Model Lessons
Grades 2-5*
*can be adapted for other
grade levels
Materials
Optional: movement cards
showing the movements
used
Technology
SPACE CONCEPTS: CREATING
A MOVEMENT SEQUENCE
Length
Concept/Objectives
Activity
Toolkit Resource
2 or more class
sessions
Students will explore
the dance element of
space and its components shape, level,
size, direction, and
pathway with locomotor and nonlocomotor movements.
Students review the
element of space
and locomotor and
nonlocomotor movements.
Creating a
Movement Sequence
from the Teaching
Creative Dance DVD
TV/DVD player
CD player and music with
a steady beat (or rhythm
sticks)
In groups, students
create brief movement phrases, using
bend, stretch, and
twist (with shape,
level, and size) and
jump, gallop, and
slide (with direction
and pathway
changes) and perform their movement
sequences.
Vocabulary
direction
general space
level
locomotor movement
• jump
• gallop
• slide
nonlocomotor movement
• bend
• stretch
• twist
pathway
personal space
shape
size
space
Cue Words
“Jump” uses two
feet.
In “gallop,” one
foot chases the
other in a forward
direction.
“Slide” is a sideward
movement.
Instructional Strategies and Activities
Note to teachers: This is the lesson plan that accompanies the Creating a Movement
Sequence model lesson demonstrated on the Teaching Creative Dance DVD.
Review this plan as you watch the video.
Preparing for the Activity
Before doing this activity, students should have some familiarity with the element of
space and its components, as well as with locomotor and nonlocomotor movements. The number of movements offered as options or included in the movement
sequence can be varied according to your class’s experience level. Because the lesson shown in the video was with second graders, the instructors decided to limit
the movements to three locomotor movements and three nonlocomotor movements selected by the instructors. Students were allowed to choose the order of
these movements in their sequences, with 16 counts devoted to locomotor and 16
counts devoted to nonlocomotor movement.
With older or more experienced students, you might choose other movements to
offer as options or you may want to have students create longer sequences using
more movements.
Arts Toolkit Dance • Creative Dance • 421
In choosing movements to offer as options, try to use those that will encourage
exploration of the components you want to focus on. The instructors in the video
chose bend, stretch, and twist in order to encourage movements at a variety of
levels.
Kentucky
Academic
Content
Conducting the Activity
Big Idea: Structure in
the Arts
This lesson can be done anywhere there is enough space for students to move comfortably. In the video, the lesson was done in the gym. It could also be done outside,
or, if movements were chosen carefully, in a classroom.
Academic Expectations
1.15
Program of Studies
Begin with students seated and review space components and concepts from the
vocabulary list.
Understandings
Tell students they are going to create movement sequences using the locomotor and
nonlocomotor movements they have been working on.
Skills and Concepts
Have students stand and warm up by practicing the locomotor and nonlocomotor
movements they will use in their sequences.
AH-P/4/5-SA-U-1
AH-P/4/5-SA-S-Da1
AH-P/4/5-SA-S-Da2
AH-P/4/5-SA-S-Da3
Core Content
Divide students into groups of three to five. Tell them that as a group they will create
a movement sequence using the three locomotor and nonlocomotor movements.
They will alternate locomotor and nonlocomotor movements, and each group will
choose the order in which it does the locomotor and nonlocomotor movements.
Remind them to vary shape, level, and size with their nonlocomotor movements and
to vary direction and pathways with their locomotor movements. Remind them about
personal and general space.
Allow students to explore and practice their sequences. Circulate around the room,
encouraging progress and working with each group. Guide students through several
practices of their movement sequences. Do the counts aloud and announce when to
begin each movement, as shown on the video.
AH-(EP)(04)(05)-1.2.1
AH-(EP)(04)(05)-1.2.2
Big Idea: Processes in
the Arts
Academic Expectations
2.22
Program of Studies
Understandings
Perform and Reflect
AH-P/4/5-PA-U-1
Skills and Concepts
After students have practiced their sequences, have them sit down. Tell them each
group will perform their group sequences. If needed, review the role of an audience.
Remind students to look for the components of space as they watch. Have student
groups perform, two at a time, for the rest of the class. Review concepts and discuss
as appropriate.
If time allows, have each group perform its sequence twice. In the second performance, prompt students to look for specific concepts brought up in discussion.
Tips:
• Any music with a steady beat can be used for this activity. Or you could just
count out a beat or use rhythm sticks or other rhythm instruments to make
the beat.
