Dancing Towards Respect
Part Two: Respect for Others
Years 11-13
Level 6-8
Duration: 12 – 16 lessons (approximately)
This unit, written by Julie Cadzow, builds on the skills developed in Part
One: Respect For Yourself.
Students will have the opportunity to participate in class discussions and
practical dance activities that identify and explore respectful and
disrespectful behaviours. They will create and perform safe counterbalances and weight-taking movements to represent the sharing of
problems and being responsible for others. They will also create dance
sequences for a duet or a trio and will discover facts about two highly
respected New Zealanders who have made huge contributions to the
development of dance in Aotearoa/New Zealand.
RESPECT:
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To
To
To
To
To
treat with consideration,
treat with esteem, or high regard
recognise
honour
look up to
Empathy is the ability to recognise and understand another person’s perceptions
and feelings, and to accurately convey that understanding through an accepting
response
Haynes and Avery (1979)
Moral imagination is the capacity to empathise with others – that is, not just to
feel for oneself, but to feel with and for others. This is something that
education ought to cultivate and that citizens ought to bring into politics
McCollough, 1992
Included in this unit are two opportunities for NCEA assessment:
Dance 1.1 Part 2 (AS90001) - Compose Movement Sequences
Dance 2.1 (AS90294) - Compose a Section of a Dance for a Group
There are also several possibilities to use the work as a contribution to:
Dance 1.4 (AS90004) - View, Interpret and Respond to a Dance Performance
Dance 2.5 (AS90297) - Analyse and Discuss a Dance Performance
Dance 1.5 (AS90005) - Demonstrate Knowledge of a Dance Genre or Style
Dance 2.6 (AS90298) - Demonstrate Knowledge of Influences on a Selected
Dance Genre or Style
Dance 3.4 (AS90597) - Critically Analyse Dance Performance
Dance 3.5 (AS90598) - Discuss the features and development of dance in
Aotearoa/New Zealand
This work could also be extended to performance pieces:
Dance 1.2 (AS90002) - Perform dance sequences (Waiata-a-ringa and Ballet)
Dance 1.3 (AS90003) - Perform a dance as a member of a group (Waiata-aringa or Ballet)
Dance 2.3 (AS90295) - Perform an ethnic or social dance (Waiata-a-ringa)
The achievement standards for these are not included.
Key Competency
Relating to Others
The students will interact with others, listen to others, recognise different points of
view with respect, share ideas and show consideration for the protocols and
practices of different cultures and Dance genres.
Key Words:
Movement Motif: a movement or gesture that can be elaborated on or developed in a
variety of ways in the process of dance choreography.
Choreographic Device: a specific way of manipulating movement to develop dance
choreography
Augmentation: A choreographic device where movements are made larger in space or
time.
Embellishment: A choreographic device where detail is added to a move, such as a
hand gesture or an arm movement.
Insertion: New movement is added to the motif
Counter Balance: A balance for more than one person, where each person relies on
the others to maintain their shape.
Range: The distance apart of the dancers from near to far
Unison: Dancers moving at the same time doing the same movements
Resources
Ihi FrENZY – video: Ministry of Education resource
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Ka’ai, T.M., Moorfield, J.C., Reilly, M.P.J., and Mosley, S. (eds) Ki Te Whaiao: An
Introduction to Maori Culture and Society (2004)
Shennan, S. (2003). ‘a time to dance’ The Royal New Zealand Ballet at 50
Page 6: Worksheet One: ‘What do you do when…?’ (One per student)
Page 8: Worksheet Two: Respect and Disrespect (one per student)
Page 10: Worksheet Three: The Shape of an Emotion (one per student)
Page 14: A Challenge for Students – poster
Page 17: Self-assessment – Key Competency: Relating to Others (one per student)
Page 22: Behaving with Empathy and Respect – poster
Pages 26-30: AS 1.1 ‘Respect’ Part Two: Compose Dance Sequences
Pages 31 – 34: AS 2.1: ‘Searching for Balance’:
Pages 35-45: Sir Apirana Ngata and Sir Jon Trimmer, Ihi FrENZY
Pages 46-47: Behaving with respect in kapa haka and ballet
Page 48: Respect for Others: Assessment sheet
Music Suggestions
A wide range of music is listed below. Select as appropriate for the students.
Chillout Sessions 10 Disc 1: Idlewild Blues: Outkast (12)
Chillout Sessions 10 Disc 2: Cowboys: Dusty Kid (14) - instrumental
Chillout Sessions 10 Disc 2: Karma Car: Brooka Shade (15) - instrumental
Deep Forest – Pacifique: La Legende Part 2 (2) Night Village (3), La Baiser (6), L’ile
Invisible (8)
Electronomicon: Pitch Black – Reptile Room (1), Electric Earth Part 2 (3)
Moods: Ian Anderson – In a Stone Circle (4)
Oceania: Oceania – Kotahitanga (Union), 11
Te Vaka: Lakilua – Tutuki, 3
The Black Seeds – On the Sun Tuk Tuk (1), Shazzy Dub (8)
The Corrs – Erin Shore (instrumental), Moods 3
Watermark: Enya – River (9)
Waves: The Southern Drop – Dan Sperber & Luke Casey: ‘Relaxomatic’ (4)
Whale Rider: Lisa Gerrard – Biking Home (4)
Achievement Objectives
Developing Practical Knowledge in Dance (Level 6)
Develop and demonstrate their dance skills in at least one selected dance genre/style
and explore the use of a variety of dance technologies.
Developing Ideas in Dance
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Select and use choreographic devices, structures, processes and technologies to
develop and give form to dance ideas. (Level 6)
Choreograph solo and group dance works, using choreographic processes, devices,
structures and technologies to communicate choreographic intentions (Level 7)
Generate, plan, and record choreographic ideas and processes (Level 7)
Communicating and Interpreting in Dance (Level 6)
Describe, explain and respond to the ways in which dance uses elements, devices,
structures, the performers, and production technologies to communicate ideas,
feelings and experiences
Understanding Dance in Context (Level 8)
Investigate, analyse, and discuss the features and development of dance in New
Zealand, including the contribution of selected individuals and groups
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Specific Learning Outcomes
LO1: Students can identify behaviours showing respect and disrespect
LO2: Students can create and perform dance movements about emotional situations.
LO3: Students can create and perform safe counter-balances
LO4: Students can create and perform safe static or moving weight-taking
movements
LO5: Students can identify key features about the life of Sir Apirana Ngata and his
contribution to the development of waiata-a-ringa
LO6: Students can identify key features about the life of Sir Jon Trimmer and his
contribution to the Royal New Zealand Ballet
LO7: Students can identify and compare respectful behaviour when dancing in a kapa
haka or ballet performance
Suggested Learning Sequence
It is recommended that students have completed Unit One: Respect for Yourself.
This unit focussed upon emotions - the recognition of emotions, and ways we may
behave during particular emotional states, self-respect and techniques for managing
emotions with success.
When students are able to recognise their own emotions, they are more likely to be
aware of the emotions of others and hence, behave in an empathetic manner.
The work in this unit builds on Unit One and attempts to use dance activities as a
medium to develop skills in behaving with empathy towards others.
Respect
What is respect?
What is respectful and disrespectful behaviour?
What emotions might we experience in respectful and disrespectful situations?
How can we manage our emotions in respectful and disrespectful situations?
Activity 1. What is respect?
Facilitate a class/small group discussion about what the students consider
‘respect’ to be.
Suggested questions:
 What does respect mean?
 Who needs to be respected? Why?
 Should some people be respected more than others?
 What are some ways that we can show someone that we respect him or her?
 What can happen when a person is not shown any respect?
 What are some ways that we can respect ourselves?
 What are some ways that we can show disrespect for ourselves?
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How would someone offend you?
Are some people offended more easily than others? Why/why not?
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Activity 2. ‘Discussion, Debate’
The following statements can be used to further the discussions from Activity
One. Use as appropriate for the class.
 Teachers should be respected because they are teachers.
 Parents should be respected because they are our parents.
 I should be respected because I am a human being.
 Everyone has the right to some respect – even criminals
 Someone you are scared of should be respected.
 Respect has to be earned.
Activity 3. What do you do when…?
Working alone or in pairs, students complete the statements on Worksheet One.
Compare the answers that the students are prepared to share. (Some students
may not wish to share their answers.)
Why do we sometimes behave in a way that is disrespectful to others?
Some answers may include:
Some people don’t care about the feelings of others
Sometimes we are not ‘tuned in’ to other people’s feelings
Some people are too busy thinking of themselves and not others
Different cultures behave differently in certain situations
Manners are not important to some people
Put a star beside one of the situations shown on Worksheet One in which you
would like to act differently next time it occurs.
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Worksheet One
What do you do when…?
Someone disagrees with
you?
Someone accidentally
knocks into you?
You see someone being
bullied?
You see an
elderly lady
struggling to
climb some
steps?
A new
student
arrives in
the class
You see someone
taking up two seats
in a crowded bus
while others have
to stand?
You are the
bully?
Your friends try to
persuade you to do
something that you don’t
want to do?
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Activity 4. What is respectful behaviour? What is disrespectful behaviour?
Worksheet Two
Students are asked to classify situations as respectful or disrespectful. They are
also asked to note down how they might feel in each situation. This is to begin to
link behaviour with feelings or emotions. Many students will be attuned to this
already – but others may not.
The students should work in pairs or threes for this activity. (By working with
others, those who may sometimes be more disrespectful may learn from their
more respectful peers in a subtle, non-threatening way.)
Instructions for students:
 Draw a star beside the situations you have experienced before.
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Draw a triangle beside any situations where you wish you had felt differently.
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Draw a line underneath the worst situation.
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Draw a circle around the best situation.
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Discuss your decisions with other people in your group. What did they think
about the best and the worst situations? Were they the same as yours? Does
it matter if people’s opinions are different?
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Worksheet Two
Respect and Disrespect
Classify the following statements as ‘respect’ or ‘disrespect’ and think about how you would feel in each situation.
Respect
Disrespect
How you would feel in this situation
Accepting a different point of view
Being ignored
Being listened to without interruption
Being pressured by violence
Pressuring someone with violence
Having your privacy invaded
Keeping an open mind about a big issue
Being gossiped about
Agreeing to disagree
Having your feelings considered
Convincing someone to do something they don’t want to do
Making assumptions about someone
Being listened to
Being laughed at
Being excluded from decision making
Being interrupted
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Being asked how you feel
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Activity 5. The Shape of an Emotional Situation
Worksheet Three
The aim of this activity is for students to have further experience in recognising,
or beginning to learn how to recognise, emotions or feelings in themselves and
others. This time there is a situation involved and the emotions that may be
felt are reactions to those situations.
Working in pairs or threes as before, they select four of the statements from
Worksheet Two, including the ‘worst’ and ‘best’ situations and focus on the
feelings they have described for each one.
What would these feelings ‘look like’ to another person? How would the people be
positioned?
The students sketch stick figures to represent how they think the situations and
associated feelings could be expressed by body shapes. They may wish to use two
or more stick figures to represent some situations and feelings.
Some questions to ask:
Would the stick figure/s be standing, sitting, or lying down?
Would the stick figure/s have open or closed body shapes?
(An open body shape could be more upright and strong, with the head held erect
and the arms held away from the torso. A closed body shape could be hunched,
bent or curled with the head lowered and arms close to or across the
chest/torso.)
What position/s would the stick figure/s arms be in?
In which direction/s would the stick figures be focussed?
Assessment Opportunity:
LO1: Students can identify behaviours showing respect and disrespect
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Worksheet Three
Situation 1
Situation 3
The Shape of an Emotion
Situation 2
Situation 4
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Activity 6. The Shape of Emotions in Action

