calmusiced.com/
California Dance Education Association
http://www.cdeadance.org/
California Department of Education-Visual & Performing Arts
http://www.cde.ca.gov/ci/vp/
California State Visual & Performing Arts Content Standards
http://www.cde.ca.gov/be/st/ss/index.asp
California State PTA (SMARTS)
http://www.capta.org/sections/programs-smarts/index.cfm
Center for Educator Development in the Fine Arts
The Center for Educator Development in the Fine Arts (CEDFA) is a project funded by the Texas Education Agency to
promote student achievement in the fine arts by defining and supporting quality professional development for Texas
educators, based on the Fine Arts TEKS.
http://finearts.esc20.net/aboutcedfa/aboutcedfa_home3.html
Federal Resources for Educational Excellence
Teaching and Learning Resources from Federal Agencies
http://www.free.ed.gov/subjects.cfm?subject_id=1
40
Los Angeles County Arts Commission
http://www.lacountyarts.org/artseducation.html
Massachusetts Cultural Council
About Teacher Institutes and Anchor Works
http://www.massculturalcouncil.org/programs/institute_faqs.html#anchor
Music-In-Education National Consortium
http://www.music-in-education.org/
New Horizons for Learning website
Howard Gardner’s Theory of Multiple Intelligence and Arts Education
http://www.newhorizons.org/strategies/mi/front_mi.htm
National Art Education Association (NAEA)
http://www.naea-reston.org/membership.html
National Endowment for the Arts
www.arts.gov
Meeting the Standards by Susan McGreevy-Nichols
Susan McGreevy-Nichols’ article on how to develop a standards-based instructional unit for your class.
http://www.dance-teacher.com/backissues/jan01/k12.shtml
Scholastic Art & Writing Awards
Awards in the visual and literary arts open to K-12 students through local and regional networks.
http://www.scholastic.com/artandwritingawards/
The California Arts Project (TCAP)
The state’s subject matter project in Visual & Performing Arts, TCAP’s mission is to deepen teachers’ knowledge of dance,
music, theatre and visual arts, to enhance student success pre-kindergarten through post-secondary, and to develop
instructional strategies to support the Visual & Performing Arts Content Standards and framework in California’s public
schools.
http://csmp.ucop.edu/tcap/
TeachingArts.org
A gateway site to arts education organizations and information in California www.teachingarts.org
Young Audiences Inc.
The national umbrella organization for Young Audiences’ chapters nationwide is the largest and oldest provider of arts
education in the U.S.
www.youngaudiences.org
41
Visual and Performing Arts Content Standards for California Public Schools: GRADE 6 (DANCE)
1.0 ARTISTIC PERCEPTION
Development of Motor Skills and Technical Expertise
1.1 Demonstrate focus, physical control, coordination, and accurate reproduction in performing locomotor and axial movement.
1.2 Incorporate a variety of force/energy qualities into executing a full range of movements.
Comprehension and Analysis of Dance Elements
1.3 Identify and use force/energy variations when executing gesture and locomotor and axial movements.
1.4 Use the principles of contrast, unity, and variety in phrasing in dance studies and dances.
Development of Dance Vocabulary
1.5 Describe and analyze movements observed and performed, using appropriate dance vocabulary.
2.0 CREATIVE EXPRESSION
Creation/Invention of Dance Movements
2.1 Invent multiple possibilities to solve a given movement problem and develop the material into a short study.
2.2 Compare and demonstrate the difference between imitating movement and creating original material.
Application of Choreographic Principles and Processes to Creating Dance
2.3 Describe and incorporate dance forms in dance studies.
2.4 Demonstrate the ability to coordinate movement with different musical rhythms and styles (e.g., ABA form, canon).
2.5 Use the elements of dance to create short studies that demonstrate the development of ideas and thematic material.
Communication of Meaning in Dance
2.6 Demonstrate an awareness of the body as an instrument of expression when rehearsing and performing.
2.7 Revise, memorize, and rehearse dance studies for the purpose of performing for others.
Development of Partner and Group Skills
2.8 Demonstrate an ability to cooperate and collaborate with a wide range of partners and groups (e.g., imitating, leading/following,
mirroring, calling/responding, echoing, sequence building).
3.0 HISTORICAL AND CULTURAL CONTEXT
Development of Dance
3.1 Compare and contrast features of dances already performed from different countries.
History and Function of Dance
3.2 Explain the importance and function of dance in students’ lives.
Diversity of Dance
3.3 Explain the various ways people have experienced dance in their daily lives (e.g., Roman entertainments, Asian religious ceremonies, baby naming
in Ghana, Latin American celebrations).