• Create movement cards—small poster-size sheets, one for each locomotor and
nonlocomotor movement. Give each group a set of cards. They can place the
cards on the floor in the order the movements are done in their sequence. This
reinforces the sequence for visual learners. Also, when each group performs, it
can display its cards for the students watching the performance.
422 • Arts Toolkit Dance • Creative Dance
AH-P/4/5-PA-S-Da1
AH-P-PA-S-Da2
AH-4/5-PA-S-Da3
Core Content
AH-(EP)(04)(05)-4.2.1
AH-(04)(05)-4.2.2
Cross-Curricular
Connections
Practical Living 2.34:
Students perform physical
movement skills effectively
in a variety of settings.
• If more than one instructor can participate—for example, the physical
education teacher and classroom teacher or teachers and aides—one can count
and guide the practices while the others roam the room, encouraging and
helping groups as needed.
• A CD player with pitch control—so the speed of any music played can be
varied—is a big help in teaching movement and dance, says Adam Kirk, who
co-taught this lesson. “Before pitch control you had to search to find music with
just the right tempo. Now I can just speed it up or slow it down 12 percent.
Also, some choreography is really hard to learn at a fast tempo. With pitch
control you can start them out at a slower speed, then gradually increase the
speed to full tempo.” Kirk also uses a wrist remote control—“so you don’t have
to hold a remote”—and recommends getting a CD player that can play MP3
files. “Instead of just 10-12 songs you can get up to 250 songs on a CD.” To
find features such as these, look at CD players specifically made for dance or
aerobics and expect to pay about $100 more than for a standard CD player.
• If you are limited on space, have students create nonlocomotor movement
sequences in the classroom, using chairs or desks as props. Or have them
create locomotor movement sequences to use as they move from one area of
the school to another, such as from the classroom to the playground, or from
classroom to cafeteria. Just be sure to use locomotor movements that are
feasible in these spaces.
Instructional Support/Resources/Materials
Books:
• Gilbert, A.G. Creative Dance for All Ages. Reston, VA: AAHPERD Pub., 1996.
• Gilbert, A.G. Teaching the Three R’s: Through Movement Experiences. Bethesda,
MD: NDEO, 1977.
• Lloyd, M. Adventures in Creative Movement Activities. Bethesda, MD: NDEO,
1997.
• Purcell, T. Teaching Children Dance: Becoming a Master Teacher. Champaign, IL:
Human Kinetics, 1994.
• Willis, C. Dance Education Tips from the Trenches. Bethesda, MD: NDEO, 2004.
Music:
• Chappell, E. Contrast & Continuum: Music for Creative Dance. Bethesda, MD:
NDEO, 1992.
Videos:
• Gilbert, A.G. Brain Dance. Bethesda, MD: NDEO, 2003.
• Gilbert, A.G. Teaching Creative Dance. Bethesda, MD: NDEO, 2002.
• University of Calgary. Dance for Our Children. Bethesda, MD: NDEO, 1999.
Extensions for Diverse Learners
Students with disabilities:
Students with aides, in wheelchairs, or who are autistic should be encouraged to move
within their abilities. They should become part of the group dance using the parts of
their bodies that mirror the movements used in the dance.
Gifted and talented:
Students that are gifted/talented should identify a component in time and a component in force that they use in their group dance. They should be encouraged to see
and identify the dance elements in their peers’ dances.
Arts Toolkit Dance • Creative Dance • 423
Portfolio-Appropriate Writing for the Lesson
Have students write a “how to” piece about their movement sequence.
Have students write poems using movement words.
Applications Across the Curriculum
Language Arts
Read a book about dancers and how they train. (See the list of books in the
Especially for Primary section of the Dance Arts Toolkit for possibilities.)
Science
Study muscles and how they enable us to move.
Open Response Assessment
Prompt:
Children like to make dances that use movements and space.
Directions:
For the group dance you created:
A. List the order of your locomotor movements and indicate counts for each.
B. List the order of your nonlocomotor movements and indicate counts for each.
C. Identify three or more components of space used in your dance.
OPEN RESPONSE SCORING GUIDE
4
3
2
1
• Student identifies locomotors in
order and indicates counts for
each movement.
• Student identifies nonlocomotors in order and
indicates counts
for each movement.
• Student identifies three or more
components of
space.
• Student identifies locomotors in
order.
• Student identifies nonlocomotors in order.
• Student identifies two components of space.
• Student identifies two out of
three locomotors,
may or may not
be in order.
• Student identifies two out of
three nonlocomotors, may or may
not be in order.