Continuing to work with their original pairs or threes, the students now create
each of the shapes sketched on Worksheet Three with their bodies. Some
shapes will require just one or two people to perform them. The other/s could
copy those shapes, create variations of them, or even contrast with an
opposite emotion.
The result should be four distinct tableaux.

Create three transition movements to be performed between each tableau.
Try to make each transition movement relate to the emotion about to be
portrayed. This could include moving along a distinctive pathway as in Part 1:
Activity 7 (The Pathway of an Emotion Page 13, and Pathway Cards: Part 1
Pages 36-41)
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Rehearse holding each tableau for eight counts, before the transition into the
next shape.
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Rehearse for clarity. Encourage the students to try and ‘feel’ each emotion as
they perform it.

Perform for either the whole class or just one other group.
Questions for the audience:
 What did you see?
 How were the dancers positioned?
 What levels did they use?
 Where were they focussed?
 Were their body positions opened or closed?
 Were their body positions upright, curved, twisted or curled?
 What were the emotions being expressed?
 How did you know what they were communicating?
 What ‘told’ you how they were feeling?
 Which of the tableaux were communicating respectful situations?
 Which of the tableaux were communicating disrespectful situations?
Assessment Opportunity:
LO2: Students can create and perform dance movements about emotional situations.
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Activity 7. The Dance-Room ‘Culture’
Modelling Empathetic Behaviour
Just as research on childrearing shows that parental modelling of empathetic
speech and actions enhances children’s empathy and prosocial behaviour, the
empathy training research shows that when teachers model desired values,
children are more likely to adopt these than when they are merely exhorted to
behave in a certain way
Kohn 1991; and Kremer and Dietzen 1991
Do the students feel comfortable in the dance room?
Do the students feel welcome?
Do the students feel able to work with everyone in the class?
How do the students behave towards each other?
Is the dance room a respectful environment?
A welcoming and comfortable atmosphere helps to facilitate success.
Below are two lists of challenges.
The first is a list of suggestions for the teacher (Page 13).
The teacher has to be the initiator and leader in making the dance-room a
respectful working environment.
The suggestions may serve as useful reminders.
For example, it is sometimes easy to fail to acknowledge a student’s presence in the
room, especially if the class contains others who command attention from the
moment they walk through the door.
The second list is for the students (Page 14).
It is suggested that the list is discussed as a class so that each student is aware of
the standards required when they are in the Dance-Room. It could also be
appropriate to add to the list.
The list could be put on the Dance-Room noticeboard or photocopied and included in
portfolios, to be referred to at the end of each week, month or term.
(It may also be considered appropriate for the class to discuss the Teacher’s
Challenge!)
Self-Assessment
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A self-assessment sheet has also been included so that students can comment on
the way they think they relate to others. If appropriate, it may also be possible for
students to assess each other.
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Developing a Respectful Dance-Room Culture
Respect can’t be expected. It needs to be earned by the modelling of
respectful practice.
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Suggestions for the teacher
Make eye contact with every student before the lesson begins. In this
way, even if you haven’t spoken to each student you have at least
acknowledged his or her presence in the room. The acknowledgement
through eye contact and perhaps a smile helps to make each student
feel part of the class.
Say “Hello _____” to as many students as possible.
Talk to the students: “How are you?” “Are you feeling as energetic as
you were yesterday?” “It’s great to see that you remembered your
Dance gear today.” “I’m looking forward to seeing the finish of your
dance today.” “Thanks for helping our new student yesterday. I think
she was feeling very nervous.”
Ensure there are appropriate changing facilities for all students
Recognise effort and improvement in individual students – not just high
achievement.
Be fair
Plan with individual students ways to develop their work
Ensure every student is included in a group before starting a group
activity
Acknowledge students who have ensured everyone is part of a group
Regularly change the grouping of students
Acknowledge groups who are working cooperatively and identify how this
is being achieved
Encourage a safe environment for the presentation of dance work –
establish and insist upon appropriate rules for audience behaviour
Conduct brief reflection sessions at the end of each lesson. Summarise
what happened regarding dance activities and also how the class worked
together to develop a positive dance-room culture. If individual students
excelled in a particular way, acknowledge this either to the student
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privately (to avoid embarrassing him or her, if this is a possibility) or to
the whole class if appropriate.
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A challenge for Dance students:
How YOU can help to create a great DanceRoom culture
 Say “Hello ______” to the teacher when you
arrive in the Dance Room – every lesson
 Apologise to the teacher if you are late to class
 Say “Hello ______” or talk to at least two other
students in the class who aren’t your closest
friends
 Choreograph with students who aren’t your
closest friends. You may well produce some
fabulous results
 Be encouraging about the performance and
choreography of other students. Find at least
one positive comment to make in every lesson
 If you see someone left out in a group activity,
encourage him/her to join your group
 Be a good audience member – you could be
performing next
 Tell the teacher when you really enjoyed a dance
class
 Smile
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Key Competency: Relating to Others
Name: ________________
Think about how you relate to the other people in the Dance class.
For each of the statements below write either:
Never (N) Occasionally (O) Sometimes (S) Mostly (M) or Always (A)
Date:
When I walk into the Dance Room I:
Say “hello” to the teacher
Say “hello” to other students
Get changed without being told to
‘Put’ all my other thoughts and worries
aside and just get on with dancing
When I work in a group I have been:
Including all the other group members
Listening to others
Trying out other people’s ideas
Making positive comments
Suggesting new ideas when appropriate
Suggesting alternative ideas without
‘put downs’
Negotiating when there is a
disagreement
Rehearsing dance work thoroughly
Performing my part in a group dance
sequence to my best
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Receiving constructive feedback as
being helpful rather than critical
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Activity 8. Relating to Others – Practical Warm-up/Starter Activities
These activities, or variations of them, can be used in Dance classes many times.
A Walk in the Dark
Students in pairs - one standing in front of the other.
The front person (the ‘blind’ one) closes their eyes. The back student is the ‘guide’
who places their hands on the other’s shoulders and guides them safely around
the room without touching anyone or anything. The front student is not
blindfolded and can open their eyes at any stage, but the goal is to trust their
guide for the entire ‘tour’ and for the guide to be trustworthy.
Swap roles but after each turn allow time for the students to discuss how they
felt in their required roles. Did the guide perform well? Did the ‘blind’ one feel
safe? Did the ‘blind’ one allow the guide to do their job?
This activity can be developed by the placement of obstacles for the pairs to
negotiate (either by climbing over, under or moving between) and the guide giving
