NATIONAL QUALIFICATIONS CURRICULUM SUPPORT
Dance
Advice and Guidance to Support
the Choreographic Process
[NATIONAL 5]
This advice and guidance has been produced to support the profession with the
delivery of courses which are either new or which have aspects of significant change
within the new national qualifications (NQ) framework.
The advice and guidance provides suggestions on approaches to learning and
teaching. Practitioners are encouraged to draw on the materials for th eir own part of
their continuing professional development in introducing new national qualifications
in ways that match the needs of learners.
Practitioners should also refer to the course and unit specifications and support notes
which have been issued by the Scottish Qualifications Authority.
http://www.sqa.org.uk/sqa/34714.html
Acknowledgement
© Crown copyright 2012. You may re-use this information (excluding logos) free of
charge in any format or medium, under the terms of the Open Government Licence.
To view this licence, visit http://www.nationalarchives.gov.uk/doc/open government-licence/ or e-mail: psi@nationalarchives.gsi.gov.uk.
Where we have identified any third party copyright information you will need to
obtain permission from the copyright holders concerned.
Any enquiries regarding this document/publication should be sent to us at
enquiries@educationscotland.gov.uk.
This document is also available from our website at www.educationscotland.gov.uk.
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Contents
Mind map of educational relevance
4
Exploring stimuli
5
Discovering your theme
12
Applying knowledge of technical skills and choreographic
principles
13
Appreciating safe dance practice
15
Engaging with theatre arts and technology
16
A choreographic plan
23
Evaluation template
24
Useful links and resources
28
Appendix 1: Progress of development from stimulus to choreography
31
Appendix 2: Theatre arts and technology plan template
33
Appendix 3: Plan template for the choreographic process
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Mind map of educational relevance
Below is a mindmap for printing out and displaying over a double page
spread. Click the image to view the file.
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Exploring stimuli
Providing learners with a variety of stimuli to inspire them can develop
creativity and encourage personalisation and choice.
Exploring stimuli task
Here is a suggestion of a task that could be used with learners over a lesson
or series of lessons.
Learning intention
To learn about the variety of types of stimuli and generate my own personal
ideas in response to this.
Success criteria
To have chosen the type of stimulus I would like to use for my choreographic
piece and have a range of initial ideas that insp ires the creation of my
choreography.
Using Stimuli
The following includes information that could be given to learners and/or
taught.
There are different types of stimuli to consider:
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auditory
visual
kinaesthetic
tactile
ideational.
Auditory stimuli
Music and sound can be a great source of inspiration and motivation for
choreography. When listening to a piece of music or sound, consider the
feelings evoked from that piece and why. What mood or atmosphere is
created? How is that mood or atmosphere created by the piece? Is it due to
the musical lyrics, tempo or rhythms?
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You may wish to explore a range of genres of music and types of sound,
perhaps a genre which you are unfamiliar with. As a starting point visit:
http://musicgenreslist.com/.
Movement response
What movements are inspired from a reaction to
the auditory stimulus?
Consider the form, shape and style of dance that
would suit the music and/or sound.
Responding to lyrics
Action words may be performed literally, eg pull,
kneel, etc, or lyrics may be responded to
symbolically, for example to kneel before someone
means to be under authority. How could this
struggle and conflict of power be represented in
the dance? Perhaps it could be convey by the use
of levels in a paired dance.
Is there a narrative, message or theme you have noticed from the lyrics?
Perhaps one word has a strong impact for you and you may c hoose to explore
this further.
Sound response
There may a selection of sounds, eg one instrument or sound effect, which
may inspire a piece of movement. Consider everyday sounds, noises, voices,
laughter, etc as a stimulus.
Creating music
Alternatively, you may compose your own sound or music, or work in
collaboration with others to create a piece of music to suit your intentions.
You may choose to combine several pieces of music and edit them together to
create a unique track for your choreography. An example of a dance company
that often does this is the British street dance troupe Diversity. Their use of
edited music often creates an impact. Also keep in mind pauses or breaks in
music and sound, or silences that can be effective in creating tension.
