Enumclaw School District - FIF
Dance
January and February
Dance Focus Lesson 1a:
Dancing Levels in
Space
January and February
Dance Infused Lesson 1b:
Sample Target Learning
Assessment Criteria
Target: Moves as a leader or
mirror image using various
levels.
Dance
Standard
AEL 1.1 concepts:
~
GRADE ARTS CURRICULUM
Math Standard
N/A
levels
Dancel Math
Vocabulary
Dance:
levels in space; high,
medium, low
mirroring
AEL 1.2 skills and
techniques:
Mirroring
Criteria: Initiates or copies
from low to the floor to
standing on tiptoe.
Target: Creates shapes which
define a line of symmetry with
the body.
Lines of Symmetry
Criteria: Creates still, physical
forms that are identical, mirror
images, on both sides of a
vertical line through the center
of the body.
AEL 1.1 concepts:
5.3.H:
Dance:
symmetrical,
straight, curved,
zigzag
Determine the
number and location
of lines of symmetry
in triangles and
quadrilaterals.
general space
locomotor movements
pathways
straight/curved
zigzag
shape
AEL 1.1.2
principals of
organization:
symmetrical design
AEL 2.2 artistic
process:
creates/performs
Math:
asymmetrical
axis
bilateral symmetry
line of symmetry
mirror image
symmetrical
Enduring Understanding
MOVing at high, medium and low
levels of space, and the gradations
in between, can make dance more
interesting to the audience and
the performers.
Dividing space or the body shape
into equal, matched sections on
each side of an axis line creates
symmetry in dance.
ARTS IMPACT ~NSTITUTE LESSOfi..PLA
Core Program Year 1 Arts Foundations
DANCE LESSON - Dancing Levels in Space
Artist-Mentor: Jo Petroff/Debbie Gilbert -
Grade Levels: K - Fifth Grade
Examples:
Enduring Understanding
Moving at high, medium, and low levels of space, and the gradations in between, can make dance
more interesting to the audience and the performers.
Target: Moves using various levels of space.
Criteria: Performs a full range of movements occurring on or low to the floor (low), rising to
kneeling or crouching (medium) and standing and in the air (high).
Target: Moves as a leader or mirror image using various levels.
Criteria: Initiates or copies movements from low to the floor to standing on tiptoe.
Target: Plans and performs a sequence of movements with a partner at specific levels (choreography).
Criteria: Plans and performs a series of movements with a partner utilizing movement in high,
middle and low space.
Teaching and Learning Strategies
1. Leads students in BrainDance warm-up. (Originally developed by Anne Green Gilbert,
video reference: BrainDance, Variations for Infants through Seniors). Music: Eric Chappelle, #20
"Potpourri" from Music for Creative Dance, Volume III. Demonstrates the dance using the
following sequence of movement patterns:
Tactile: (standing) Rub hands. Tap body lightly from head to toe. Stomp feet;
Breath and Core-Distal: (sitting) Breathe in through the nose and out the mouth. Repeat.
Gradually increase the size of the breath, growing from the center of the body when you inhale,
and shrinking when you exhale;
Head-Tail: (standing) Curl the body forward from head to tailbone. Curl it backwards. Repeat
forward and back. Curve from side-to-side several times;
Upper Half: (sitting) Stabilize the lower half of the body and only the top half dances;
Lower Half: (sitting) Stabilize the upper half of the body. Only the bottom half dances, staying
in one spot;
Body-Half Right: (standing) Stabilize the left side of the body and only the right side dances;
Body-Half Left: (standing) Stabilize the right side of the body and only the left side dances;
Swing: (standing) Swing upper body up and down several times;
Cross-Lateral: (sitting) Reach across the body with one hand and then the other. Repeat several
times. Explore other cross-lateral movements, e.g. elbow to opposite knee or hand to opposite
foot;
Spin and Jump: (standing) Spin clockwise. Stop and jump in place. Spin counterclockwise. Stop
and jump in place for 4 counts.
Arts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
Prompts: Did anyone notice some changes we made in the BrainDance today? Right! We went
from standing to sitting, back to standing, etc. In dancer terms we were using levels.
Student: Moves with teachers cueing movements including level changes.