clear instructions.
Be the Boss
Organise the class to stand in a large circle.
Play a few bars of some lively music so that students can get a ‘feel’ for the beat
and rhythm.
Perform some easy warm-up movements such as walks on the spot, a grapevine
step to the right and left, jogs in a small circle or simple arm movements. The
students copy as they are performed.
Explain that they are now going to take turns to lead the class in some simple
warm-up moves. They may work with the person/s next to them or work alone, and
they can have two minutes to plan a simple warm-up move that they will lead and
the class will follow (for about 8-16 counts) when it is their turn.
The teacher starts by performing a move, which the students copy, and then the
teacher points to the student/s on the right, who then perform their move and
everyone copies.
Continue until everyone has had a turn to ‘be the boss’.
Questions:
How did it feel to have everyone watching you?
What was the most difficult part?
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Dice Game
The teacher plays some lively music.
The students move around the room in a manner chosen by the teacher or
improvised by the students, without touching anyone and by moving into spaces as
they see them.
The teacher stops the music at an appropriate time (45 seconds approximately)
and rolls a dice.
Groups of the number shown are formed as fast as possible. (The teacher must
ensure all students are included in a group and be aware of students who may be
left out. It does not matter if there is one more or less in a group.)
A task is then given.
For example: Make a group shape on three different levels; a connected shape; a
symmetrical shape; a shape with a body base of five feet, two hands and one knee.
The shapes are acknowledged by the teacher – perhaps a mark out of five could
be given, based on its ‘exciting factor’, them the music starts again and a new
locomotor movement is used before the dice is rolled a second time. This can be
repeated several more times.
Trains. (Improvising and shadowing) Elements of Dance: Locomotor and NonLocomotor Movement
Groups of 4-8 form lines with one as a leader. The leader is the train driver and
the others are the carriages. The music starts and the leader improvises
locomotor movement, which the others follow as best as they can. When the music
stops (after 30-40 seconds) the train driver drops off, goes to the back of the
train and the second in line becomes the driver.
Stop the game when everyone has had at least one turn as driver.
It may be necessary to give students ideas for their locomotor movement (such
as: a movement that touches the floor, a movement that reaches high and low, a
movement that accentuates the knees etc)
This can also be used to contrast locomotor and non-locomotor movement where
the drivers alternate travelling and movement on the spot.
Dragon’s Tail
Students form lines of four to six students per line, each holding onto the
shoulders of the person in front. The lead student is the head of the dragon. The
last student is the tail and has a length of fabric tucked into their
trousers/shorts. The head tries to grab the tail. When he/she does, the head
moves to the back of the dragon and becomes the tail while the second in line
becomes the new head.
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Swap around if it is taking too long for a head to grab a tail.
If the class is working well, this activity can be extended to having the dragon
chase other dragons’ tails. This can become somewhat raucous though!
The following two activities focus on developing skills in relating to others with
success.
Activity 9. Meetings and Greetings!
All cultures have customs for meeting and greeting.
This activity explores some different methods of acknowledging other people
using movement.
Saying ‘hello’
What are some variations of the English ‘Hello’?
Some suggestions might be: ‘Hi’, ‘Howdy’, ‘Hi-yah’, and ‘Hi there’
Use the brief list below and add more, or create a new one using languages of
students in the class.
Maori
Cook Island
Fijian
German
Hawaiian
Hindi
Italian
Japanese
Korean
Niuean
Samoan
Tongan
Kia ora
Kia orana
Bula
Guten tag
Aloha
Namasté
Buon giorno
Konnichi wa
Annyong hashimnikka
Fakaalofa atu
Talofa/Malo
Malo e lelei
As a class, practise the correct pronunciation for each greeting. (This has not
been provided – use student experts as necessary).
Work in pairs and practise saying each greeting as correctly as possible.
Greeting behaviour
Ask the students to identify how they have been taught to behave when meeting
someone for the first time or greeting someone they already know.
Make a list on the board, acknowledging particular cultural conventions.
What are some appropriate types of behaviours when greeting someone in New
Zealand?
What could be some examples of ‘inappropriate’ behaviour?
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What could be some causes of ‘inappropriate’ behaviour?
What should you do when someone behaves in a way that you consider is
inappropriate in a greeting situation?
What are some ways that people greet other people outside New Zealand?
Is making eye contact an essential part of every greeting for every culture?
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Practical Activity
The students walk around the room anywhere they choose. They should begin
slowly and speed up as the game continues.
Every time they travel past another student they must acknowledge them in a
particular manner as indicated by the teacher. Select from the brief list below or
from the list developed during the class discussion.
 Keep eyes lowered and move aside to make room for someone to pass by
 Make eye contact with someone as you walk past them
 Make eye contact and nod your head
 Make eye contact and bow
 Make eye contact and smile
 Make eye contact, smile and say ‘hello’ in any language
 Make eye contact, smile and shake hands
 Make eye contact, smile and ‘hi five’ them
 Make eye contact, smile and a little wave
 Make eye contact, smile and a big wave
 Make eye contact, smile and jump up into a high ‘hi five’
 Another forms of greetings as selected by the teacher and students:
o Hongi
o Hug
o Curtsey
Making a ‘Meeting and Greeting’ dance
In groups of three or four, select at least four forms of ‘meeting and greeting’
already explored, and use them to create a short ‘Meeting and Greeting’ dance.
The dance should:
 Use the following words from the Dance Element of Relationships in some
way:
o Towards
o Beside
o Behind
o Around
 Change levels at least twice
 Increase in tempo
 Finish in an imaginative ‘greeting’ still shape
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Activity 10. Thank you! Thank you! Thank you!
How do you say thank you to someone and show that you mean it?
Some answers may include:
Eye contact, a smile, the way the voice is used, the body language (the way you
position your body)
Sometimes people say thank you, but don’t really mean it.
What would a situation be where this could occur?
What is sarcasm?
Sarcasm is the use of positive words in a bitter or wounding tone. It is used to
imply the opposite of what is being said.
In pairs, read the three ‘thank you’ cases below and think of a ‘real life’ situation
for each one:
 A genuine feeling – you really want to thank someone
 To be polite
 A sarcastic thank you (the person has really annoyed you)
Make a ‘Thank you, Thank you, Thank you!’ movement sequence
Practise saying thank you in the three different ways (see above).
Test each other to find out if they can understand the ‘thank you’ tones.
Match each ‘thank you’ with appropriate body language. Some suggestions could
be:
 A genuine thank you: a hug, a big smile, a big handshake, open posture and
use of eye contact
 A polite thank you: formal, upright, a bow, a small handshake
 A sarcastic thank you: little or no eye contact, closed body posture, no body
contact, body turned away
Perform the three different body language moves without vocalising.
Are they different from each other?
Can you still understand what each one is communicating when there is no
vocalisation?
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Activity 10 (continued)
Exaggerate the body language for each ‘thank you’ as much as possible:
 A genuine thank you: Add extra movement (insertion)
 A formal thank you: Add detail (embellish)