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Auditory stimuli task
Learning intention: to explore how music can be a source of inspirati on for a
dance.
Success criteria: I understand how inspirational music can be in creating a
piece of choreography and could now apply this to my dance.
The suggestions above could be used in a series of lessons shaped around the
following:
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movement response
responding to lyrics
sound response
creating music.
You may teach all aspects or alternatively divide the class into groups , each
with a different focus. They can then perform their group choreography and
share their findings with the rest of the group. They may discuss their process
from stimulus to performance, and any ideas used and discarded. They can
also evaluate the skills they used and think about how they can begin to apply
this to their own choreography as all pieces will have music and/ or sound.
Teaching approach
This would be a useful exercise in groups as it will develop learners ’
confidence in choreography. Learners should be given opportunities to work
in groups or in pairs to develop the skills used when choreographing before
working on their own.
Further task
As their confidence is developed, learners could be asked to respond
individually to short pieces of different types of music and to improvise
movements. This could be challenging but if learners can be encouraged to
feel comfortable working in this way, the response could be highly creative.
If recorded, this could document improvised choreography in response to
music, and sequences may be included in their final piece.
There may be opportunities here to work in an interd isciplinary manner with
music practitioners and learners, for example in creating music. The dance
class or groups within this class could be set a task to respond to music that
has been composed by a learner as part of units in music (may be more
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suitable for Higher Music). Or music learners could work with dance learners
to create or edit a unique piece of music to accompany their dance.
Visual stimuli
This type of stimuli encompasses anything that can be seen. Pictures, images,
posters, photographs, art, colours, objects, personal belongings, clothes and
anything in the world around you can all be used as stimuli for further
exploration. What is your aesthetic response to what you see? That is, how do
you feel when you look at this stimulus? Does it have bright colours and
evoke happiness? Is it dark and what does this suggest? You may discuss with
others the visual representations of this stimulus, eg does it mean something
different to someone else?
Your visual stimulus may have been created by you or by others. It may be an
artist’s piece of work or a personal photograph you took of your favourite
location.
Visual stimuli task
Learning intention: to explore how objects can be a source of inspiration for a
dance.
Success criteria: I understand how using my imagination in response to
objects can lead to a piece of choreography and could now apply this to my
dance.
Learners can be asked to bring in an object and describe it to others in the
class. From this, a selection of objects could be chosen from which to
generate ideas. There is a number of ways that this could be done. One way
could be for the class to select one object that generated the best response and
a variety of ideas. From this, learners could be set a group or paired task to
create a dance sequence based on their response and ideas. This need not be a
full dance. The outcome will be a wide mix of choreography from one single
stimulus. This will help to communicate to learners how stimuli can be used
and how creative their choreographic piece can be.
There may be opportunities here to work in an interdisciplinary manner with
art practitioners and learners by using a piece of artwork created by learners
in the art department. Dance learners could discuss their initial response and
then the art learner could contribute their inspiration, and the ideas used to
create a dance or sequence.
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Kinaesthetic stimuli
There may be a specific style of dance, movement or
step that you wish to explore as a starting point for the
choreography of your piece. If it is a specific step you
wish to include or build from, consider where you
want to include it in your piece and if you wish to
repeat it for emphasis. What does this step
communicate to the audience?
You may have one movement or several that you
choose to use, for example you may decide that you
wish your dance to include many elevated steps and
there may be reasons for this.
It may be that an action word is the basis of your movement and kinaesthetic
stimulus.
Kinaesthetic stimuli task
Learning intention: to explore how steps can be the starting point of a dance.
Success criteria: I can develop a dance from a set of steps and could now
apply this to my choreographed piece
Practitioners could create a step or sequence and teach it to a group. Groups
can then use their given steps to develop their piece yet further. They will
have to take into consideration the style of steps given. The practitioner can
decide if they should choreograph to the same piece of music or choose music
to suit the steps created.