2. Introduces level exploration-Guides students in exploring low, medium and high
levels corresponding to pitch levels in music. Shows dance word sign for levels. Music: Eric
Chappelle, #11 "Levelance", Music for Creative Dance, Volume 1.
g. Asks students to sit and listen to the music, hearing examples of high, low, and
medium-pitched sounds. Asks students to use their hands to dance at the various levels.
Q. Plays the music. Directs students to move at levels which correspond to the pitch
level of the music and the agreed upon parameter for each level. Freezes at musical pauses
and continues when music continues. Prompts: When the music is low-dance low. When the
music is high-dance high. Let's determine as a group what the parameters or boundaries of
high, medium, and low will be.
Student: Moves relating pitch of music to levels in space: low, high, and medium levels as
determined by the music.
Embedded Assessment: Criteria-based teacher checklist-room scan, reverse checklist
3. Leads students in mirroring activity. Music: Eric Chappelle, #1 "Sunrise", Spirit ofthe
Tao Te Ching, Richard Warner
g. Models it: Asks for student volunteer. With teacher as first leader, moves smoothly at varied
levels for partner to follow as if looking in a mirror. Starts with hands, then other body parts.
Continues to move using the entire body. Uses low, medium, and high levels and gradations in
between. Freezes when the music stops. Repeats the activity with the student as leader.
Q. Guides class through the activity: Divides the class into pairs. Leads students to perform
the activity as modeled. Asks students to trade leadership a few times. Prompts: Move slowly
and smoothly ifyou are the leader, and ifyou are the mirror image, be observant and follow
your leader as clearly as possible.
Student: Works with partner in mirroring both as a leader and a follower. Uses low, medium
and high levels and gradations in between.
Embedded Assessment: Criteria-based teacher checklist-room scan, reverse checklist
4. Introduces class to space-travel choreography as a group. Leads "blast-off"
movements and visits Jupiter (low level), Saturn (medium level) and Earth's moon (high level).
Music: Eric Chappelle, #7 "Breathe", Music for Creative Dance, Volume III; #12 "Quarks", Music
for Creative Dance, Volume IV
g. Leads students to model and explore levels of space as a group. Leads a practice of
"blast-off": Guides students to condense the body in and down (on a reverse 10 count) in
preparation for a big jump (on "blast-off'') upward into the highest level of space. Prompts: This
is like a rocket breaking through the earth's gravitational field. Uses the reverse countdown (10,
9,8.... 2,1,0) and on "blast-off" gUides students to jump as high as sjhe can.
12. Leads discussion on two different planets and the moon: Jupiter, Saturn, and earth's
moon. Leads discussion on the amount of gravity or other characteristics each has in order to
establish three different levels. Prompts: When you visit Jupiter, you will move on low levels
because Jupiter's force ofgravity is 2.5 times that ofearth. For Saturn, you will move at
medium levels because a person weighing 85 pounds on earth would weight 90 pounds on
Saturn. Lastly for the earth's moon, you will be floating at high levels because the gravity is 1/6
as strong as the earth's gravity.
c. Prompts: Blast-offfrom earth to explore Jupiter (low level). Blast-offfrom Jupiter and explore
Saturn (medium level). Next, blast-offfrom Saturn to explore the earth's moon (high level). And
Arts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
finally, blast-offand return to earth. Don't forget to listen for the count down: 10, 9, 8 ... 2,1,0,
Blast-off!
Student: Uses low, medium, and high levels and gradations in-between in a context.
5. Guides class through the choreography of a space-travel movement sequence
with a partner from planning to rehearsal. Divides class into pairs. Asks pairs to decide on
two places to visit (Jupiter, Saturn, or earth's moon) and end with a final return to earth.
Prompts: Movement on each planet or moon must demonstrate one level clearly. Partners
should mirror each other for the blast-offsequence. Be sure to rehearse your composition
including the blast-offsequence. Remember the movement on your planets or moon must
clearly demonstrate one level and the blast-offis in a mirror image configuration.
Student: With a partner, selects two locations and decides what level of movement to use.
Creates and rehearses the movement sequence beginning with the "blast-off"; visits two places,
and returns back to earth.