A sarcastic thank you: Make it bigger and take longer to perform it
(augment)
Work together to create a short sequence using each thank you movement (in any
order) and linking them with different pathways and locomotor movements.
Rehearse and perform for the class or another group.
Questions for the audience:
In what order did they perform their ‘thank you’ movements?
In what ways did they communicate each thank you?
Was there any way they could have made the movements clearer?
Activity 11. Balance with Others
Class discussion:
Talking to someone about a problem, or asking for advice or help is not always
easy, but it can often be the best solution.
Who can you talk to?
Who can you trust?
If a friend or family member came to you for advice, what would you do?
Enlarge and photocopy ‘Behaving with Empathy and Respect – Look, Listen and
Think’ (Page 22) and show this to the class. This chart is adapted from work by
Mary Gordon (Roots of Empathy programme).
Discuss each part and how it may be useful when you need to ask for advice, a
friend needs you to help them in some way or when you are making general
conversation with a friend or family member.
Challenge before the next Dance class:
Either at home tonight or at some time during the rest of the day, talk to
someone you know well. Ask them “ How are you? What have you been doing
today? “
Try and follow the advice on the ‘Look, Listen and Think’ chart – listen to what
they say, watch how they say it and try to imagine what it would be like to be ‘in
their shoes’.
Make a comment about something they have said or ask another question so that
the conversation continues.
Afterwards, think about the conversation.
Was it difficult or easy?
What did you find out about the other person?
29
What did you find out about yourself?
How do you feel?
30
Behaving with Empathy and Respect
Look, Listen and Think
Look
Notice what the person is doing as they
speak to you
Notice what their face is showing
Notice what their body movements are
Notice where you are and what is happening
around you
Listen
What is being said and how it is being
spoken?
How does this make you feel?
Think
What things are similar between you and
that person?
31
How would you feel if you were that
person?
32
The following dance activities build on the idea of ‘a problem
shared’.
Activity 12. Sharing Weight
A Counter Balance is a balance for two or more people where each person is
required to keep the group in balance. If one person lets go or moves away, the
weight is no longer shared and the balance is lost.
Counter balances require each participant to trust the other/s and to take a
risk.
In pairs, explore different symmetrical counter balances:
 Facing each other, feet close together, hold hands or link arms and lean
back
 Facing each other, hold partner’s shoulders and walk the feet back
 Back to back and lean out holding hands
What other possibilities are there?
Explore asymmetrical counter balances:
 On different levels
 Using different body bases – hands and feet, bottom, knees, hip
 One foot of one person held by the other person
Choreographic Task
Imagine that every counter balance is a ‘problem being shared’.
Each pair selects three of the most imaginative counter balances they explored
and links them into a short movement sequence.
How will you move into each counter balance?
How will you move out of each counter balance and into the next one?
Rehearse and present to the class or another pair.
Allow a short time for students to try any new counter balances they saw
performed by other pairs.
Explore counter balances in groups of three or four.
What possibilities are there?
33
The next Dance activities involve taking responsibility for another
person’s weight – that is, one person is supporting the weight of
another.
Activity 13. Taking Responsibility for Someone Else
Class discussion:
When do we need to make sure that another person’s needs are met before our
own?
If your needs aren’t met straight away, what do you do?
What are some reasons why people’s needs aren’t always met?
If possible, organise the students into pairs of similar height and weight (the
supporter and the ‘supportee’).
Message to students:
Keep in mind that every support made in these next exercises is a time where
you are being responsible for another person.
You must keep them safe and they trust you to keep them safe.
Static Supports
These are when the supporter is not moving.
 The supporter on hands and knees
Safety: The supporter must ensure that the knees are directly under the
hips and the hands are flat on the floor directly under the shoulders.
The strongest place for support is the pelvis and the weakest is the
centre of the back.
Do not allow any ‘supportee’ to place their weight on the centre of a
supporter’s back.
Explore ways to balance on the other person:
Back to back – Pelvis to pelvis
Extend this to roll up and over from one side to the other with a back to back
balance in the middle
Knees on the pelvis and hands on the shoulders
One knee on the pelvis and one hand on the diagonal shoulder
What other possibilities are there?
 Standing support
Safety: The supporter must stand with their feet at shoulder width
apart, knees over the toes and bracing the hands on the thighs
The supportee places his/her hands on the supporter’s pelvis, pushes down and
lifts the feet off the floor.
Explore different positions to place the legs while they are in the air
34
Explore walking towards the supporter from one side, placing the hands on the
pelvis, pushing the feet off the floor and landing on the other side.
What are some other possibilities?
Side by Side Lift
Standing side by side, hip against hip, supporter on the left
The supporter stands with his/her feet at shoulder width apart, puts his/her
right arm around the lower back of the supportee and holds the supportee’s
right hip.
The supportee places his/her left arm across the upper back of the
supporter’s and holds onto the supporter’s left shoulder.
Both dancers bend their knees and rock towards the right.
Rock towards the left and the supporter continues the momentum to the left
by gently lifting the supportee off the floor, using the hip as a brace.
Rock back to the right as the supportee is lowered to the floor once again.
How high can the supportee raise his/her right leg during the lift?
What positions can the supportee place his/her right arm in during the lift?
Moving Support
 Crucifix lift
This is a lift for two supporters and one supportee and is performed while
moving.
Stand side by side with the smallest person in the middle.
The centre person holds his/her arms in second position (as in a crucifix) in
front of the supporters.
Each supporter places his/her ‘inside’ hand (the one closest to the supportee)
high on the upper arm of the supportee, with the fingers over the top of the
arm and the thumb underneath.
Each supporter then places the outside hand on the supportee’s lower arm
(near the wrist) using the same grip.
The supportee must keep his/her arms very straight and should push the arms
down as the supporters lift him/her up.
Explore with a static start, taking care to lower the supportee to the floor
gently
Explore with a slow walk forwards before the lift
Explore with a three-step run before the lift.
How high can the supportee be lifted?
Choreographic Task Work in groups of three.
Explore ways to perform two different, imaginative counter balances
Practise two different lifts.