• Student identifies two components in space.
• Student identifies one locomotor
used.
• Student identifies one nonlocomotor used.
• Student identifies one component of space.
424 • Arts Toolkit Dance • Creative Dance
0
• No answer or
irrelevant
response
Performance Assessment
Performance Event:
Create a movement study using three locomotors and three nonlocomotors that has
components of space used in each movement phrase.
Directions:
Locomotors: Each student will arrange jump, gallop, and slide in 16 counts with a
change in direction and pathway.
Nonlocomotors: Each student will arrange bend, stretch, and twist in 16 counts with
shape, level changes, and size.
Take the individual movement phrases and arrange them in a small group, 3-5 students, to make a small group dance. Make sure space components are clear and the
group has an interesting relationship to each other. The group should begin and end
their phrases with body tension and stillness. The students should participate as members of the group and concentrate while performing.
PERFORMANCE SCORING GUIDE
4
• Students create
well-defined locomotor and nonlocomotor phrases
that use all of the
selected space
components while
creating interesting group relationships with
each other.
• Students clearly
demonstrate
beginning and
ending positions
with body tension
and stillness.
• Students actively
participate as
members of the
group and
demonstrate sustained concentration while performing.
3
• Students create
defined locomotor
and nonlocomotor
phrases that use
several of the
space components while creating interesting
group relationships during most
of the performance.
• Students
demonstrate
beginning and
ending positions
with body tension
and stillness.
• Students participate as members
of the group and
demonstrate concentration while
performing.
2
1
• Students create
locomotor and
nonlocomotor
phrases that
make limited use
of the space components and have
limited relationships with other
members of the
group during the
performance.
• Students
demonstrate
beginning and
ending positions,
but lack body tension and stillness.
• Some students
participate as
members of the
group while others are less
engaged; their
concentration is
inconsistent while
performing.
• Students’ locomotor and nonlocomotor phrases
lack clarity in
movement and
use of the space
components and
have limited relationships to other
members of the
group.
• Students do not
hold beginning
and/or ending
positions.
• Students
demonstrate limited group participation and lack
concentration
while performing.
0
• Non-participation
Arts Toolkit Dance • Creative Dance • 425
Multiple Choice Questions
1. Two movements that travel through space are
A. gallop and slide.
B. bend and twist.
C. stretch and push.
D. pull and bend.
Multiple Choice
Answer Key
1. A
2. D
3. C
2. A nonlocomotor, or a movement that does not travel, is
A. gallop.
B. slide.
C. jump.
D. bend.
3. The element of dance that includes shape, level, direction, and pathway is
A. time.
B. force.
C. space.
D. energy.
Authors: Rayma Beal,
University of
Kentucky, and Adam
Kirk, Southern
Elementary
Copyright 2004,
2008 KET
Reviewed by the
Kentucky Department
of Education
This lesson plan is part of
the Dance Arts Toolkit. To
order the entire toolkit or
for more information
about the Arts Toolkit
project, visit
www.ket.org/artstoolkit
or call (859) 258-7294.
426 • Arts Toolkit Dance • Creative Dance
Model Lessons
Grades K-3*
*Can be adapted for all
grades depending upon
the literature selected
Materials
EXPLORING FORCE:
DANCING STORIES
Length
Concept/Objectives
Activities
Toolkit Resource
1-2 class sessions
Students will use the
elements of dance
and locomotor and
nonlocomotor movements to explore the
movements of animal characters in a
story.
Students read a
children’s book, list
the characters, and
describe and perform each character’s movements. In
groups, students
create a dance
based on the book’s
characters and their
movements.
Dancing Stories from
the Teaching
Creative Dance DVD
The Loon Spirit by Phil
Harper (or other children’s books; see
Annotated Bibliography
of Children’s LIterature)
appropriate music (for
The Loon Spirit: Indian
flute music)
Students will create
an ABA dance based
on a work of children’s literature.
appropriate props (for
The Loon Spirit: scarves
or small blanket to create wings for “Lakucha”)
Students will show
they understand a
work of children’s literature through the
dance they create.
Technology
TV/DVD player
Vocabulary
actions
composition forms: ABA
dance phrase
dynamics
energy:
• flow
• tension/relaxation
• weight
force
form
qualities
tertiary form
Instructional Strategies and Activities
Note to teachers: This is the lesson plan that accompanies the Dancing Stories model
lesson demonstrated on the Teaching Creative Dance DVD. Review this plan as
you watch the video.