6. Leads students through a performance and response process.
g. Reminds students that their responsibility is to watch for the artist's clarity of the
level of space they have selected. Explains that we will be watching each study to see if the
level students chose to move at was clear. Teaches students the sign language for yes (fist
nodding up and down), or no (index and middle finger tapping up and down on thumb) as a
quick form of assessing their peers' performance. But if they say no, then they need to say what
they DID SEE. Explains that when people assess each other with 'no' they must defend their
assessment and mention what the performers could change in their performance to make it
clear.
Q. Directs student groups to perform their work according to the level they've chosen (all
groups visiting low and medium planets perform at the same time, etc.) Asks peers to use sign
language to assess the performance. Repeats with students who have chosen medium and high
planets/moon and then with students who have chosen low and high planet/moon. Prompts:
Look for the artist's clarity in use ofa level. Use sign language for your response.
Student: Performs with partner and responds to peers' dances.
Embedded Assessment: Criteria-based peer reflection, criteria-based teacher checklist
7. Leads students in reflecting on their choreography, their peers' choreography, and in
the use of levels in their daily life.
Student: Reflects on the use of levels in space in their choreography, peers' choreography, and
in their daily lives. Fills in self-reflection page.
Embedded Assessment: Criteria-based self-reflection
Arts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
Vocabula
Performing Arts:
levels in space:
high, medium, low;
mirroring
Materials and Resources
Perfonnlng Arts:
Tacoma. WA
Broadway Center for the Performing Arts, Tacoma, WA
Do Jump, Peking Acrobats
WA Essential Learnin s & Frameworks
AEL 1.1 concepts.' levels
AEL 1.2 skJ1ls and techniques.' mirroring
AEL 2.2 artistic process.' creates, performs
AEL 3.1 communicates ideas
Seattle. WA
University of Washington World Series of Dance
MOMIX. Laf Lubovitch Dance Company, Compagnie La
Calebasse
Pacific Northwest Ballet
Eyes on Dance, Jewels
Music: Eric Chappelle, Music for Creative Dance: Contrast
and Continuum, Volumes I, III, and IV; Richard Wagner,
Spirit ofthe Tao Te Ching
Classroom: Dance Word Signs: levels-high, medium and
low
Arts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
ARTS
_
I~ INSTITUT~LESSON..PLA~",,---
DANCE LESSON - Dancing Levels in Space
PERSONAL ASSESSMENT WORKSHEET
Student
Performs a full
range of
movements low to
the floor
Levels of Space
Performs a full
range of
movements rising
to kneeling or
crouchinq
Performs a full
range of
movements
standing and in
the air
Mirrorinq
Leads
Copies
movements movements
for partner
of partner
Choreography
Plans and
performs a series
of movements at
specific levels
Criteria-based Reflection Questions:
Self-Reflection:
What levels ofspace did you choose for your choreography?
What levels ofspace do you use the most in everyday living?
When do you use other levels ofspace?
Peer to Peer: What levels ofspace did you see in a peers dance?
Name:
Date:
Atts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
Total
6
A TS IMPACT INSTITUTE
SSONo..;,P-=:LA::..:.:..::N
_
DANCE LESSON - Dancing Levels in Space
ASSESSMENT WORKSHEET
Students
Performs a full
range of
movements low to
the floor
Levels of Space
Performs a full
range of
movements rising
to kneeling or
crouchinq
Performs a full
range of
movements
standing and in
the air
Mirrorinq
Leads
Copies
movements movements
for partner
of partner
Choreoqraphy
Plans and
performs a series
of movements at
specific levels
Total
6
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
Total
Percentaqe
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection:
What levels ofspace did you choose for your choreography? What levels ofspace do you use
the most in everyday living? When do you use other levels ofspace?
Peer to Peer: What levels ofspace did you see in a peer's dance?
Thoughts about Learning:
Which prompts best communicated concepts? Which lesson dynamics helped or hindered learning?
Lesson Logistics:
Which classroom management techniques supported learning?
Teacher:
Date:
Arts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
_
ARTS
IMPACT--.EAMll-~Y-=L=ETT..:....:..::E::.:.R.:--
_
DANCE LESSON - Dancing Levels in Space
Dear Family:
Today we focused on dancing in the different levels in space.