35
Link them into a short and flowing sequence, beginning and ending with the
counter balances.
Rehearse and perform for the class.
Assessment Opportunity
LO3: Students can create and perform safe counter balances
LO4: Students can create and perform safe static or moving weight-taking
movements
36
DANCE 1.1 Compose Movement Sequences Number AS90001,
Version 4
Dancing Towards Respect Part 2 “Respect”
Teacher Guidelines:
Context/setting:
This assessment resource has been written to assess learning gained from Part Two
of Dancing Towards Respect – Respect for Others.
Conditions:
This assessment resource has been written for students to compose a dance for two
people (a duet) in an AB (binary) structure.
Resource requirements:
1. Several copies of the ‘situations’ (see below)
2. Appropriate music provided by the teacher from which the students can choose
accompaniment.
3. Authenticity sheets for students to sign as verification that the composition is
their own work if the teacher has not observed the process.
4. A video camera to record work for formative feedback and moderation purposes.
Situations:
1. Someone disagrees with you
3. Someone accidentally knocks into you
5. You see an elderly lady struggling to
climb some steps
7. You are being bullied
2. A new student arrives in your class
4. You see someone taking up two seats in
a bus while others have to stand
6. Your friend tries to persuade you to do
something that you don’t want to do
8. You are the bully
37
Respect
Student Instructions Sheet
This is the one of three opportunities you will have this year to compose a movement
sequence to gain AS 90001. This sequence is for two people (a duet) and you will be
one of the dancers.
To achieve excellence in this standard you must select and combine movements in
original and imaginative ways to make a dance sequence to communicate disrespect
and respect.
Although this achievement standard is assessing your choreography, you will need to
perform your sequence well so that your choreography looks effective. The
movements need to be clear and precise, showing that your sequence is rehearsed
and not improvised.
You will be given some time in class to develop your sequence. You may also wish to
work on it in your own time. It must be at least 45 seconds long, but it is
recommended that you aim for 1 minute.
No costumes are required for the performance of the sequence but appropriate
clothing should be worn. You will be given a choice of music or you may perform
without music.
Your sequences will be assessed within normal class time in the dance room with
front facing away from the mirrors. The performances will be videoed for
moderation.
The Brief
You are to compose a 1-minute AB sequence for two people based upon work
completed during the ‘Respect for Others’ dance unit.
You will select a ‘situation’ from the list on the next page and use counter balances, a
motif and two choreographic devices to help communicate the idea of disrespect and
respect.
Your sequence should also:
 Include unison and non-unison movements
 Have variations in range (the distance between the dancers, from near to far)
 Include a transition from a still shape in Section A into a new still shape to begin
Section B
Each section must contain:
38


A gesture which both dancers perform (the motif) and at least one development
of the motif using the choreographic devices of either embellishment,
augmentation or insertion
At least one safe, but imaginative counter balance in Section A and a different
counter balance in Section B
39
Steps in the Process
1. Select a ‘situation’ from the choices below.
Situations:
1. Someone disagrees with you
2. A new student arrives in your class
3. Someone accidentally knocks into you 4. You see someone taking up two seats in
a bus while others have to stand
5. You see an elderly lady struggling to
6. Your friend tries to persuade you to do
climb some steps
something that you don’t want to do
7. You are being bullied
8. You are the bully
2. Section A: Disrespect. You are to compose a phrase or sequence of abstract
movement (approximately 30 seconds in length) for two people about the situation
you have chosen.
You must include an appropriate gesture, which both you and your partner
perform (a motif) and develop the motif using the choreographic devices of
embellishment, augmentation or insertion.
Include at least one safe and imaginative counter-balance.
Finish the sequence in a still shape that expresses the idea of disrespect.
This is Section A of your composition.
3. Section B: Respect. Now compose a phrase or sequence of abstract movement
(approximately 30 seconds in length) for two people about behaving with respect
in the situation.
Your sequence should begin with a still shape that represents the idea of respect.
Create a new gesture and develop it using the choreographic devices of
embellishment, augmentation or insertion.
Include at least one safe and imaginative counter-balance that is different from
the one performed in Section A.
Finish the sequence in a still shape that expresses the idea of respect.
This is Section B of your composition.
4. The next step is to create a transition between Section A and Section B.
Compose a short phrase of movement that changes the still shape performed at
the end of Section A into the one that you composed for the opening movement in
Section B. You will be changing the mood of the dance from one of disrespect to
respect
5. You can now put together, refine and rehearse your dance ready for assessment.
It has the following structure:
 Section A – Movement that represents disrespect, finishing in a still
shape
 Transition – Moving from a still shape communicating the idea of
disrespect, into a still shape communicating the idea of respect
40

Section B – Movement that represents respect
41
Assessment Schedule: Dance 1.1 AS90001 ‘Respect’
Evidence
Achievement
Achievement with Merit
The students Clearly demonstrates disrespect Clearly demonstrates disrespect
present an
and respect using an AB
and respect using an AB structure
original
structure with a transition
with a transition between sections
composed
between sections.
in an interesting movement
movement
sequence composition.
sequence for
two people (a The sequence shows appropriate The sequence shows deliberate
duet), which
use of:
and effective use of:
is appropriate  Unison and non-unison
 Unison and non-unison
to the brief
movements
movements
and is at least
E.g. Non-unison: One dancer is
E.g. Non-unison: Both dancers
45 seconds
moving while the other holds a
are performing different
long.
still shape
movements on different levels

Variations in range
E.g. One variation from near
to a short distance apart

Variations in range
E.g. Two variations covering a
wider area
Achievement with Excellence
Clearly demonstrates disrespect
and respect using an AB structure
with a transition between sections
in an imaginative movement
sequence composition.
The sequence shows skilful and
perceptive use of:

Unison and non-unison
movements
E.g. Non-unison: Combinations
of one dancer moving while the
other holds a still shape and
both dancers performing
different movements on
different levels, with different
facings

Variations in range
E.g. More than two variations
covering the area of the dance
space
42

A transition from a still shape
in Section A into a new still
shape to begin Section B
E.g. Dancers perform a simple
movement from one shape to
the next

A transition from a still shape
in Section A into a new still
shape to begin Section B
E.g. Dancers use a variety of
body parts and changes in
facings to move into the new
still shape (or counter-balance)

A transition from a still shape
in Section A into a new still
shape to begin Section B
E.g. Dancers engage the torso
and a variety of other body
parts, and change facings and
levels to move from one still or
counter-balanced shape into
the new one.

Motif and development using
embellishment, augmentation
or insertion
E.g. A simple, but appropriate
gesture such as a push with
the arms, developed by
augmenting the movement
using a stronger action and
reaction from the other
dancer.

