Leaving Certificate Applied
Modules: Dance One & Dance Two
Basic Guidelines
Facilitator: Sharon Phelan
Course Summary:
The Dance Programme consists of two Modules - Dance 0ne & Dance Two. There are no
pre-requisites for Dance One. However, as Dance One is a pre-requisite for Dance Two,
Dance One must precede Dance Two.
Four Key Assignments must be completed at the end of Dance One and Dance Two.
There is no Final Exam in Dance.
A Task can be anchored in Dance. If the Task is not anchored in Dance, the student can
draw on the knowledge s/he has acquired in Dance to feed Tasks, which are set in other
areas. As the stimuli for Dance can be drawn from far and wide, Dance is flexible in this
respect.
Dance is not mandatory. The Arts Education Course requires the completion of two
modules from Dance, Drama, Visual Art and Music, or, any combination of these. If the
centre chooses just one Dance Module and one other from the Arts Education Course,
then Dance One must be the module selected.
Each Dance Module is worth one credit. Individually, they require at least 30 hours to
complete; 3 x 40 minute periods per session. [A session runs from September to January,
or, February to June.] As Dance is a practical area, where the students have to change
into appropriate gear & warm-up/ cool-down sessions must occur for safety reasons, it
might be advisable to link at least two of these 40-minute periods into an 80-minute
period.
As yet, there is no Vocational Specialism in Arts Education. However, centres can devise
a locally based Vocational Specialism if they wish in Arts.
Sharon Phelan
Common Questions
Q
A
What strategies can I adopt to teach these modules?
Remember, this Dance Programme can adapt to all Dance forms. Folk Dance,
Contemporary Dance, Ballet, Tap Dance and Jazz Dance are only some examples.
Once the Dance concepts listed are being addressed through these different Dance
Forms, then, the key assignments are being fulfilled. The basic Dance concepts in
the syllabi include use of space, the body, dance accompaniment, dynamics &
physiological elements surrounding Dance. They are achievable through
improvisation, performance & Dance appreciation exercises in all Dance Forms.
Use the expertise of students, local dance teachers, [etc.] in your classes. Allow
students copy & develop dance sequences using live performances, videos &
DVDs. Encourage students to attend community – based performances & to
analyse these performances using the knowledge that they have gleaned from the
Leaving Certificate Applied Dance Programme to date. Sometimes, students love
to choreograph their own Dance performance.
Q
A
Must I complete all the Learning Outcomes?
Within reason, it is recommended that as many as possible of the Learning
Outcomes be completed. In general, they are basic and very achievable.
Q
A
How much detail is required for each learning outcome?
Refer to the teacher guidelines for each specific outcome. [They are located next
to the Learning Outcomes]. As Dance is a practical area, completed Dance pieces
can vary in length. The main aim is that the students are choreographing wisely to
reflect their chosen stimuli. Dance Appreciation exercises [dance reviews, press
releases] need not exceed 200 words. Overall, it’s quality, not quantity, which
matters.
There are Session plans included in this package, which provide an idea of how to
approach the movement concepts cited in the Learning Outcomes.
Q
A
What standard is expected?
Module One is designed as an introduction to Dance. The students need to be able
to demonstrate basic warm-up & cool-down exercises. They gain a basic Dance
vocabulary as they pay specific attention to use of their bodies & space whilst
dancing. Aiming to create and perform short movement pieces inspired by other
course areas in Leaving Certificate Applied, they actively identify the purpose &
movements used by themselves & others as they Dance.
Sharon Phelan
In general, the units are developed in Dance Two. [For example, a few extra
physiological elements are added; devising individual warm-ups/ cool downs,
dance injury.] The main difference in Dance Two is that the Units relating to ‘The
Body’ & ‘Space’ in Dance One are now replaced with units concentrating on
‘Dynamics’ & ‘Accompaniment’. Now the students experiment with dynamics
[e.g. fast/slow, erratic/smooth] and silence, percussion, music, and sound effects
as they choreograph, perform & appreciate Dance. If students complete both
Dance 0ne and Dance Two they aim to be able to dance & choreograph using
space, their bodies, dynamics & different accompaniments intelligently to reflect
different stimuli.