•
We explored movements occurring low to the floor or on it (low levels), rising to kneeling or
crouching (medium levels), or standing and moving in the air (high levels).
•
We did a mirroring exercise. In pairs, the students moved in one spot leading or copying
movements (like a mirror image of their partner). They had to use movements from low to the
floor to standing on tiptoe.
•
We planned and performed our choreography, a series of movements with a partner, which
began with a "blastoff", and then utilized movements at specific levels to demonstrate
movement for two planets or our moon in our solar system.
At home you could look for movements that happen at different levels, such as sleeping, studying,
riding the bus, play basketball, or playing an instrument.
When in my day did I use low levels? Medium levels? High levels? What daily activities do you do in
each level?
Enduring Understanding
Moving at high, medium, and low levels of space, and the gradations in between,
can make dance more interesting to the audience and the performers.
Arts Impact Core I - Arts Foundations Summer Institute - Dance - Dancing Levels in Space
ARTS IMPACT I STITUTE
sse
DANCE ARTS LESSON - Lines of Symmetry
Arts-Infused Disciplines: Dance/Math
Artist-Mentor: Jo Petroff
tj- Core Program Year 2 Art-Infused
Arts-Infused Concept: Symmetry
Grade Levels: Third - Fifth Grade
Examples:
Enduring Understandings
Dividing space or the body shape into equal, matched sections on each side of an axis line creates
symmetry in dance.
Target: Creates shapes which define a line of symmetry with the body.
Criteria: Creates still, physical forms that are identical, mirror images, on both sides of a
vertical line through the center of the body.
Target: Performs movements which demonstrate a central line of symmetry with a partner
Criteria: With a partner, creates identical, mirror image movements on each side of a line of
symmetry between the two individuals.
Target: Creates and travels on a symmetrical pathway through general space.
Criteria: Draws a mirror image pathway map, incorporating curved, straight and/or zigzag
lines, and translates mirror image into movements through the general space. Optional:
Design symmetrical movement pattern with partner to be used on a symmetrical pathway.
Teaching and Learning Strategies
1. Leads BrainDance (Originally developed by Anne Green Gilbert. Video reference:
BrainDance, Variations for Infants through Seniors). Music: "Potpourri II" #21, or "Bee Beat"
#2, Music for Creative Dance, Vol. II, Eric Chappelle. Leads warm-up with symmetrical and
asymmetrical movements and shapes and straight, curved, and zigzag pathways.
Prompts: Our line ofsymmetty is a vertical line from head to toes diVIding our bodies into right
and left halves. Pay attention to when both halves are exact mirror images (bilateral symmetry)
or when they are different (asymmetrical). Leads students in dance using the following
sequence of movement patterns:
Tactile: Prompts: Rub hands. Tap body lightly from head to toe. Use both hands tapping
together equally on each side ofyour body creating symmetrical movement Stomp feet
(asymmetrical movement).
Breath and Core-Distal: Prompts: Breathe in through the nose and out the mouth. Repeat
Gradually increase the size of the breath, growing from the center ofthe body when you inhale/
and shrinking when you exhale. Use symmetrical and then asymmetrical movements that
expand and shrink.
Head-Tail: Prompts: Curl the body forward from head to tailbone. Curl it backwards. Repeat
forward and back (symmetrical). Curve from slde-to-side several times (asymmetrical).
Arts Impact Core II Art-Infused Summer Institute - Dance - Lines ofSymmetry
Upper Half: Stabilize the lower halfofthe body and only the top halfdances. Try using
symmetrical or asymmetrical movements.
Lower Half: Prompts: Stabilize the upper halfof the body. Only the bottom halfdances, staying
in one spot Use symmetrical and asymmetrical movements.
Body-Half Right: Prompts: Stabilize the left side ofthe body and only the right side dances
moving with straight, curved, and zigzag pathways (asymmetrical).
Body-Half Left: Prompts: Stabilize the right side ofthe body and only the left side dances using
different pathways (asymmetrical).
Swing: Prompts: SWing upper body up and down several times (symmetrical).
Cross-Lateral: Prompts: Reach across the body with one hand and then the other. Repeat
several times. Explore other cross-lateral movements, e.g. elbow to opposite knee or hand to
opposite foot (asyrnmetrical).