Motif and development using
embellishment, augmentation
or insertion
E.g. An appropriate gesture
using the arms and other body
parts, developed by augmenting
the movement into slow motion

Motif and development using
embellishment, augmentation
or insertion
E.g. An appropriate gesture
engaging the torso and other
body parts, developed by
augmenting the movement into
slow motion and inserting new
movement

Counter-balances

Counter-balances

Counter-balances
43
E.g. One symmetrical and one
asymmetrical counter-balance
using the feet as body bases
E.g. Two asymmetrical counterbalances with different
facings, where one dancer is
sitting or kneeling
E.g. More than two counterbalances with different facings
and body bases
44
Dance 2.1 Choreograph a Section of a Dance for a Group
Number AS90293, Version Two, Five credits
‘Searching for Balance’
Student Instruction Sheet
You are to choreograph a section of a dance for three students in a Binary (AB)
structure about contrasting emotions.
You will be one of the dancers.
You will each select a different pair of emotions from the choices below.
(It is intended that the sequences choreographed by each of the three dancers could
be linked to create a full three-minute dance of contrasting emotions.)
Think of a real-life situation where the two emotions you have selected could occur.
Compose a one-minute dance that clearly communicates the idea of the first emotion
and situation (Section A) and the contrasting emotion when the empathy technique of
‘Look, Listen and Think (Page 22) is applied (Section B).
1.
2.
3.
ANGER and KINDNESS
ANXIETY and RELIEF
EMBARRASSMENT and PRIDE
You must select movement to reflect the ideas you have about the chosen emotions
and the situation, and each section will contain a counter-balance, a weight-taking
movement (taking the whole weight of another person) and a motif, which will be
explored in two ways using the choreographic devices of embellishment, augmentation
or insertion.
Your sequence must:




Each

Be at least one minute long
Communicate the idea of your selected emotions and the ‘situation’.
Contain both unison and non-unison movements
Show contrasts in range (the distance between the dancers from near to far)
section must contain a different:
Gesture (motif) that relates to the emotion of the situation and at least one
development of the motif using the choreographic devices of either
embellishment, augmentation or insertion
45


SAFE, but imaginative counter-balance
SAFE weight-taking movement
Student Instruction Sheet (continued)
Vocabulary:
Movement Motif: a movement or gesture that can be elaborated on or developed in a
variety of ways in the process of dance choreography.
Choreographic Device: a specific way of manipulating movement to develop dance
choreography
Augmentation: a choreographic device where movements are made larger in space or
time.
Embellishment: A choreographic device where detail is added to a move, such as a
hand gesture or an arm movement.
Insertion: New movement is added to the motif
Counter Balance: a balance for more than one person, where each person relies on
the others to maintain their shape.
Weight Taking: One person lifting another person.
Range: The distance apart of the dancers from near to far
Unison: Dancers moving at the same time doing the same movements
No costumes or props are required for the performance of the work, but
appropriate clothing should be worn.
The teacher will provide the music, or you may perform in silence.
The assessment will take place in the ________________
Your sequence will be videoed to confirm assessment judgements.
The date of your assessment will be ____________________
You must also complete the Choreographic Intent worksheet (Page
33). This must be handed to your teacher prior to your assessment.
46
Dance 2.1 Choreograph a Section of a Dance for a Group
Number AS90293, Version 2
‘Searching for Balance’
Choreographic Intent
Name ___________________
The two emotions selected
The 'situation' where the emotions could occur
A description of the movements used to communicate the emotion in Section A
A description of how you used the ideas of 'Listen, Look and Think' in Section B:
Identify the choreographic devices you used to develop Section A motif and the
Section B motif and describe what you did.
Section A
Section B
A sketch of one counter balance
A sketch of one weight taking movement
A description of how your group worked together using your choreography, and your
feelings about your choreography
______________________________________________________________
47
______________________________________________________________
______________________________________________________________________________________________
48
Dance 2.1 Choreograph a Section of a Dance for a Group
Number AS90293, Version 2
‘Searching for Balance’
Assessment Schedule
Evidence
Achieved
Merit
Excellence
A 1-minute
sequence in a
binary
structure for
three people
based on
contrasting
emotions
containing a
motif, two
choreographic
devices,
counter
balance and
weight taking,
is composed
and
performed.
The sequence is in a
binary structure and
the idea of contrasts
in emotions is
communicated.
The sequence is in a
binary structure, is
interesting and the idea
of contrasts in
emotions is
communicated clearly
and effectively.
The sequence is in a
binary structure, is
imaginative and the idea
of contrasts in emotions
is communicated skilfully
and perceptively.
A motif is performed
in each part and
varied with the use of
two selected
choreographic
devices.
A motif is performed in
each part at least once
and is varied with the
use of two selected
choreographic devices
in interesting ways.
A motif is performed in
each part at least once
and is varied with the
use of two selected
choreographic devices in
imaginative ways.
The sequence shows
appropriate use of
the following:
The sequence shows
deliberate and
effective use of the
following:
The sequence shows
skilful and perceptive
use of the following:

Counter-balances

Counter-balances

Counter-balances

Weight-taking

Weight-taking

Weight-taking

Range

Range

Range

Unison and nonunison movements

Unison and nonunison movements

Unison and nonunison movements
49
Behaving with ‘Respect for Others’ in Dance.
Activity 14. ‘People Who Have Made A Difference in Dance’
This activity provides the opportunity for students to gain an insight into the work of
two famous New Zealanders who have ‘made a difference’ to others in positive ways
through participation in their respective dance genres – Sir Apirana Ngata
(Waiata-a-ringa) and Sir Jon Trimmer (Ballet).
The notes provided are brief and students could use them as starting points for
further in-depth study.
The unit then concludes with a short study of respectful and disrespectful behaviour
within the two dance genres.
This work could contribute to the dance genre to be studied for:
Dance 1.4 (AS90004) - View, Interpret and Respond to a Dance Performance
Dance 1.5 (AS90005) - Demonstrate knowledge of a dance genre or style
Dance 2.5 (AS90297) - Analyse and Discuss a Dance Performance
Dance 2.6 (AS90298) - Demonstrate Knowledge of Influences on a Selected
Dance Genre or Style
Dance 3.4 (AS90597) - Critically Analyse Dance Performance
Dance 3.5 (AS90598) - Demonstrate Knowledge of Dance in Aotearoa/New
Zealand
This work could also be extended to performance pieces:
Dance 1.2 (AS90002): Perform Dance Sequences (Waiata-a-ringa and Ballet)
Dance 1.3 (AS90003): Perform a Dance as a Member of a Group (Waiata-aringa or Ballet)
Dance 2.3 (AS90295): Perform an Ethnic or Social Dance (Waiata-a-ringa)
Using the notes on Sir Apirana Ngata and Sir Jon Trimmer:
There are many ways to encourage students to read a section of text. Being given a
page of text to read by themselves is a disincentive for some students.
One of the suggestions below may be appropriate for your class:
 Picture Dictation: The teacher reads the text aloud, pausing after short blocks
for students to sketch simple pictures to represent what they heard
50

Main-Points Tableau: Have the students in small groups. As for picture dictation,
the teacher reads the text aloud, but at each pause, the group forms a tableau or
still shape to represent what they heard.
 Divide the text into short sections and give pairs of students one section each to
summarise and report back