Q
A
How can I combine Task work with Key Assignments?
The Key Assignments in Dance One and Dance Two are ideal starting points for
the greater ‘Task’. For example the ‘short’ dance pieces cited as Key Assignments
at the end of both modules can be the starting points for longer performances,
using other theatrical devices, [e.g. lighting, make-up, costume, programmes,
press releases, PR]. As the stimuli can be drawn from virtually any area within the
Leaving Certificate Applied Syllabus and Dance can be approached from
commercial, artistic & interpersonal perspectives it beckons for Tasks to be rooted
there!
Q
A
How can I link with other courses?
Here are some suggestions:
 Root the stimuli for your Dance pieces in other course areas
 Dance productions must be ‘marketed’
 Dance & Music are an old combination
 All Folk Dance is part of a wider culture; Gaeilge & Irish Dance. Spanish
Dance and Flamenco
 Dance ‘communicates’ in a non-verbal manner; Dance and
Communication
 Ritualistic Dance & Religious Education
 Dance Injury: Dance and Science…
Q
By when does the module have to be completed?
A
As stated already, each module is 30 hours long and it runs over one session.
Therefore, Key Assignments must be completed by the end of each module. It is
recommended that they be completed as the module progresses.
Sharon Phelan
Q
In Dance One and Dance Two the students are requested to use stimuli from
other areas in the Leaving Certificate Programme. Have you any examples?
A
A student could choose Irish Dance, Sean O Riada’s ‘Mise Eire’ and tell of
Ireland’s past through movement. History, music and dance are united. This is
only one suggestion; there are thousands of others.
Q
Is it necessary to use choreographic models [e.g. AB, ABA] when devising
Dance pieces for the Key Assignments?
A
Yes, the students learn to choose choreographic models [e.g. theme and variation,
ABA]. Then they arrange/ rearrange material, perfect and extend/disregard some
movements at hand and place them within this specific framework.
Q
The students are requested to demonstrate warm-up and cool down exercises
in a Dance class in their Key Assignments at the end of Module One. How
long should the warm-up/ cool down take?
A
In general, warm-ups take 12-15 minutes. All the major muscle groups are
stretched and the heart rate rises through active exercise. The cool-down takes at
least 5-8 minutes. Gentle moving, stretching and breathing create the resting heart
rate once more. The students can give the warm up/ cool downs individually, or,
in pairs.
[It is a good idea to finish classes with a short discussion during which the
students and teacher provide each other with suggestions and feedback.]
Q
What are the main differences between the Dance Appreciation Key
Assignments cited at the end of both Module 0ne and Module Two?
A
The main difference is that in Module Two the students must appreciate a piece
that they have attended elsewhere and submit the evidence in a short formal
report. At the end of Module One the students can choose between discussing or
writing about their chosen Dance piece. As their tutor, it is worth appreciating and
discussing dance pieces in five main stages:
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Perception:
Description:
Analysis:
Interpretation:
Evaluation:
Asks the person to actively notice and pay attention
Asks the person to give substance to their perception
Asks the person to examine relationships, characteristics
Encourages speculative [tentative] thinking
Enters into preferences and opinion
Sharon Phelan
Q
Can I have some examples of movement pieces that would satisfy the Key
Assignments at the end of Module One and Two, which request the student
to create a short movement/ dance piece using ideas/ stimuli from at least one
other area within Leaving Certificate Applied?
A
Overall, it is worth emphasising that quality presides over quantity and 3-5 minute
pieces suffice. Here are some examples:
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An Irish Dance to reflect the a scene from a folk tale in the ‘Gaeilge’
programme
A short piece to accompany a hymn, in the Religion Course
Use a specific music piece to stimulate a short movement/dance piece
Use Visual Art to provide a backdrop behind the dancer as s/he dances and/or
a stimulus for the Dance piece itself
Q
Even if Dance is not the anchoring course, how might it link with other
Tasks?
A
As Dance is a language, a non-verbal communicator; it can be a medium through
which knowledge is disseminated in other areas. For example, if the students are
to create a short poem/story in ‘English & Communications’ they can deliver it
through the spoken word and movement. Also, while the Laban principles of
space, the body and dynamics are central to Dance, they are also just as applicable
to Drama. If the students are staging a play they must bear these principles in
mind in order to stage it effectively.