Spin and Jump: Prompts: Spin clockwise. Stop andjump in place. Spin counterclockwise. Stop
andjump in place for 4 counts. (Use a symmetrical shape with the upper body. The legs will
most likely be moving with asymmetrical movements).
Did anyone notice some changes we made in the BrainDance today? Right! We used
symmetrical and asymmetrical movements and also created curved, straight, and zigzag
pathways. Were some portions tricky or challenging to do with symmetrical movements?
Asymmetrical movements? Display Word of the Day Sign - symmetrical/asymmetrical and
pathways-straight/cu rved/zigzag.
Student: Moves with teacher cueing movements including exploration of symmetricalj
asymmetrical and various types of pathways.
2. Uses a MOVE & FREEZE activity to highlight when students are stopped in a
symmetrical or asymmetrical body shape and to explore curved, straight and zigzag
pathways.
a. Practices various shapes with a drum beat. Calls out which type of shape they should
use. Prompts: Each drum beat indicates a shape. I will ask you to make a shape that is
symmetrica~ equa~ or the same on both the right and left sides (bilateral symmetry), or I
may ask for an asymmetrical shape. Remember, by moving just a pinky you can change a
symmetrical shape into an asymmetrical one.
b. Uses a steady drum beat and asks students to walk on the 3 types of pathways.
Prompt: Now, 171 give you a steady beat and ask you to walk on curved, straight or zigzag
pathways. Adds various types of locomotor movements to the pathways they are traveling
on. Prompt: Get ready to march through the general space on a straight pathway. Skip on
a curved pathway. Jump on a zigzag pathway. Uses the Music: #9 "Ski Reel" from Music
for Creative Dance, Volume II. Listens to the music with the students so they hear the
"Srlhh". When students hear the "Shhh" in the music they freeze in a symmetrical or
asymmetrical shape and hold it. During the instrumental section, asks the students to skip
or gallop through the general space on one of the specific types of pathways. Varies the
type of pathway and the locomotor movements. Makes a list of locomotor movements to
have at fingertips: hop, jump, slither, tiptoe, glide, strut, etc.
Student: Explores symmetrical and asymmetrical shapes and locomotor movements in different
pathways as cued by teacher
Embedded Assessment: Student criteria-based self-assessment; teacher checklist
3. Teacher: Leads MIRRORING ACTIVITY that demonstrates symmetrical movement
with a partner. Uses the Music: #1 "Whales" from Music for Creative Dance, Volume II
a. Starts with the classic mirroring activity in a seated position. Directs leaders to try
symmetrical movements first and then explore other movements. Reminds partners to keep
Arts Impact Core II Art-Infused Summer Institute - Dance - Lines ofSymmetry
eye contact. Prompts: In all the mirroring activities the idea is to move slowly so you are
moving in unison. This is not about tricking your partner. Trade leaders. Sit facing each
other. Each individual has the bottoms offeet together and knees out. One person is the
leader then trades. Let's try creating movement that is symmetrical. Remember, leaders
need to use slow, smooth;. flowing movements Ifyou'd like another challenge, see ifyou can
. also incorporate curved, straight, or zigzag pathways as you are doing your mirrored
movements. Discuss with your partner what choices were successful in creating the
symmetry and why. Were you able to incorporate the pathways?
b. Prompts: Try the butterfly-type mirror. As partners you are now standing side by side,
almost shoulder to shoulder. The line ofsymmetry is between the partners'acfjacent sides.
It might help to think ofthis as though you are a butterfly with each person being a set of
wings on either the right or left side of the body. Keep eye contact! Teacher demonstrates
with a piece of folded paper that is not open completely flat so that students understand
they can see each other as they are moving. Again, one person is the leader then trades.
Extend the exploration by changing the line of symmetry. Prompts: Are there other ways we
could set up a line ofsymmetry between two people? (Toe to toe with one person lying
down and the other person standing.) Asks students to demonstrate their variations.
Prompts: Were you able to incorporate curved, straight or zigzag pathways?
Student: Works with a partner in a sitting mirror and then butterfly type mirror activity and
then explores possibility of other lines of symmetry that will still make the mirror exploration
possible.