There may be opportunities here to work in an interdisciplinary manner with
PE practitioners and learners. The dance class may go and watch a PE class at
any activity and focus on their movements. They may then select some of
these movements and develop a motif from this. Another approach could be to
divide the dance class to watch a variety of activities, eg football, hockey,
trampoline, aerobics.
Tactile stimuli
‘Tactile’ means perceptible by touch and tangible , therefore this type of
stimulus focuses on what you can feel. You may select pieces of materials to
feel whilst blindfolded and verbally describe your response to this. Materials
can include a variety of items, including objects and surfaces around you.
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Your response to what you feel may influence the style and feel of your dance
and the mood and atmosphere you wish to create through your choreography.
Consider other senses that could evoke a different type of feeling, such as an
emotion, eg scents.
Tactile stimuli task
Learning intention: to explore how other senses, such as touch and smell , can
be a source of inspiration for a dance.
Success criteria: I understand how using my imagination in response to tactile
stimuli can lead to a piece of choreography and could now ap ply this to my
dance.
Learners can be blindfolded and asked to offer their response to what they
feel or smell. Alternatively, a secret box could be created for learners to put
their hands into and feel what is within. Learners could describe this process
and their response as a starting point for their choreography, for example they
explore the feeling of anticipation, fear of the unknown.
There may be opportunities here to work in an interdisciplinary manner with
art, design and technology, and home economics practitioners and learners.
The secret boxes could be created by the design and technology learners or
home economics learners.
Ideational stimuli
This includes ideas and responses stemming from themes, stories, words,
emotions, people and relationships. It could focus on characters or stories
from poems, books, plays, films, television programmes, adverts, posters,
songs, facts, issues or news articles. What sparks your interest in this
ideational stimulus?
A range of themes you may consider exploring are love, war, hate, nature,
jealousy, pride, the elements (earth, air, fire, water), anger, pity, bullying,
conflict, friendship, bravery, law or confinement, power, and many more.
Your choreography from ideational stimuli may result in you aiming to
communicate a meaning or message and to tell a story or part of a story.
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Ideational stimuli task
Learning intention: to explore how text can be a source of inspiration for a
dance.
Success criteria: I understand how using my imagination in response to text
can lead to a piece of choreography and could now apply this to my dance.
Learners can be asked to bring in a piece of text that interests them. They
could share this with other learners and then create an individual dance
sequence in response to the themes that have emerged.
There may be opportunities here to work in an interdisciplinary manner with
drama and English practitioners and learners, who often use stimuli as a
starting point for drama. The dance class may watch a drama performance and
use those themes to create their choreography. Alternatively, the drama and
dance practitioners may give their learners the same themes and they may
perform alongside each other. The dance learners may use texts that they are
studying or writing in English as their chosen ideational stimulus.
Approach to exploring types of stimuli
Learners may choose one type of stimulus to focus on or a range of types of
stimuli to explore initially. They may choose to combine types of stimuli to
explore for ideas, for example auditory and kinaesthetic stimuli. Practitioners
may wish to prepare one example of each type of stimuli to use as a starting
point for discussion, investigation and practical experimentation. This could
lead to an exercise of improvising in groups or as a class in order to provide
learners with a context of the range of types of stimuli and how to develop
them into performance before allowing for more personalisation and choice.
Learners’ themes may take into account social and cultural influences and
there may be specific issues that the learners wish to explore.
Use of film
All of the above activities will develop learners ’ understanding of using
stimuli for choreography and their creative process could be documented by
filming. All the sequences created could be edited together. This would allow
learners to see their journey and the different types of movement pieces
created from a variety of stimuli. This film itself could be used as a stimulus
for further exploration.
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Discovering your theme
Once learners have explored the types of stimuli, they should aim to select
those they have responded to most for further investigation. The following is
advice learners could be given or taught.