A Business Task and Dance are linkable. After all, Dance show is a sellable
product.
Science and Dance can join with regard to common dance injury. What would
stop the Leaving Certificate Applied students surveying the amount of damage
caused by competitive Irish Dance and presenting the information in a task?
Equally, can students devise warm-ups and cool downs specific to a particular
age/ ability/ Dance form?
Sharon Phelan
Q
If a practical Dance does anchor a Task, how long should the performance
be?
A
This situation varies as it takes a lot of time and effort to perfect choreography
and the dance itself. It also depends on how many are involved in the task.
Emphasize quality versus quantity.
Q
Can I have suggestions regarding suitable tasks in Dance? Please include
written, as well as movement based tasks.
A
Refer to the following:
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Research the life of a Professional Dancer
To create and perform a dance piece-individually or as part of a group
A combination of Dance and another area of the curriculum in a
presentation
A questionnaire on the interest of students in Dance, the different Dance
styles preferred etc.
To organise a ceili
To organise a professional Dance group to visit the school
Current Dance courses available in Ireland – a brochure
To compare and contrast two different Dance performances using
structured methods of appreciation
A project on the folk Dances of different countries
My favourite Dance form-ballet, Jazz etc.
To teach Dance to a local Primary School Group
To create a piece using a special prop
A survey on local Dance classes/facilities
Q
How much guidance should I give to the task centred students if they are
choreographing a piece?
A
In general, they are the artists/choreographers and you are merely there to
facilitate at this point! However, open ended Qs relating back to the movement
concepts & choreographic models in Dance One and Dance Two.
Sharon Phelan
Here are a few examples:
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If you were trying to reflect a black mood through movement, would you use
personal or general space? What do you do yourself when you feel depressed,
do you go outside or do you stay in?
I see you are looking for movements to reflect joy. Think of that famous
expression, ‘ jump for joy’ and explore moving on high versus low levels
The music accompaniment hasn’t worked, has it? Have you tried other sound
effects, or maybe silence?
Q
How do I get started on a practically centred task?
A
To devise a dance piece we need a stimulus. Allow the class to decide together on
an idea, a concept, or a feeling, which they want to express through movement.
Then, the dance form, which is to be used, must be decided upon; Jazz, Folk,
Contemporary…
Q
How do I organize a practical class during which the students devise dance
pieces for examination purposes?
A
Basically the model should be adopted for every practical Dance session:
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Pupils Change:
Appropriate clothing
Jewellery removal
Hair tied back
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Before the lesson begins:
Students are told:
 What they are going to do
 Why they are doing it
 How this builds on what they have
done before
Sharon Phelan
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Warm Up
Activities must:
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Rise the body temperature / pulse
Mobilise the joints
Gently stretch the muscles
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Ideas Input
Read & discuss a newspaper article,
story, look at & discuss a photograph, art
piece…
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Movement Tasks:
Should involve creating, performing,
appreciating
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Teacher Assignment:
What is the nature of the task?
How is it linked to the ideas input?
How much time do the students
have?
Decide…
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What to observe
Who to observe
What to record
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Feedback:
Say what was done well & ask how it can be
improved
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Cool Down:
End of Session:
A quiet & gentle activity to calm down
Involves teacher / student feedback
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Evaluation:
What did you want toe students to learn /
achieve?
Sharon Phelan
Q
Can you explain some of the dance terms used in Module One and Module
Two?
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Dance Form:
Style
Dance Technique:
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Mode of Dance:
Choreographic Form:
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Staging:
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Body Percussion:
Stimulus:
Improvisation:
Set Dances:
A type of Dance e.g. Ballet, Jazz etc
The way the dance is performed
The specific skills that are needed to perform a
dance e.g. double batter
Comic, Lyrical
AB, ABA, Rondo, Theme and variation,
Collage, Narrative
When the dance is placed in a ‘performance
space; the ‘space does not necessarily have to be the
traditional theatre stage
Click, slap, clap etc.
An idea, which can inspire a dance piece
A structured response to a specific stimulus
Planned Movements; simple single movements
repeating into a set pattern, a recognised Folk
Dance
Sharon Phelan