Many books have similar themes. If you do not have the book The Loon Spirit, use
this lesson as a guide for using literature to create a dance. The annotated bibliography offers numerous possibilities for literature to use as a springboard for dance.
Animals are a central theme of many books, and this lesson will give you many ideas
on how to explore animal movement. This lesson is in five parts: introduction, exploration, creation, reflection, and closure.
Introduction
Tell students what they will be doing, introducing the kind of movement ideas they will
explore. For example, with The Loon Spirit, the teacher might say: “How many of
you have ever watched how animals move? Do they all move alike? Today we are
going to read a Native American story about animals and how their lives change with
the seasons. Then we will create a dance about the story.”
Arts Toolkit Dance • Creative Dance • 427
Then:
• Read the story to the children.
• Discuss what the story was about and list the ideas on the board. For this
particular story they might come up with: the seasons, movement of each of
the animals, ABA form (tertiary form), the Loon Spirit, etc.
• Ask students to brainstorm some words or actions that describe the movement
of each of the animals. Focus on the quality of the animal’s movement.
The Loon Spirit examples:
bears—heavy, lumbering
deer—sometimes freeze in place, leap, move lightly
eagles—soar, swoop, glide
squirrels—skitter, jump, move quickly
fish—leap, flap, glide
Exploration
Work with your students until they can show the various movement qualities of each
animal. This is done by using guiding questions and statements in response to what
the students are producing. In this lesson, students are not to pantomime, but,
instead, to move with the quality of the animal. For example, when exploring the
movements you could say:
“Let me see the heavy movement of the bear. I see some of you looking very light.
Remember we decided our bears lumber (heavy, clumsy movement). Can you move
heavily at a higher level? All our bears do not need to be on the floor. Let me see you
move heavily on two feet. How else does a bear move? Yes, they climb, they claw at
trees, and they can run quickly when they need to. Now let’s put together a sequence
of bear movements such as lumber, move quickly (but heavily), claw/climb high, rest.
Everyone will need to find his or her own way to perform this sequence.
“Eagles soar, swoop, and glide. Can I see you move like an eagle? Oh, I see everyone
moving alike. Show me a different way to move like an eagle. Sometimes you may
circle, then swoop to the earth or the water, and then rise again. Other times you
may hover on the air currents and glide. I need to see many individual eagles moving
in their own unique way. Now put together your own movement sequence with these
words: soar, swoop, perch.
“Next let’s work on the squirrel’s movement. We decided that they skitter. That
means they move quickly and change direction often. See if you can do these kinds
of movements at a high level, now down by the floor. What are some of the other
things a squirrel does? Skitter, jump, climb, sit. Show me a sequence of squirrel
movements. Be able to repeat your sequence making sure to have moments of
relative silence (sit still).”
Possible action words for other animals in The Loon Spirit might be:
Deer—graze/paw, freeze when frightened, gallop/leap
Fish—splash, glide, leap
Continue with the same line of questioning for each animal. It is important to prompt
the students until you see the kind of movement you are looking for. Light movement
for the bear is not good enough, nor is smooth movement appropriate for the squirrel. Pantomiming or stereotypical movement also need to be avoided. Help students
by asking questions or making statements that will force the students to explore the
movement more fully. Although dance can be quite literal, this lesson is about creating movement that shows the essence of the animal rather than creating a more
theatrical/dramatic presentation.
428 • Arts Toolkit Dance • Creative Dance
Kentucky
Academic Content
Big Idea: Structure in
the Arts
Academic Expectations
1.15
2.23
Program of Studies
Understandings
AH-P-SA-U-1
Skills and Concepts
AH-P-SA-S-Da1
AH-P-SA-S-Da2
AH-P-SA-S-Da3
Core Content
AH-EP-1.2.1
Big Idea: Purposes for
Creating the Arts
Academic Expectations
2.22
Program of Studies
Understandings
AH-P-PCA-U-1
Skills and Concepts
AH-P-PCA-S-Da1
AH-P-PCA-S-Da2
Core Content
AH-EP-3.2.1
Big Idea: Processes in
the Arts
Academic Expectations
2.22
Program of Studies
Understandings
AH-P-PA-U-1
Skills and Concepts
AH-P-PA-S-Da1
AH-P-PA-S-Da2
Core Content
AH-EP-4.2.1
I have found that unless you have the children experience the idea of sequencing
movement, they do not have much contrast in their final dance. It is also essential to
have a word that brings relative stillness in the animal’s movement sequence so that
more contrast is visible.