4.0 AESTHETIC VALUING
Description, Analysis, and Criticism of Dance
4.1 Apply knowledge of the elements of dance and the craft of choreography to critiquing (spatial design, variety, contrast, clear
structure).
4.2 Propose ways to revise choreography according to established assessment criteria.
Meaning and Impact of Dance
4.3 Discuss the experience of performing personal work for others.
4.4 Distinguish the differences between viewing live and recorded dance performances.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connections and Applications Across Disciplines
5.1 Describe how other arts disciplines are integrated into dance performances (e.g., music, lighting, set design).
5.2 Describe the responsibilities a dancer has in maintaining health-related habits (e.g., balanced nutrition, regular exercise, adequate
sleep).
Development of Life Skills and Career Competencies
5.3 Identify careers in dance and dance-related fields (e.g., teacher, therapist, videographer, dance critic, choreographer, notator).
42
Visual and Performing Arts Content Standards for California Public Schools: GRADE 6 (THEATRE)
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as action/reaction, vocal projection, subtext, theme, mood, design, production values, and stage crew, to
describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify how production values can manipulate mood to persuade and disseminate propaganda.
Development of Theatrical Skills
2.1 Participate in improvisational activities, demonstrating an understanding of text, subtext, and context.
Creation/Invention in Theatre
2.2 Use effective vocal expression, gesture, facial expression, and timing to create character.
2.3 Write and perform scenes or one-act plays that include monologue, dialogue, action, and setting together with a range of character types.
Role and Cultural Significance of Theatre
3.1 Create scripts that reflect particular historical periods or cultures.
History of Theatre
3.2 Differentiate the theatrical traditions of cultures throughout the world, such as those in Ancient Greece, Egypt, China, and West Africa.
Critical Assessment of Theatre
4.1 Develop and apply appropriate criteria for evaluating sets, lighting, costumes, makeup, and props.
Derivation of Meaning from Works of Theatre
4.2 Identify examples of how theatre, television, and film can influence or be influenced by politics and culture.
Connections and Applications
5.1 Use theatrical skills to communicate concepts or ideas from other curriculum areas, such as a demonstration in history social science of
how persuasion and propaganda are used in advertising.
Careers and Career-Related Skills
5.2 Research career opportunities in media, advertising, marketing, and interactive Web design.
43
1.1 Demonstrate increased focus, physical control, coordination, skill, and accurate reproduction in performing locomotor and axial movement.
1.2 Demonstrate increased ability and skill to sustain longer and more complex movement sequences for expression in a variety of dance styles.
1.3 Demonstrate risk taking in generating bigger and stronger movements through space in rehearsal and performance.
1.4 Identify and use a wider range of space, time, and force/energy to manipulate locomotor and axial movements.
1.5 Use appropriate dance vocabulary to describe everyday gestures and other movements observed in viewing live or recorded dance performances.
(Descriptions may take the form of a drawing or video/computer documentation.)
2.1 Create, memorize, and perform improvised movement sequences, dance studies, and choreography with dynamic range and fulfillment.
2.2 Demonstrate the ability to use personal discovery and invention through improvisation and choreography.
2.3 Demonstrate the ability to use dance elements to develop dance phrases reflecting various musical rhythms, styles, and dynamics.
2.4 Demonstrate skill in using ideas and themes to develop simple dance forms (e.g., rondo, ABA form).
2.5 Demonstrate performance skill in the ability to interpret and communicate through dance.
2.6 Collaborate with others in preparing a dance presentation for an audience ( short informal dance, lecture/demo, evening concert).
2.7 Demonstrate increased originality in using partner or group relationships to define spatial floor patterns, shape designs, and entrances and exits.
3.1 Identify and perform dances from countries studied in the history social science curriculum.
3.2 Explain the function of dance in daily life during specific time periods and in countries being studied in history social science (e.g., North African,
Middle Eastern, and Central American dance in ceremonies, social events, traditional settings, and theatrical performances).
Diversity of Dance
3.3 Explain how dance functions among people of different age groups, including their own.
4.1 Demonstrate understanding of the elements of dance and the craft of choreography when critiquing two kinds of dance (e.g., solo, duet).
4.2 Identify assessment criteria used for outstanding performances in different styles of dance (e.g., theatre, social, ceremonial).