Selecting your stimulus/stimuli
This may be the type of stimulus that you were most interested in or that gave
you the most ideas. You should know the reasons why you selected the
stimulus and the ideas it gave you.
Further investigation
Aim to do more research on your chosen stimulus. Do you know everything
about your stimulus? Consider the following, which may be appropriate to
your type of stimulus:
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Where did it come from?
Who does it belong to?
Where else might you find this?
Who else might use this?
How does this stimulus make you feel?
What does it make you think?
Exercises for further development of ideas
 Thought-storm.
 Mind-map of ideas.
 Research on internet or library.
 Discuss your stimulus with others – what is their response?
Theme: once you know your theme
 What movements represent and symbolise your theme?
 What message do you want to communicate, if any?
 What mood and atmosphere can represent this?
Appendix 1 is a template of questions to consolidate learning at this stage.
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Applying knowledge of technical skills and
choreographic principles
Knowledge of technical skills
From their work on technical skills, learners
will be aware of a range of styles of dance and
this will inform them of styles they wish to
use for their choreography. Styles could
include ballet, jazz, tap, contemporary, street
dance, hip hop, salsa, ballroom, Latin, Indian,
African, Highland, Irish and many more.
Learners should have a chance to explore a
range of styles of dance and the principles and steps associated with these
styles.
In order to build confidence they may have combined characteristic steps
from chosen styles and created short movement pieces in groups or pairs.
Building from techniques and knowledge gained, they may begin to
experiment individually and to choreograph longer movement sequences.
Choreographic principles
As part of their choreography learners will be developing their knowledge of
choreographic skills, structures and devices which they can then apply,
including:
 devices: repetition, retrograde, embellishment, instrumentation,
fragmentation, use of levels, size and dynamic quality for movement
 spatial elements: pathways, shape, formations, staging
 structures: narrative, call and response, motif and development, chance,
ABA, binary, ternary.
Activities could explore creating individual movements by teaching dance
actions and how they can be developed by using choreographic devices
including levels, size, shape and pathways, and/or by exploring the basic
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three elements of dance: actions (such as gesture, jump, turn, fall), space and
dynamics (such as sharp, soft, fluid, strong, suspended, staccato).
Learners may also consider:
 use and effectiveness of motif and motif development
 use and effectiveness of music – timing, phrasing, dynamics, qualities.
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Appreciating safe dance practice
You may consider covering the following topics to ensure learners have an
appreciation of safe dance practice in relation to physical wellbeing:
 Recognising the importance of warming up and cooling down, before and
after all dance activity.
 Acknowledgement of safety in relation to the physical environment,
including space, technical equipment, clothing and attire, footwear, etc.
 Knowledge of the anatomy of the body. Learners could develop an
understanding of different muscle groups. This could include knowledge of
which muscles are being used when and some basic information on various
injuries and how these can be avoided.
 An understanding of the importance of the dancer’s health and wellbeing ,
including physical (level of fatigue, body temperatu re, breathing) and
mental wellbeing (motivation, concentration, stress levels).
 An understanding of fitness in relation to performance. This could include
doing various fitness tests.
 An awareness of the dancer’s fitness in relation to technique. This could
include muscular strength, flexibility, balance, co-ordination and
confidence.
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Engaging with theatre arts and technology
When developing choreography, learners should be aware of the process from
stimulus to performance and should consider theat re arts and technology in
relation to this performance.
Learners can consider the impact of theatre arts and technology on their
choreography and how theatre arts are used to communicate ideas and
enhance themes within a dance performance.
They may cover a range of theatre arts, including lighting, costume, set,
props, music and make-up.
Creating mood and atmosphere appropriate to choreography
It will be useful for learners to consider what their intentions are for their
choreography. Once they have researched their stimulus and discovered their
theme they may be able to think about what their aims are and any message
they wish to put across in their performance. Thinking about what mood and
atmosphere they wish to create, and what impact they envisage their
choreography having on their audience, will inform their creative choices and
decisions made with regard to theatre arts and technology.