With The Loon Spirit, it is essential to explore the movement of Lakucha, the Loon
Spirit. Refer to particular lines in the story about Lakucha’s movement. She begins
asleep, slowly unfurls her wings, and then rises on the winds to wake the land for
spring. She soars over the land of many waters and then rests and watches throughout the summer. In the late fall, she again rises with a graceful sweep of wings to
gather the warmth of summer beneath her wings and puts the land back to sleep for
the winter. Lakucha’s movements have to be proud, big, and powerful. One way to
approach the problem of having only one Lakucha per dance is to have all the students explore Lakucha’s movements and then pick two students to move like Lakucha
in each performance of the dance.
Creation
Discuss the idea of the story with the students and then, as a group, decide how they
might structure a dance using the ideas of the story and the movements they have
already explored. Again, be sure the essence of the story is revealed, not a pantomime of every line. With many stories, more students are needed to create the
story than will work well for a group project. (Usually four to five students is the limit
for a successful group effort.) Therefore, it will work better to have the class work
together to create the dance and then split in half to watch each other perform. With
The Loon Spirit, you need to make sure you have some of each animal in each
group.
Have children choose the parts (in this case, the animals) they will play in the dance.
You will need two to five of each animal. Encourage students to choreograph a
sequence and spatial plan for their movement. If your children work well in groups,
this would be the time to have all those performing the same part—e.g., all the bears
or all the deer—collaborate on a sequence and spatial pattern for their dance.
Guide all the students through a practice of their dance until they have achieved what
they set out to accomplish. Continue to remind them to use the variety of movement
they experienced in the beginning improvisations. Without a clear contrast between
the elements of space, time, and force, the final dance will not be interesting. For
instance, if everyone is moving quickly and chaotically all the time, the dance will get
boring. Having contrasts of slow/fast, high/low, sustained/sharp, activity/quiet, etc.,
is important for creating an interesting dance. Set lower expectations for the younger
children and higher for the older children.
The class should split in half and perform the dance for each other. It adds to the discussion if the teacher can videotape the dances and play the tape back. Either way, it
is important to have the students discuss and reflect on their products (see questions
on next page).
Arts Toolkit Dance • Creative Dance • 429
Reflection
Dances of Native
Peoples
Pose questions relevant to the lesson objectives and the particular story.
Reflection questions for students for The Loon Spirit:
• Did the dance have a clear beginning, middle, and end?
• Could you differentiate between the movements of the various animals?
• Do you see the difference between winter-spring/summer-fall?
• Was the dance interesting to watch?
• Interest is largely due to a varied use of space, time, and energy: Were there times
of little movement and times of a lot of movement?
• Were there different levels used?
• Were there various spatial patterns used?
• Did you see very high energy contrasted with very low energy?
• Did the movement of Lakucha stand out from the movement of the other animals?
• Did the dance portray the essence of the story? What did the dance say to you?
The Dances of the World
DVD includes dances and
information from six
Nations: Cherokee,
Mohawk, Apache, Navajo,
Git Hoan, and Totonac.
Sharing several of the
dances and letting
students hear some of the
dancers talk about why
they dance will enrich and
extend the lesson.
Closure
To wrap up the lesson, ask students: Do you see how your dance communicated the
ideas of the story without pantomiming every line? Dance communicates feelings
and/or ideas through movement. Dancers must find just the right movement to say
what they want to say in their dances. The purpose of these student-created dances is
artistic expression.
Evaluation for the Teacher
To gauge the success of the lesson, ask yourself:
• Did the students follow directions?
• Did the structure of the lesson produce the desired outcome?
• Did you challenge the students to fully explore the ideas and movements so that the
product was interesting to watch?
• Did the dances show that the students had an understanding of the story?
• Were the students able to critique each other on the final product?
• Were the students able to use dance vocabulary to reflect on the final dance?
Support/Connections/Resources
Resources for teaching creative dance:
• Gilbert, Anne Green. Creative Dance for All Ages. Reston, VA: AAHPERD
Pub., 1992.
• Gilbert, Anne Green. Teaching the Three Rs Through Movement Experiences.
Englewood Cliffs, N.J: Prentice Hall, Inc., 1977.
• Joyce, Mary. First Steps in Teaching Creative Dance to Children. California:
Mayfield Publishing Co., 1994.
See Books that Serve as an Inspiration for Dance in the Teaching Creative Dance
guide, page 445, for suggestions. The book used in this lesson is:
Harper, P. The Loon Spirit. Minocqua, WI: North Word Press Inc., 1995.