4.3 Explain and analyze the impact of live or recorded music on dance performances. (Recorded music is consistent. Live music can be altered).
4.4 Explain how different venues influence the experience and impact of dancing (e.g., a studio setting, traditional stage, theater in the round).
5.1 Identify and use different sources to generate ideas for dance compositions (e.g., poetry, photographs, political/social issues).
5.2 Describe how dancing builds physical and emotional well-being (e.g., positive body imaging, physical goals, creative goals, focus/concentration).
5.3 Appraise how time management, listening, problem-solving, and teamwork skills used with other dancers in composing and rehearsing a dance can
be applied to other group activities.
5.4 Research and compare careers in dance and dance-related fields.
44
1.1 Use the vocabulary of theatre, such as playwright, rehearsal, dress rehearsal, run-through, and cold reading, to describe theatrical
experiences.
1.2 Identify dramatic elements within a script, such as foreshadowing, crisis, rising action, catharsis, and denouement, using the vocabulary of
theatre.
2.1 Use improvisation in rehearsal to discover character and motivation.
2.2 Maintain a rehearsal script/ notebook to record directions and blocking.
2.3 Create characters, environments, and actions that exhibit tension and suspense.
3.1 Design and create masks, puppets, props, costumes, or sets in a selected theatrical style drawn from world cultures, such as Javanese
shadow puppets or Kabuki masks.
History of Theatre
3.2 Compare and contrast various theatre styles throughout history, such as those of Ancient Greece, Elizabethan theatre, Kabuki theatre,
Kathakali dance theatre, and commedia dell'arte.
4.1 Design and apply appropriate criteria or rubrics for evaluating the effective use of masks, puppetry, makeup, and costumes in a theatrical
presentation.
4.2 Explain how cultural influences affect the content or meaning of works of theatre.
5.1 Use theatrical skills to communicate concepts or ideas from other curriculum areas, such as creating a musical based on a piece of
literature.
5.2 Demonstrate projection, vocal variety, diction, gesture, and confidence in an oral presentation.
45
1.1 Demonstrate increased ability and skill to apply the elements of space, time, and force/energy in producing a wide range of dance sequences.
1.2 Demonstrate capacity for centering/shifting body weight and tension/release in performing movement for artistic intent.
1.3 Demonstrate greater technical control in generating bigger and stronger movements through space in rehearsal and performance.
1.4 Analyze gestures and movements viewed in live or recorded professional dance performances and apply that knowledge to dance activities.
1.5 Identify and analyze the variety of ways in which a dancer can move, using space, time, and force/energy vocabulary.
2.1 Create, memorize, and perform dance studies, demonstrating technical expertise and artistic expression.
2.2 Expand and refine a personal repertoire of dance movement vocabulary.
2.3 Apply basic music elements to the making and performance of dances (e.g., rhythm, meter, accents).
2.4 Record personal movement patterns and phrases, using a variety of methods (e.g., drawings, graphs, words).
2.5 Demonstrate performance skill in the ability to project energy and express ideas through dance.
2.6 Demonstrate the use of personal images as motivation for individual and group dance performances.
2.7 Demonstrate originality in using partner or group relationships to define spatial patterns and the use of overall performing space.
3.1 Compare and contrast specific kinds of dances (e.g., work, courtship, ritual, entertainment) that have been performed.
3.2 Explain the variety of roles dance plays among different socioeconomic groups in selected countries (e.g., royalty and peasants).
Diversity of Dance
3.3 Describe the roles of males and females in dance in the United States during various time periods.
4.1 Identify preferences for choreography and discuss those preferences, using the elements of dance.
4.2 Explain the advantages and disadvantages of various technologies in the presentation of dance (e.g., video, film, computer, DVD, recorded music).
4.3 Describe and analyze how differences in costumes, lighting, props, and venues can enhance or detract from the meaning of a dance.
5.1 Identify and compare how learning habits acquired from dance can be applied to the study of other school subjects (e.g., memorizing, researching,
practicing).
5.2 Describe how dancing builds positive mental, physical, and health-related practices (e.g., discipline, stress management, anatomic awareness).
5.3 Research and explain how dancers leave their performing careers to enter into alternative careers.
46
1.1 Use the vocabulary of theatre, such as ensemble, proscenium, thrust, and arena staging, to describe theatrical experiences.
1.2 Identify and analyze recurring themes and patterns (e.g., loyalty, bravery, revenge, redemption) in a script to make production choices in
design and direction.
