1.3 Warm-up and skill-building rituals  (Page 3/5)

VISUAL ARTS (3.7)

• selects a project, plans it in group and takes the necessary action;

MUSIC (3.5, 3.6)

• sings and/or plays and instrument in a group with appropriate rhythm, pitch and dynamics in any genre of music;
• combines a number of melorhythm instruments (drums, marimba) to create textural blend

DRAMA (3.3, 3.4)

• shows a developing level of confidence and ability to focus in drama exercises based on concentration, sensory perception and spatial awareness;
• adopts and maintains a role, and is able to answer questions in role using appropriate language and gesture;

DANCE/MOVEMENT (3.1; 3.2)

• demonstrates partner skills such as copying, leading, following and mirroring movement;
• works with various partners experimenting with “question and answer” and “meeting and parting” movement phrases.

Memorandum

Phase overview

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

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

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

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

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

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

B.learning programme overview

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

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

The time schedule for this module is ± two weeks.

Assessment Standards:

• The learners are going to be assessed on how they work creatively in dance with props, costumes, found and natural objects and instruments, alone and in groups.
• The learners will be assessed on how sensitively they use the concept of personal (own) and general (shared) space in dance explorations.