430 • Arts Toolkit Dance • Creative Dance
Applications Across the Curriculum
Language Arts
Making a story come alive through movement can be used as a test for reading comprehension. It also empowers kinesthetic learners.
Science
Students could do research on each of the animals in the dance, paying particular
attention to descriptions of the animal’s movement. The students’ movement
response would be much richer for having done the research.
Social Studies
This particular story is based on a Native American story. Studying other Native
American stories, traditions, and culture prior to reading this story would bring more
meaning to the lesson.
Practical Living
Engaging in movement exploration can be physically exhausting for the children who
are not getting enough exercise. This kind of lesson provides the student with necessary physical activity and addresses both arts and humanities and practical living core
content.
Open Response Assessment
Prompt (grade 3):
You have just read a story about a bird, a snake, and a tiger. You want to create a
dance about one of these creatures.
Directions:
Choose one of these creatures and describe what kind of movements you might perform. When you have ideas for your creature’s movement, create a sequence of three
movements. Make sure your sequence will show a contrast in space, time, and force.
For example, a movement sequence for a squirrel might be skitter, climb, perch. The
squirrel might move on a zigzag pathway on a low level and then climb to a high level
and be still in a perched shape.
OPEN RESPONSE SCORING GUIDE
4
• The movement
described clearly
exhibits the creature’s movement
and the sequence
provides excellent
contrast in space,
time, and force.
3
2
1
• The movement
described is close
to the creature’s
movement and
the sequence provides good contrast in space,
time, and force.
• The movement
described is basically like the creature’s movement
and the sequence
provides some
contrast in space,
time, and force.
• The movement
described lacks
clarity in describing the creature’s
movement and
the sequence provides little or no
contrast in space,
time, and force.
0
• No answer or
irrelevant
response
Arts Toolkit Dance • Creative Dance • 431
Performance Assessment
Performance Event:
Create a dance with two other students based on three animals you have learned
about from your reading. Each of you chooses one of the animals.
Directions:
Use an ABA structure for your dance. Part A begins with the animals sleeping or in a
still shape. In Part B they become active, and then they return to Part A. In part B,
make sure that each of you creates a movement sequence and spatial pattern for
your animal’s movement that shows a contrast in space, time, and energy.
PERFORMANCE SCORING GUIDE
4
• Dance performance correctly
exhibits the creatures’ movements,
and the dancers
are able to clearly
follow the ABA
format of the
dance.
• The movement
in Part B shows
good contrast in
the dancers’ use
of space, time,
and force.
3
2
1
• Dance performance of the creatures’ movements
is fairly accurate,
and the dancers
are able to follow
the ABA format of
the dance.
• The movement
in Part B shows
fairly good contrast in the
dancers’ use of
space, time, and
force.
• Dance performance of the creatures’ movements
is basically accurate, but the
dancers are not
clear with the ABA
format of the
dance.
• The movement
in Part B shows little contrast in the
dancers’ use of
space, time, and
force.
• It is hard to tell
which creatures
the dancers are
trying to portray
and the ABA format is not apparent.
• The movement
in Part B shows
minimal or no
contrast in the
dancers’ use of
space, time and
force.
0
• Non-participation
Author: Marianne
McAdam, Eastern
Kentucky University
Copyright 2004,
2008 KET
Reviewed by the
Kentucky Department
of Education
This lesson plan is part of
the Dance Arts Toolkit. To
order the entire toolkit or
for more information
about the Arts Toolkit
project, visit
www.ket.org/artstoolkit
or call (859) 258-7294.
432 • Arts Toolkit Dance • Creative Dance
Model Lessons
Grades 4-8*
*Can be adapted for all
grades
EXPLORING TIME: CREATING
AN ABA DANCE
Materials
Length
Concept/Objectives
Activities
Toolkit Resource
1 class period
Students will use
locomotor and nonlocomotor movements to explore the
element of time and
components of
speed and rhythm.
Students explore
their own self-space
and respond to cues
of the instructor.
Creating an ABA
Dance from the
Teaching Creative
Dance DVD
chalk or dry-erase board
with chalk/markers
movement cards (see
directions in Tips)
Students will show
an understanding of
musical notation by
moving to the number of beats represented by each note.
Optional:
Dance Elements posters
(see directions in Tips)
Technology
Students work in
groups to create
dances, and each
group performs its
dance while others
watch.
Students will create
two dance phrases—one using
speed and one using
rhythm.