1.3 Analyze the use of figurative language and imagery in dramatic texts.
2.1 Create short dramatizations in selected styles of theatre, such as melodrama, vaudeville, and musical theatre.
2.2 Perform character-based improvisations, pantomimes, or monologues, using voice, blocking, and gesture to enhance meaning.
3.1 Describe the ways in which American history has been reflected in theatre (e.g., the ways in which the Industrial Revolution and slavery were
portrayed in the minstrel show, the melodrama, and the musical).
History of Theatre
3.2 Identify and explain how technology has changed American theatre (e.g., how stage lighting has progressed from candlelight to gaslight to
limelight to electrical light to digital light).
4.1 Develop criteria and write a formal review of a theatrical production.
4.2 Compare and contrast how works of theatre from different cultures or time periods convey the same or similar content or plot.
5.1 Use theatrical skills to present content or concepts in other subject areas, such as creating a video on cellular mitosis.
5.2 Identify career options in the dramatic arts, such as cinematographer, stage manager, radio announcer, or dramaturg; and research the
education, training, and work experience necessary in that field.
47
Music Center Arts Learning Sequence
ASSESSING PRIOR KNOWLEDGE
ANCHOR WORK
Enduring Understandings
OVERARCHING CONCEPT
Introduce Big Ideas and Themes
Assess Prior Knowledge
Experience
Presentation of Anchor Work
Artistic Perception (AP)*
Arts Knowledge, Skills & Processes
to Get Smarter
Historical/Cultural Context (HCC)*
Artistic Principles
Inquire
Essential Questions
MAKING CONNECTIONS
GETTING SMARTER
Create & Perform
Creative Expression (CE)*
Knowledge, Skills & Processes
to Become an Expert
Final Task & Criteria
Perform/Present Original Creation
Reflect & Assess
Deepening Questions
Making Personal Meaning
Aesthetic Valuing (AV)*
Links to Other Curriculum Areas
and Content Standards
Connections, Relationships, Application (CRA)*
Evaluate
Key VAPA Content Standards
Rubric
BECOMING AN EXPERT
*Visual and Performing Arts Framework for California Public Schools, Kindergarten Through Grade Twelve
© 2004 by the California Department of Education.
48
The Arts Integration Partnership (AIP) Program:
During the Institute for Educators’ summer arts immersion, teachers benefit from the
modeling, collaboration and support of Music Center professional artists. This
summer experience, combined with a series of artist classroom support visits during
the school year, enables teachers to:
•
•
•
Implement a series of anchor work model lessons;
Learn and practice techniques for guiding and assessing student creative
work; and
Increase their competency in integrating the arts into their grade level
curriculum
The AIP program also includes a Leadership Strand to provide:
• Learning opportunities and tools for principals and lead teachers to use to
increase their knowledge, ability and understanding to support arts
education.
• Transformative experiences through the AIP anchor work content, teaching
strategies and program partnerships to further district and school goals.
About The Anchor Work Approach:
The National Endowment for the Arts defines an anchor work as:
…a recognized significant work of art in any discipline that has sufficient
artistic merit and intellectual heft to warrant careful aesthetic examination; rigorous
analysis; criticism; and discussion of artistic principles as well as cultural, civic, or
social implications that students can draw from the work.
The Music Center believes that models of artistic excellence should be at the
core of all arts learning. Great works of art can provide a powerful aesthetic
experience and help deepen understanding of important ideas and concepts. When
chosen carefully, a single work of art can serve as the focal point for curriculum
development and sustained study. This “anchor work approach” is a nationally recognized
arts learning model. As teachers, administrators and/or students study a masterful,
enduring work of art – from either the performing, visual or literary arts genres – they
strengthen their arts skills and knowledge, gain deeper understanding about enduring
themes and ideas, and make connections to other concepts across the curriculum.
In the Music Center’s approach to studying anchor works, learners express
personal meaning through structured creative exercises and performances.
As learners gain skills in the arts, they develop new tools to communicate their
understanding of important ideas. Their exploration of these “big ideas” provides
authentic connections to other core subjects such as literature, language arts,
history, social studies, science or math. Anchor work content embodies broad
perspectives and enduring values from our human history. Interpretation and
“meaning- making” processes promote relevancy to gaining deeper understanding.
Touching both mind (intellect) and emotions, works of art inform our understanding
of the human experience by engaging multiple dimensions of our intelligence.