Embedded Assessment: Criteria-based peer reflection and teacher checklist
pathway. Guides students to decide which locomotor movements to perform as they travel
on the pathway. Asks the follower for the draWing process to actually choose the
movements. Leads large group to travel on pathway and then splits students into duos.
b. Guides creative, rehearsal, and performance process. Prompts: Identify the leader.
The leader must draw slowly so the partner can follow easily. Use straight, curved, and/or
zigzag pathways. Your partner draws the symmetrical, mirror image pathway on the other
halfofthe paper. Keep the pathways simple so we see the symmetry. Imagine your line of
symmetry (the fold ofyour paper) as a line on the floor that extends from the front ofthe
room to the back of the room as you rehearse your study. I will tape a line ofsymmetry on
the floor for you to use as a reference for your performances. Ifyou were the follower for
the draWing, you get to decide what movements to perform on your pathway. The students
use an imaginary line of symmetry on the floor as they are creating and rehearsing. (For
the performance, tapes a long line for students to use as a reference). A line of
symmetry running from the front of the room to the back gives the best perspective on the
dance studies. Music: "Travel Notes": #13, #14, #15, #16, #17, #18, #19 (see individual
titles). Uses short pieces so students can choose which one seems to complement their
performance or chooses randomly and sees what interesting juxtapositions of music and
movement may occur.
Student: Participates in the group demonstration of choreographic process and then works with
a partner to create the symmetrical pathway map, decides on locomotor movements, rehearses
and performs.
Arts Impact Core II Art-Infused Summer Institute - Dance - Lines ofSymmetry
Embedded Assessment: Criteria-based peer review and written assessment; criteria-based
teacher checklist
5. Leads reflective discussion.
a. Selects the first questions for a discussion of the students' pathways dances. Prompts:
How did you translate the pathway picture into movement? Did you have certain strategies
that helped you create the symmetrical pathway through the space? Audience/ where did
you see curvect straight or zigzag pathways? What did the performers do to ensure you saw
the symmetrical pathway in their dance study?
b. Selects questions to use with the book by Bill T. Jones, Dance. Shows professional
dancer making shapes. Prompt: Try doing some of the symmetrical and asymmetrical
shapes that you see Bill T. Jones making in this book.
c. Uses the third series of questions with pictures of symmetry in dance, art, or
architecture. Uses architecture images to help students connect the concepts with the
world around them. Choose ones that are most appropriate for your situation. Prompts: Let's
look at some other pictures I brought in. Are they symmetrical? Why or why not?
d. References the firsthand natural and human made world. Prompts: Let's make a list
ofsymmetrical objects we see in the room. How is symmetry used in the world around us? In
architecture? In utilitarian objects? In nature?
Student: Participates in the discussion.
Vocabulary
Arts Infused:
Dance and Math
symmetrical' axis,
lIateral symmetry,
ine of symmetry,
~Irror image,
~
~mebical
Dance: general
space, locomotor
movements,
pathways:
straight/curved,
zigzag, shape
Materials and Communi
Resource
Perfonnances:
Broadway Center for the Performing Arts, Tacoma, WA: Do
Jump, Peking Acrobats
World Series of Dance, Seattle. WA:
MOMIX, Lar Lubovitch Dance Company, Compagnie La
Calebasse
Pacific NQrthwest Ballel. Seattle. WA:
Eyes on Dance, Jewels
Perfonnance Materials:
Ii\\illustrations of symmetry and asymmetry,
sample pathway maps
student assessment pages
drum,
paper and markers,
1 - - - - - - - - ; tape
list of locomotor movements
Music: Music for Creative Dance, Contrast & Continuum,
Volume II, Eric Chappelle; varIous tracks
Dance, book by Bill T. Jones and Susan Kuklln
Word of the Day Signs: symmetrical/asymmetrical; pathways:
straight/curved zigzag
WA Essential Learnin s & Frameworks
Essential Learnings
AEL 1.1 concepts: symmetrical/symmetrical,
pathways: straight/curved/zigzag
AEL 1.1.2 prindples oforganization: symmetrical
design
AEL 2.2 artistic process: creates, performs
AEL 3.2 for a purpose.' symmetrical compositions
MEL 1.3: geometric sense.' symmetry
Arts State Frameworks
Grade 3: creates symmetrical/asymmetrical shapes
with the body (space)
Math State Frameworks
rade 4: identify and draw a line of symmetry;
Identify symmetrical two{cIimensional figures and
apes
~
Arts Impact Core II Art-Infused Summer Institute - Dance - Lines ofSymmetry
I~5.TITUTE LESSON
DANCE LESSON - Lines of Symmetry
ARTS IMPACT
PLAN- COre Program Year 2 Art-Infused
ASSESSMENT WORKSHEET
Students
Symmetry
DANCE
Creates still, physical
forms that are
identical, mirror
images, on both sides
of a vertical line
through the center of
the body.