TV/DVD player
CD player and music CDs
to inspire movement
(e.g., movie soundtracks)
Students will create
an ABA dance using
the element of time.
Vocabulary
beat
compositional forms: ABA
improvisation
locomotor
nonlocomotor
rhythm
speed
time
Instructional Strategies and Activities
Note to teachers: This is the lesson plan that accompanies the Creating an ABA Dance
model lesson demonstrated on the Teaching Creative Dance DVD. Review this
plan as you watch the video.
Introduction
Introduce the lesson to students: “Today we are going to focus on the dance element
of time. Who knows how a dancer might use time? Yes, with speed—fast and slow;
and yes, rhythm—a pattern of sounds and silences.”
Have them practice speed with simple nonlocomotor movements: “Raise your hand
as slowly as you can…now drop it quickly! I will clap a rhythm and you echo me
(1, 2, 3 & 4). Now put that rhythm in your hand, rising and dropping (rise-1, drop-2,
rise-3, drop-&, rise-4).” Try a few other rhythms (1&2, 3, 4; 1, 2, 3&ah 4).
Tell students they will explore speed: “We are going to explore speed first. Find a perfect spot (where you’re not near anybody or anything). I will pick a card off the top of
my deck of movement cards. You will explore each one, at my direction, slowly and
then quickly.”
Arts Toolkit Dance • Creative Dance • 433
Examples of movements on each card include walk, gallop, run, leap, roll, kick, melt.
Call out the movement and the speed; change the speed. Move on to next card.
While students are exploring, encourage different uses of space—changing directions,
levels, sizes, or pathways.
Develop
Have students, as a class, create a miniature phrase that accelerates and decelerates
using only the movements they just explored. (Example: Walk slowly, gallop at a
medium speed, run quickly, leap at a medium speed, and roll slowly.) Write the
phrase on the board. Practice several times. Have one half of the class show the
phrase to the other half.
Tell students they will explore rhythm: “Now, when dancers put slow movements with
fast movements together in different patterns, that creates a rhythm.…”
As demonstrated on the video, one way to help students understand musical notation
is to use fruits. For example, a whole note takes 4 beats to perform. The fruit name
orange can take 4 beats to say, and so orange stands for 4 beats. Using the board,
relate musical notation to fruits:
A whole note takes 4 beats
to perform; orange stands
for 4 beats
When the beat is divided in half,
it takes 2 eighth notes to fill one beat;
ap-ple stands for 2 eighth notes.
A half note takes 2 beats;
plum stands for 2 beats
When the beat is divided in thirds,
it takes 3 eighth notes to fill one beat;
pine-ap-ple stands for triplets.
A quarter note takes 1 beat;
pear stands for 1 beat
Big Idea: Structure in
the Arts
Academic Expectations
1.15
2.23
Program of Studies
Understandings
AH-4/5/6/7/8-SA-U-1
AH-4/5/6/7/8-SA-U-3
Skills and Concepts
AH-4/5/6/7/8-SA-S-Da1
AH-4/5/6/7/8-SA-S-Da2
AH-4/5-SA-S-Da3
Core Content
AH-(04)(05)(06)(07)(08)-1.2.1
AH-(04)(05)(06)(07)(08)-1.2.2
Big Idea: Processes in
the Arts
Academic Expectations
1.15
When the beat is divided in fourths,
it takes 4 sixteenth notes to fill one
beat; wa-ter-mel-on stands for
sixteenth notes.
When introducing each fruit, have students explore a movement to those specific
beats:
“For orange, let’s say ‘orange’ while stretching (or melting) for 4 beats (apiece)….
o-r-a-n-g-e, o-r-a-n-g-e.
For plum, let’s say ‘plum’ while swinging (or jumping) for 2 beats (apiece)….
plum, plum.
For pear, let’s say ‘pear’ while slashing (or leaping) for 1 beat (apiece)….
pear, pear, pear, pear.
For apple, let’s say ‘ap-ple’ while bending (or walking) for each syllable....
apple, apple, apple, apple.
For pineapple, let’s say ‘pine-ap-ple’ while wiggling (or tiptoe-ing) for each syllable....
pineapple, pineapple, pineapple, pineapple.
For watermelon, let’s say ‘wa-ter-mel-on’ while shaking (or chugging) for each syllable….
watermelon, watermelon, watermelon, watermelon.”
Develop
As a class, have students put fruits together to create a rhythm. The rhythm need not
exceed 8 beats. Write the fruit phrase on the board. Have students practice saying the
rhythm several times. Then have students practice moving to the rhythm several times.