Here is a list of possible mood and atmospheres learners may use: tense,
light, dark, sad, happy, quiet, loud, strange, unusual, eerie, scary, sombre,
romantic, pleasant, cold, calm, energetic, and so on.
Lighting
Other than to see the performers, there are two main reasons lighting is used:
to focus the audience’s attention and to create a mood or atmosphere. Here
are some basic functions you can perform when operating the lights:
 Control the level of lights, that is, have them brightly or dimly lit. Do you
want soft lighting or not? Consider why.
 Fading: up/down, fast/slow.
 Crossfade: to change from one cue to another with no blackout in between.
 Snap to blackout: the performance area is not lit.
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 Angle the lights to a specific stage position or programme them to move
on a journey of positions.
 Positioning: you can position the lights to specific areas in relation to your
performers. Decide how you want to light the performers and how you
want to see them. Do you want to create shadows, focus on a particular
area of the body, light them brightly or dimly?
 Spotlight: you can put a spotlight on an area or performer t o highlight it.
You can control how narrow or wide the light is.
 Follow spot: this is a spotlight that can follow the performer/s around as
they move. You can have more than one.
 Colour change: you can change the colour of the lights by using gels. Gels
are coloured pieces of plastic that allow light to pass through, but change
the colour tone of the light itself. You can also use a colour changer for
this function.
 Special effects: some lights can be used for special effects, including the
following:
- A strobe light: a flashing light can be used to create a unique effect .
- Star cloth: a backcloth or curtain with lights embedded in it. Some star
cloths can include effects such as flashing lights, changes in colour, etc.
- Mirror ball: a light shining onto a spinning mirror ball projecting the
light all around the performing area and at times on the audience
depending on where the mirror ball is positioned.
- Gobo: a thin metal plate with a pattern cut out that is put in front of a
lantern to project a pattern or shape. A range of patterns can be used,
for example branches of trees, stars, flames, crosses, spider webs,
waves or more abstract designs.
An intended lighting design can have a strong impact on a performance and in
creating a suitable mood and atmosphere for a piece of choreography. If
learners want to create a dark, tense and scary atmosphere they may decide to
have dimly lit lighting, a spotlight creating shadows and a strobe light at the
key moments of tension. If a piece of choreography has a strong narrative that
explores a theme, for example religion, they may use a cross as a gobo to be
projected onto the floor, and a bright wash of light to symbolise heaven and
worship. Learners should aim to have creative and original ideas whilst being
able to justify their choices.
Costume
Costume can be integral to a piece of choreography. Learners should
contemplate what style of costume would be most suitable for their dance and
why.
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They should think of:
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the style of their dance and the techniques involved
the dynamics of their dance
the space that is used and the patterns created
the actions or steps involved
the use of levels and direction, speed, effort, time and flow
any areas of the body that it is important to highlight and the line of the
body
 any themes, narrative or characters they wish to highlight .
What type of costume design do they think would be most appropriate for
their dance?
Dance wear: traditional dance costume that highlights the style of dance, for
example a tutu for ballet.
Realistic: costume to represent clothes worn in everyday life. This type of
costume can be useful to represent street dance or to give a sense of
spontaneous dancing.
Character costume: costume to represent characters or a narrative -based
piece of choreography. This style of costume can be used to describe the
period of time, the place, the
occupation of the character, the
occasion, the personality of the
character and so on. It can be used
to define the role/s of the dancers
involved. This can help the audience
understand the story and character
involved.
Abstract costume: costume that can
be open to interpretation for the
audience. This could include any
costume that is not character-based,
realistic or traditional dance wear. It
may be unusual or strange, and
symbolise or represent meaning. The material or colours used could add to
the dance idea with the intention of enticing a reaction from the audience.
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Set
Learners may choose to have a realistic or abstract set design.
A realistic set design would be more appropriate for choreography that has a
narrative or is character-based. A realistic design of set could reflect real
situations and the place where the dance is taking place.