With a partner,
creates identical,
mirror image
movements on each
side of a line of
symmetry between
the two individuals.
Symmetry
MATH
Choreography
DANCE
Draws a mirror
image pathway map,
incorporating
curved, straight
and/or zigzag lines
Translates mirror image
into movements through
the general space.
Optional: Design
symmetrical movement
pattern with partner to be
used on a symmetrical
pathway
Total
Points
4
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
Total
Percentaqe
Criteria-based Reflection Questions: (Note examples of student reAections.)
Self-Reflection: How did you translate the pathway picture into movement? Did you have
certain strategies that helped you create the symmetrical pathway through the space?
Peer to Peer: Where did you see curved, straight or zigzag pathways? What did the
performers do to ensure you saw the symmetrical pathway in their dance study?
Thoughts about Learning:
Which prompts best communicated concepts? Which lesson dynamics helped or hindered learning?
Lesson Logistics:
Which classroom management techniques supported learning?
Teacher:
Date:
Arts Impact Core II Art-Infused Summer Institute - Dance - Lines ofSymmetry
_
Student Assessment Worksheet
I\lame:
_
Date:
SYMMETRICAL PATHWAY MAP - PEER ASSESSrvlENT
Performers'
Names
Symmetry
Draw what you saw: the pathways
the dancers created.
Describe what you saw in the dancers' movements that were either
symmetrical or asymmetrical. Be specific. e.g. when they were jumping forward
their bodies were symmetrical on either side of their center line.
ASSESSMENTS CHECKLIST
Symmetry
Total
Points
DANCE
DANCE
Creates still, physical forms that
are identical, mirror images, on
both sides of a vertical line
throu h the center of the bod
With a partner, creates identical,
mirror image movements on each
side of a line of symmetry
between the two individuals
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4
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Name:
_
Date:
SYMMETRICAL PATHWAY MAP - PEER ASSESSrvlENT
Performers'
Names
Symmetry
Draw what you saw: the pathways
the dancers created.
Describe what you saw in the dancers' movements that were either
symmetrical or asymmetrical. Be specific. e.g. when they were jumping forward
their bodies were svmmetrical on either side of their center line.
Symmetry
DANCE
DANCE
Creates still, physical forms that
are identical, mirror images, on
both sides of a vertical line
throu h the center of the bod
With a partner, creates identical,
mirror image movements on each
side of a line of symmetry
between the two indiViduals
Arts Impact Core II Art-Infused Summer Institute - Dance - Lines ofSymmetry
Total
Points
4
ARTS IMPACT FAMILY ETTER
DANCE LESSON - Lines of Symmetry
Dear Family:
Today your child participated in a dance lesson using symmetrical and asymmetrical body shapes,
curved, straight and zigzag pathways, mirroring activities, and a movement study. We explored various
ways that the concept of line of symmetry (axis) can be applied in dance.
•
We made shapes that were symmetrical around a vertical axis through the body so that the
right and left halves were the same.
•
We worked with a partner to discover how we could create identical, mirror image movements.
•
Collaborating with a partner, we made a movement study to show a symmetrical curved,
straight and/or zigzag pathway through the space.
At home, you could look for examples of symmetrical objects or designs. Look for items that are the
exactly the same or equal on each side of a line that divides them in half.
Enduring Understanding
Dividing space or the body shape into equal, matched sections on each side of an axis line
creates symmetry in dance.
Arts Impact Core II Art-Infused Summer Instttute - Dance - Lines ofSymmetry