As above, but instead of reporting back just by using speech, they perform a
short mime of their section or create a short spoken drama
Give a copy of Worksheet Five to each student and in small groups they complete the
information required in each box.
Repeat, perhaps using a different method of ‘reading’ the text with Worksheet Six
Assessment Opportunity
LO5: Students can identify key features about the life of Sir Apirana Ngata and his
contribution to the development of waiata-a-ringa
LO6: Students can identify key features about the life of Sir Jon Trimmer and his
contribution to the Royal New Zealand Ballet
LO7: Students can identify and compare respectful behaviour when dancing in a kapa
haka or ballet performance
51
Sir Apirana Ngata and Waiata-a-ringa – a very brief history
A waiata-a-ringa is an action song.
In the last 100 years waiata-a-ringa have become essential parts of kapa haka
performances in Aotearoa/New Zealand.
All cultures change and the advent of waiata-a-ringa into Maori performing arts is an
example of this.
Prior to the arrival of European migrants, lyrics were traditionally chanted, but the
Europeans introduced a sung style of song. The Maori adopted this style and some
waiata-a-ringa have a distinctly European sound, while remaining Maori in essence and
spirit.
It is believed that Sir Apirana Ngata was instrumental in the first ever waiata-aringa, and he has become known as ‘The Father of the Action Song’.
Sir Apirana Ngata was born on July 3, 1874 in Kawaka.
He was a gifted scholar and was the first Maori student to graduate from a New
Zealand university, gaining the degrees of a Bachelor of Arts in politics in 1893 and
an LLB (Law degree) in 1896.
He became a lawyer and a politician and he first entered parliament in 1905.
In 1931 as Minister of Maori Affairs, he developed the Maori Land Development
Scheme where undeveloped Maori land was brought into production. He worked very
hard to raise the living standards of Maori people and fought for equal opportunities
in education.
Sir Apirana Ngata was dedicated to the protection and advancement of the Maori
culture. He translated the popular European songs of the time into te reo Maori, and
then later borrowed the tunes and added Maori words of a different theme. These
became extremely popular in Maori performing arts.
Examples of his waiata are:
 E Pari Ra to the tune of ‘Blue Eyes Waltz’
 Hine e hine to the tune of ‘Home Sweet Home’.
 Nga moteatea, a collection of Maori songs, is one of his best-known
publications.
The idea of borrowing tunes continued for many years, although it is less common
today.
The addition of actions added emphasis to the lyrics.
Other Pacific nations have close similarities to the Maori language, culture and
performing arts. While Sir Apirana Ngata was on a trip to Samoa and Rarotonga, he
apparently witnessed groups standing in rows and performing actions while singing. Te
52
Rita Papesch (1990) argues that Sir Apirana Ngata brought this aspect of Polynesian
performing arts back to New Zealand.
During World War One, Maori troops were recruited for military service. They
formed concert parties, which, while based in New Zealand, performed all over the
country to raise money for the Maori Soldiers’ Fund, organised by Sir Apirana Ngata.
This provided a perfect opportunity for composers to write new songs about
farewell, welcome, loss and love, and for the performers to improve their skills. It
also allowed the general public to see and hear waiata-a-ringa.
Following World War Two many Maori people left the countryside and their rural
lifestyle and moved to the cities, mainly to find work. Many Maori clubs and culture
groups began at this time, and they became very skilled performers of waiata-aringa. The themes of waiata-a-ringa at this time were mostly about war, but often
they portrayed expressions of sorrow, loss and love that people felt when family
members had been killed in action.
Groups such as Ngati Poneke in Wellington (1936) and Te Roopu Manutaki in Auckland
(1969) made the language in waiata-a-ringa very modern and simple.
Today the themes of waiata-a-ringa are very broad and, as for the haka, they are
specific to certain tribes/iwi.
The most important thing in relation to waiata-a-ringa, and in the performing arts as
a whole is the words – they must be accurate, fluent and precise. The actions are only
there to help emphasise the words and portray the message of the song. Performers,
once they have learnt the words and their meaning, can then become adept at
knowing when to pukana (dilate the eyes), when to smile or not smile, and all of the
other gestures associated with waiata-a-ringa.
(Ki Te Whaiao, Edited by Ka’ai, Moorfield, Reilly and Mosley)
Sir Apirana Ngata was awarded a knighthood in 1927, the third Maori to receive this
high honour.
He died on July 14, 1950 in Waiomatatini. His image appears on the NZ$50 bank
note.
A brief timeline of the history of waiata-a-ringa
Pre 1769: Lyrics chanted
1769–1814: Sailor influence
1814–1870: Missionary influence with the introduction of hymns and learning to play
Western instruments
53
1870–1930: The development of the Maori Concert party and waiata-a-ringa. In 1911
- a large troupe from Te Arawa toured England. More lively tunes became popular and
WW1 inspired many farewell songs.
1930-1965: WW2 produced new songs about war and loss. New styles such as jazz,
blues and rock and roll influenced Maori music
1965-2005: The Aotearoa Traditional Maori Performing Arts Festival was created,
but the first festival wasn’t held until 1972.
Worksheet Five
Sir Apirana Ngata
Sir Apirana Ngata is known as the
Father of the ______________
because
The year he was
born: ________
The place he was
born: ___________
He was trained as a:
l_______
Later he became a:
p___________
He is featured on
the $______
bank note.
Maori issues that Sir Apirana
Ngata became involved with were:
World War 1 was important in the
development of kapa haka because:
He was the
first Maori
student to:
To perform a
waiata-a-ringa
well you must:
Name the important events that
occurred in the development of kapa 54
haka after World War 2
Sir Jon Trimmer and The Royal New Zealand Ballet
Sir Jon Trimmer has been a dancer with the Royal New Zealand Ballet for 50 years.
He has been a tireless role model, promoter and worker for the company as it
struggled in its very early days through to today where the RNZ Ballet is a renowned
international dance company.
Sir Jon came from an artistic family and his sister Pamela, who ran a dance school in
Lower Hutt, initially taught him to dance.
He was invited to join the RNZ Ballet in 1958 by the company director, Poul Gnat and
after a year won a scholarship to train in London.
He returned in 1962 and married Jacqui Oswald in 1963. She was also a dancer with
the RNZ Ballet.
For 7 years they toured with the Australian Ballet and the Royal Danish Ballet
before returning to New Zealand in 1970. They had several opportunities to travel
with other international ballet companies but chose to stay and support the RNZ
Ballet.
Sir Jon is now 68 and still performs for the company. His gift is not only for dancing
but also for acting and he now plays character roles, such as Don Quixote in the RNZ
Ballet production in 2008.
He was knighted in 1999.
The Royal New Zealand Ballet is a company of approximately 40 dancers who perform
a wide range of choreographic works in New Zealand and overseas.
They perform nineteenth century classical ballets and contemporary works, which
provide enough variety to keep their many supporters interested and keen to see the
productions.
The New Zealand Ballet was formed in 1953 by Danish Royal ballet dancer Poul Gnat.
(The right to include ‘Royal’ in the title was granted in 1984.)
The early days of touring were very challenging.
The dancers performed night after night, travelling during the day. They had to
unpack and repack the set each night, rig the lighting, iron costumes and be billeted
out each night with members of the local communities in which they were performing.
In 1967 a huge fire destroyed equipment and costumes, which almost put the
company into financial ruin.
However, the company fought back and has now developed a reputation for staging
full-length dramatic works and major ballets of the twentieth century.
In January 1998 the Royal New Zealand Ballet moved to its first ever purpose-built
premises in Wellington at the Westpac Trust St James Theatre.
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Worksheet Six
Sir Jon Trimmer and the RNZ Ballet
Sir Jon Trimmer and his contribution to ballet
in New Zealand




The year Sir Jon
joined the RNZ
Ballet
_____________
He became a
knight in
_________
____