Abstract set design would allow for a more open interpretation, and the set
could be bare and minimalistic or even include objects of design, for example
mirrors, or one table angled in the centre of the room to be used and
incorporated into the dance as another platform or level to use, but safety
would need to be taken into account. There may be a piece of set or furniture
that can emphasise a particular theme. For example, leaves on the floor may
indicate that it is autumn and suggest a particularly sombre mood depending
on other theatre arts that are used. The style of furniture involved could
indicate the time of the piece, eg learners could aim to create a more modern
style or futuristic look or feel if this suited their intentions. Learners could
incorporate visual art and sculptures as part of a more abstract design of set.
As part of their set design learners could explore the possibility of having the
following:
 backcloth with scenery painted on it
 flats: wooden frames that can be painted and can include windows and
doors
 rostra: blocks or platforms used to create levels
 cyclorama: the back wall of the stage, which can be lit or projected onto.
Learners could also think about what type of stage space would be most apt
for their choreography. Different types of staging allow for a different
relationship to be formed physically between performers and the audience ,
and subsequently can have an effect on the mood or atmosphere created. Here
are a range of stage types that could be used:
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end-on staging: audience seated at one end, the acting area at the other
proscenium arch: stage within an enclosing arch
theatre in the round: audience seated all around the acting area
avenue staging: audience seated on two sides of the acting area
thrust staging: audience seated on three sides of the acting area .
Props
Props are objects used by a performer or character. They may be personal to
the character and symbolise meaning. Props can also be useful for indicating
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the period or style, for example anything modern would indicate that the
character exists in the modern era. Props may be more likely to be used in a
dance where there is a story, narrative or character. Props can also be used as
a stimulus for choreography. Learners may contemplate if there are any
personal props belonging to them or others that could be the starting po int for
a narrative for choreography.
Props may include a letter, a piece of jewellery, a hand -held mirror, a
photograph, a brush and so on. The prop may be used as a starting point for
the basis of the choreography and may begin to shape the dance.
There must be a reason for including the prop in the dance: it could be a
significant item to the character or symbolise the meaning or message of the
dance. For example, the theme of the dance may be vanity and a mirror may
be used at certain points to highlight moments of vanity in contrast with
moments of worthlessness. The dancer may pick up the mirror and use it to
watch their physique. Then they may shy away from the mirror. It could be
useful to think about set and lighting here to further emphasise this theme.
Music
Music accompanies a dance but can also be the stimulus for choreography and
can influence the style of dance and the overall theme. The lyrics, if any,
should be appropriate to the theme and enhance the choreography. There may
be elements of the music which will stimulate a specific type of action, such
as leaps.
If composing or editing music it could be worthwhile for learners to consider
adjusting the volume or speed, or to include pauses at relevant points. They
should aim to be creative in their use of music and to interpret the music
where appropriate.
Sound
Learners may create a piece of sound to accompany their choreography or
they may source this. This could include natural sounds or sound effects.
There is a variety of modern technology that would allow learners to easily
record sounds effects, voice sounds (humming etc) and speaking or
voiceovers, for example an mp3 recorder or voice recorder from a smart
phone.
Make-up
Make-up can be used to allow the performers to be seen under bright stage
lights. It can also be used to create a believable effect or to represent a
character. Effects can be created to highlight or shadow parts of the face and
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can transform performers to make them look older or worn out, to highlight
beauty or to show cuts or bruises if necessary for a performance. Fantasy
make-up can be used for specific characters such as zombies , if this is
relevant to the choreography.
Make-up can also include hair pieces, crepe hair, wigs or a skull cap to create
the effect of no hair.
Technology
Modern technology can be used to enhance a performance. Technology can
include types of lighting such as strobe light, colour changer or gobo. It can
also include special effects such as a mirror ball, smoke machine and
pyrotechnics (stage fireworks). Technology can be part of the set design,
including cyclorama and an effects projector. Film and photography can have
a dramatic impact on a performance and would allow a collage to be created.