49
AIP Logic Model – BEYOND YEAR ONE
Beyond Year One
The following depicts the expectations for two plus years of participation in the AIP. This
timeline could be applicable for several years (not just year two) depending on the levels of
commitment and growth of participants. This stage of the logic model could be used in the
following ways:
• To focus/anticipate longer-term goals
• To chart the direction of the AIP
• To recruit new teachers and schools
• To garner broad support (potential funders)
Teacher outcomes are based on teachers who participate beyond the first year. It is our
understanding that students will only have the opportunity to participate for one year. Student
outcomes in this section continue to be based on student participation for Year One (the
previous year) only.
Beyond Year One Outcomes
Music Center Outcomes
•
•
•
Music Center continues to play integral role in providing professional
development to teachers participating in the AIP
Music Center continues to provide ongoing support for arts programming
infrastructure at the school and district levels
Music Center revises AIP on ongoing basis to meet needs of student, teacher,
school, and district goals
District Outcomes
•
•
•
•
AIP continues to expand into new elementary classrooms
AIP continues to expand into middle school classrooms
AIP participants begin to build learning communities across elementary,
middle and high schools (linked from Teacher Capacity)
Principals and district staff work to support the conceptual framework
surrounding the AIP
50
School Outcomes
•
•
•
•
Principals continue to encourage buy-in for the AIP
Principals continue to provide effective program support
Schools have begun to develop professional learning communities dedicated to
supporting classroom growth and effectiveness for the AIP (link to Teacher
Capacity—system of mentorship and support)
AIP is part of the school’s curriculum, and overlaps with other core areas of
learning
Teacher Outcomes
•
•
•
Teachers continue to participate in the AIP beyond Year One
Teachers who continue to participate in AIP in 2011-2012:
o Successfully implement and assess anchor work-based model lessons
o Develop facility in adapting the anchor work approach to learning
across the curriculum
o Have begun to integrate the anchor work approach to learning across
the curriculum
o Use successful and engaging teaching strategies that they have learned
through the AIP in other areas of the curriculum
Continuing and new program teachers participate in professional learning
communities dedicated to supporting classroom growth and effectiveness for
the AIP
Student Outcomes
•
As a result of cultivating students’ appreciation for the arts and art-related
skills, students approach learning in the arts and other areas with an increased
receptivity toward learning new concepts and skills
51
10 Support Visit Sequence & Teacher Follow-up/Preparation for the Model Lessons featuring Revelations
Date:
Model Lesson ONE: Introduction to the Anchor Works and Performance Project
• Artist models investigation of Revelations.
• Teacher/Artist partnership.
Teacher Follow-up & Preparation
• Teacher reviews and extends student comprehension of Revelations.
Date:
Model Lesson TWO: Group Unity, Directed Focus and Committed Movement:
Dance an Excerpt from Revelations
• Artist demonstrates modeling and coaching processes in teaching the opening
section of Revelations.
Teacher Follow-up/Preparation
• Teacher leads students in practicing the opening section of Revelations
• Teacher / students use rubric to assess and refine their performance of Revelations
Date:
Model Lesson THREE: The Power of Language and Spoken Word
• Teacher and Artist collaborate.
•
Curriculum integration strategies:
Date:
Model Lesson FOUR: Choral Speaking
• Artist models.
• Teacher observes/ participates and gives feedback.
• Teacher / students use rubric to practice, assess and refine Choral Speaking.
Date:
Model Lesson FIVE: Movement Design
• Artist models.
• Teacher observes/ participates and gives feedback.
• Teacher / students use rubric to practice, assess and refine their Movement Designs.
52
Date:
Model Lesson SIX: Personal Poetry
• Teacher and Artist collaborate...
•
Date:
Model Lesson SEVEN: Preparation – Solo Recitation
• Teacher helps students to review the design of their Performance Poem.
• Teacher /students use rubric to assess the design of their Performance Poem.
Date:
Model Lesson EIGHT: Sequencing and Dramatic Staging
•
Teacher and Artist collaborate.
• Teacher leads students in completing their Performance Poem.
• Teacher /students use rubric to refine their Performance Poem.
Date:
Model Lesson NINE: Rehearsing and Refining
• Teacher guides students in rehearsing and refining their Performance Poem.
Date:
Model Lesson TEN: Performing and Reflecting on the Performance
•
Culminating Week / Follow-up
• Teacher / students reflect & assess performances of the Performance Poem.
Teacher and Artist collaborate.
10 Support Visit Sequence & Teacher Follow-up/Preparation for the Model Lessons featuring Revelations
53

Revelations - Music Center

Transcription

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