Facts about The Royal New Zealand Ballet

Describe what the
life of a RNZ
Ballet dancer on
tour was like in
the 1960s




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Rules or conventions in kapa haka and ballet
Every dance style has ‘rules’ or conventions. These can include:
 How it is performed (technique)
 Where it is performed
 When it is performed
 Who can perform it
 Why it is performed
 Costuming
 Music
 Behaviour before and after performing
 Entrances and exits
 Audience behaviour
Class discussion:
Kapa haka
In what ways do kapa haka dancers have to show respect for the Maori culture
and the dance style?
What are some rules for appropriate behaviour when performing in a kapa haka
group?
What are some things that performers should never do?
How should you behave if you were watching kapa haka?
Ballet
In what ways do ballet dancers have to show respect for their dance genre?
What are some rules for appropriate behaviour when performing ballet?
What are some things that performers should never do?
How should you behave if you were watching a ballet performance?
Watch the video ‘Ihi FrENZy’ (a Ministry of Education resource, sent to all
secondary schools).
Te Matarae I Orehu and the RNZ Ballet performed ‘Ihi FrENZy’ in 2001. For the
first time, kapa haka and ballet were performed in one show.
The video captures on camera the choreographic process, rehearsal and final
performance of a kapa haka performance and ballet.
Worksheet Seven (with answers) has been provided for students to summarise
what they see. It may be appropriate to watch the entire video or fast forward
through sections as appropriate for the class and time allowance.
Worksheets Eight and Nine complete this work by revisiting the idea of respect.
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These sheets can accompany Worksheet Seven and will help to focus on
appropriate behaviour of dancers and audiences during kapa haka and ballet
performances.
Students can work in small groups, alone or as a full class task.
Worksheet Seven
Ihi FrENZy
Te Matarae I Orehu and the Royal New Zealand Ballet performed Ihi FrENZy in
2001. For the first time, kapa haka and ballet were combined into one performance.
“The joining of two art forms, kapa haka and ballet, has never been attempted on this
scale before. It is with great excitement that we (Te Matarae I Orehu) take on this
challenge in the hope that it will touch a wider audience and thereby develop a greater
understanding of not only Maori performing arts, but also Maori as people.
The two art forms, although from different cultural backgrounds, have much in common.
We share similar protocols in dance, choreography, and training regimes. But more than
this, we connect at a basic level and that is in the pursuit of excellence and passion for
what we do. We have gained much from the partnership between the Ballet and ourselves,
and we believe a mutual respect has developed.”
Wetini Mitai-Ngatai, Choreographer of Ihi
Ihi
Performed by Te Matarae I Orehu with choreography by Wetini Mitai-Ngatai and
lighting design by John Rayment.
1. What was the choreographer’s intent? (What was his aim for the production?)
2. Describe the technique required of the men during the haka.
3. What were the reasons for the haka moves being relatively easy to perform.
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4. Describe the meaning behind the poi rhythms.
Worksheet Seven (continued)
FrENZy
Performed by the Royal New Zealand Ballet with choreography by Mark Baldwin,
music by Split Enz, design by Tracy Grant and lighting design by John Rayment.
1. What was the choreographer’s intent?
2. Briefly recount Mark Baldwin’s description of how he develops dance moves.
3. ‘Poor Boy’ is the first piece by the RNZ Ballet.
Why did Mark Baldwin open with three men in white suits, and two women in
black?
4. The final part of ‘Poor Boy’ sees the dancers in a formation. Describe this, and the
reasons behind it.
Ihi and FrENZy
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Similarities
Differences
Worksheet Seven - Answers
Ihi FrENZy
PLEASE NOTE: THESE ANSWERS HAVE BEEN DEVELOPED FROM INFORMATION GAINED FROM THE
IHI FRENZY VIDEO AND TEACHER AND STUDENT RESPONSES. SOME ARE SUGGESTED ANSWERS
AND ARE OPEN TO OTHER INTERPRETATIONS. OTHERS NEED FURTHER EXPLORATION AND
EXPLANATION.
Ihi
1. What was the choreographer’s intent? (What was his aim for the production?)
To tell a story; to reenact the lives of their ancestors; a tribute to their ancestors; to connect
with people of today who may not often see kapa haka performed.
2. Describe the technique required of the men during the haka.
Precision; repetition; slow deliberate moves; warriors focussing on the terrain; ‘on guard’
movements
3. What were the reasons for the haka moves being relatively easy to perform.
Before going into battle, thousands of warriors would perform a haka in unison. This was visually
effective – it demonstrated to the opposition a sense of power.
Because the moves were in unison, they had to be relatively easy for everyone to perform. If you
weren’t in unison, you didn’t go into battle.
4. Describe the meaning behind the poi rhythms.
TIKANA = meaning behind the moves
Waves; waka paddles; beating of the heart; rhythms of life
FrENZy
1. What was the choreographer’s intent?
To entertain; bring basic ballet technique into the contemporary style; to use Split ENZ music –
raw music for everyone to enjoy
2. Briefly recount Mark Baldwin’s description of how he develops dance moves.
Layering; moves based upon the music; to copy and reflect the tune and movement exactly; the
meaning behind the movements is explained to the dancers to help them perform; accepts ideas
from the dancers as well
3. ‘Poor Boy’ is the first piece by the RNZ Ballet.
Why did Mark Baldwin open with three men in white suits, and two women in black?
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Tim Finn - had a boring job; wanted to be a pop star
Three men – repetitive; regimented moves like a soldier; drudgery in the workplace
Girls – fantasy; tempting men with what they haven’t got
4. The final part of ‘Poor Boy’ sees the dancers in a formation. Describe this, and the reasons
behind it.
Waka moving in waves; women in the middle, protected by the men; women are the carriers of life.
Ihi and FrENZy
Similarities
Differences
Precision; unison moves; upright and erect posture; history can be traced;
evolved over time; jumps, hops; specific male and female roles
Ihi uses props and body percussion;
Ihi – grounded movements
Ihi – voice, breath, eyes (pukana) – uses all the body;
Ballet – light, off the floor;
Ballet – women en pointe;
Ballet – lifted by men
Costuming and music
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Worksheet Eight
Situation
Behaving with Respect in Dance: Kapa haka
Performers - Respectful
Performers – Disrespectful
Behaviour
Behaviour
Audience Behaviour during a
performance
Technique
classes
Performing
for an
audience
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Before and
after
performing
Worksheet Nine
Situation
Behaving with Respect in Dance: Ballet
Performers - Respectful
Performers – Disrespectful
Behaviour
Behaviour
Audience Behaviour during a
performance
Technique
classes
63
Performing
for an
audience
Before and
after
performing
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Assessment
All of the Learning Outcomes have been included in this assessment sheet. It is not
necessary to assess every Learning Outcome. Use only the ones that are most
relevant for your students.
Respect for Others
Learning Outcome
Name: _________________
Working
towards
Achieved
Achieved
with
Merit
Achieved
with
Excellence
LO1: Students can identify
behaviours showing respect and
disrespect
LO2: Students can create and
perform dance movements
about emotional situations.
LO3: Students can create and
perform safe counter balances
LO4: Students can create and
perform safe static or moving
weight taking movements
LO5: Students can identify key
features about the life of Sir
Apirana Ngata and his
contribution to the
development of waiata-a-ringa
LO6: Students can identify key
features about the life of Sir
Jon Trimmer and his
contribution to the Royal New
Zealand Ballet
LO7: Students can identify and
compare respectful behaviour
when dancing in a kapa haka or
ballet performance
Comment:
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