It could also allow for scenery or other movement to be filmed to create
meaning. However, learners should ensure that any theatre art or technology
used does not distract from the performance and instead adds to the dance.
Implications of using theatre arts and technology
Learners will have to deliberate over their aims and the facilities and
resources they have available to use. They should aim to use what they have
where possible and consider the feasibility of their intentions. They may have
ideas of a particular costume character they wo uld like to use. There may be
ways of borrowing or making this costume, but this may not be possible and
they may then have to make decisions based on this. A performance with
minimal theatre arts can have as great an impact as a more elaborate
performance.
Appendix 2 offers a template learners could use to plan and document their
ideas for theatre arts and technology.
Viewing performances
It may be useful for learners to evaluate the use of theatre arts and technology
in performances of dance they have seen as a way of developing their
knowledge and understanding in this area. This would help learners
appreciate the impact of theatre arts and the social and cultural influences on
choreography and performance.
Post-performance discussions about what theatre arts they noticed and liked,
and why, could be a useful starting point. Here are a few post-performance
questions to prompt this discussion:
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 What types of theatre arts and technology were used in the performance?
Describe what you saw.
 How did each theatre art impact on the performance?
 Were there any themes or issues that were enhanced as a result of the
theatre arts and technology being used?
 In what ways did you enjoy the use of theatre arts and technology
accompanying the performance?
 Were there any theatre arts or technology you would like to have seen used
to enhance the performance?
If a range of theatre arts and technology were used in the performance
learners could be divided into groups to evaluate and report on each theatre
art separately.
Learners could answer similar questions to those above as part of their own
choreography plan.
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A choreographic plan
Learners could record their choreographic process of planning, developing
and evaluating progress in the form of a log or a diary. The log could be
based on various stages of the choreographic process , including research,
rehearsal, documentation of choreographic devices and structures, motif
development, spatial pathways and selection/rejection of choreographic ideas.
This log could then be used as a reflection tool to support learners when
evaluating.
Appendix 3 offers a paper template learners could use to begin documenting
the choreographic process.
The plan may be completed in a variety of formats and could offer an
opportunity to use ICT. For example, learners may document their process by
using a blog, a digital scrapbook or uploading their plan onto a Glow group.
Also, they may film their plan and rehearsals or record this verbally.
Performance
It will be helpful for learners to know the date of their performance well in
advance to prepare physically and mentally for it.
For a performance, learners should have thought about:








space for warm-up and cool down
any safety obstacles
attire
the space for performance and where the audience is in relation to the
performer
how to enter and exit the performance space
lighting – can the performer be clearly seen? Are the lights obstructing the
view of the audience?
ensuring a dress and technical rehearsal has taken place and cues can run
smoothly
how to deal with any unforeseen circumstances, such as a CD jumping,
etc.
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Evaluation template
The following is an example of the type of evaluation you may use with
learners when they are reflecting on their own choreographic process an d
performance.
What research methods did you use?
How did you develop these ideas into movement for your dance?
Did you use a motif? Did it help reflect your theme?
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What structural and choreographic changes did you make to your
choreography?
Did you encounter any problems during the creation or performance of your
choreography?
What did you do to overcome these problems?
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During performance, did you use all the available floor space?
Did you use a variety of levels to demonstrate different qualities?
What was your accompaniment, why did you select it and how did it enhance
your choreography?
Why did you select your chosen theatre arts?
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Evaluate the effectiveness of your lighting, costume, props and set. What do
you think worked well and enhanced your piece , and what do you think could
have worked better?
If you were to repeat the same assignment again in the future what would you
do differently?
How did you identify your physical and technical strengths and development
needs?
Was your choreography of the best standard you could produce? If not, why?
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Useful links and resources
Learners may develop their learning further by reading, researching, watching
live performances, taking part in dance classes etc. This list could help you
direct your learners to other places for learning.
Higher Dance resources
The following website provides support for Higher Dance. However, it will
be useful for practitioners as it offers video examples of classical,
contemporary and jazz dance. The website includes a downloadable word file
that supports the use of the online videos: ‘Higher Dance Practice – Teacher’s
Notes’. It also includes a detailed resource called ‘Higher Dance Practice –
Practical Assignment’ to support learners.
http://www.ltscotland.org.uk/nationalqualif ications/resources/higherdancepra
ctice/introduction.asp
Dance vocabulary
The ‘Higher Dance Practice - Practical Assignment’ document referenced
above includes links to the following websites for an extensive glossary of
dance terminology:
American Ballet Theatre: ballet terminology
http://www.abt.org/education/dictionary/index.html
Glossary of dance terminology
http://www.orthopt.org/downloads/PAglossary.pdf
Glossary of terms for dance educators
http://www.vahperd.org/Divisions/Dance%20Resources/danceglossary.htm
National Dance Teachers Association Resource
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Useful links
The Creativity Portal offers news, opportunities and listings of creative
partners in dance, including national companies such as Scottish Ballet,
Company Chordelia, Scottish Dance Theatre, Ydance and Indepen -Dance.
www.creativityportal.org.uk
If you would like to subscribe to the Creativity and Dance newsfeed, click on
the following link:
http://feedburner.google.com/fb/a/mailverify?uri=creativityPortal DanceViaCreativeLearningScotlandInGoogleReader&loc=en_US
For a list of genres of music and some information on each one:
http://musicgenreslist.com/.
For posters detailing dance dictionary, styles, planning and developing a
performance, formations in dance, creating a dance motif, dance stimuli an d
action words:
http://www.daydreameducation.co.uk/servlet/Categories .
For safe dance practice and further links on this subject:
http://davidandjacob.com/art/wpcontent/uploads/2008/08/Safe_Dance_Practice.pdf .
For information on lighting:
http://www.mts.net/~william5/sld/sld-200.htm.
Info on lighting, set and stage types (for drama but can be applied to dance).
http://www.thedramadepartment.com/Standard/revisionwork.htm .
Dance websites
Council for Dance Education and Training
Courses Careers UK
Creative Scotland
Dance UK
Foundation for Community Dance
Londondance (dance companies, reviews, jobs)
National Dance Teachers Association
The Stage (newspaper for dance and theatre)
YDance
Youth Dance England
National Dance Resource Centre
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Dance companies
Scottish Ballet
New York City Ballet
Royal Ballet
Contemporary Dance
Richard Alston
Akran Khan
Pina Baush
DV8
Rambert
Jasmin Vardimon
Shobana Jeyasingh
Scottish Dance Theatre
Leading choreographers
Christopher Bruce
Siobhan Davies
Edward Louk
Alvin Ailey
Matthew Bourne
Gillian Lynne
Bob Fosse
Itzik Galili
Isadora Duncan
Doris Humphrey
Martha Graham
George Balanchine
Ashley Page
Merce Cunningham
Jose Limon
Taylor Laban
Wayne McGregor
Gregory Hines
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Appendix 1: Progress of development from stimulus
to choreography
Name:
What different types of stimuli have you been looking at?
What is your chosen stimulus for your choreography and why did you choose
it?
What is the theme for your choreography? Mention any research you have
done or plan to do for this.
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What are your intentions and aims for your choreography?
Before you begin to create any movement for your choreography you must
research your theme in depth. How are you going to res earch your theme?
What will you do once you have finished all of your research? Include any
plans to improvise and form your initial motif.
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Appendix 2: Theatre arts and technology plan
template
Name:
Describe your ideas and how you would like to use theatre arts to enhance
your theme. You may illustrate your ideas.
Lighting
Costume
Set and stage design
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Props
Music
Make-up
Technology
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Appendix 3: Plan template for the choreographic
process
Name:
Actions
Focus:
Plan:
Week:
Review:
Time:
Focus:
Plan:
Week:
Review:
Time:
Focus:
Plan:
Week:
Review:
Time:
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