434 • Arts Toolkit Dance • Creative Dance
Kentucky
Academic Content
Program of Studies
Understandings
AH-4/5/6/7/8-PA-U-1
Skills and Concepts
AH-4/5/6/7/8-PA-S-Da1
AH-4/5/6/7/8-PA-S-Da3
Core Content
AH-(04)(05)(06)(07)(08)-4.2.1
AH-(04)(05)(06)(07)(08)-4.2.2
Big Idea:
Interrelationships
Among the Arts
Academic Expectations
1.14
1.15
Program of Studies
Understandings
AH-4/5/6/7/8-IAA-U-1
Skills and Concepts
AH-4/5/6/7/8-IAA-S-1
Cross-Curricular
Connections
Practical Living 2.34:
Students perform physical
movement skills effectively
in a variety of settings.
For example:
plum,
pineapple,
1(2),
3
& ah,
pear,
apple,
4,
1 &,
apple,
watermelon,
pear
2 &,
3 e & ah,
4
Tell students they will create a dance. Explain that a dance in ABA form has a
phrase, A, that is performed first. Then the dance has a phrase, B, which is performed next. The dance then goes back to the first phrase, A. Using the
accelerate/decelerate phrase and the fruit rhythm created in class, students—in small
groups—create a dance in ABA form. It is up to individual groups which phrase is A
and which is B. It is also up to each group how the fruit phrase is performed.
Movement cards may be handed out to each group to aid the groups in creating the
fruit phrase.
Give an example of the dance (write out each phrase):
A Walk slowly, gallop at a medium speed, run quickly, leap at a medium speed, and
roll slowly.
B plum, pineapple, pear, apple, apple, watermelon, pear as represented by these
movements:
swing ti-ip-toe slash be-nd be-nd sha-a-ki-ng, slash
A Walk slowly, gallop at a medium speed, run quickly, leap at a medium speed, and
roll slowly.
Perform
Each group performs for the class. Videotape the performances, if possible.
Reflect
Have students answer these questions:
• What did you like about the dance?
• What could they have done better?
Encourage students to assess the dance by judging the group’s use of time, space,
and force.
• Was the dance interesting to watch? Why?
• Was it well rehearsed?
• Was there a contrast in the dancers speed?
• Was the rhythm easy to see?
• Did the dancers use their space in a variety of ways (direction, pathway, level, etc.)?
Teacher Tips
• Put lesson plan on an index card for portability.
• Create a deck of movement cards. Write a locomotor or nonlocomotor movement
on each index card. Make several cards for each movement. Shuffle the movement
cards so that the exploration goes back and forth between locomotor and nonlocomotor movements.
• As a reminder to students, create three Dance Element posters. The heading for
each poster should be one of the three dance elements. You could also list all the
components of that element.
• Keep students on task when they are creating their group dance. Make sure they
do not spend too much time on one aspect.
• Make sure students move as they create, not just share ideas and talk about it.
• Ask each individual group how it is doing. If group members begin to tell you what
they are going to do, say, “No, don’t tell me….show me what you have so far.”
Arts Toolkit Dance • Creative Dance • 435
Support/Connections/Resources
Gilbert, Anne Green. Creative Dance for All Ages. Reston, VA: AAHPERD
Pub., 1992.
Technology
Have students create a PowerPoint presentation with just locomotor and nonlocomotor movements. Instead of using a deck of cards, use the presentation to explore one
movement after the other.
Take pictures of the lesson with a digital camera. Have students create an outline of
the lesson through pictures.
Videotape performances. Have students watch their performances and assess their
work using the Performance Assessment rubric. On second day, have students “fix”
their dance based on the suggestions/comments from rubric. Have students perform
again; videotape again. Have students assess improvement.
Portfolio-Appropriate Writing for the Lesson
Possible questions on which to write:
• What was it like to explore movement independently?
• How do you prefer to move: quickly or slowly? Why?
• Describe what is was like to move to “fruits.”
• What was it like to work in a group?
• How were decisions made in the group?
• What was it like to create your own dance?
• What was it like to perform in front of your peers?
• Do you feel your dance clearly showed ABA form? How?
• Comment on the other groups’ dances. How were they similar to or different
from yours?
These questions can be explored and developed into:
• a letter to another class, inviting them to watch your groups’ creations.
• a letter persuading others to participate in a creative dance class.
Applications Across the Curriculum
Mathematics
Note values are ratios. Lessons on fractions could be incorporated.
Practical Living
Lesson offers students vigorous activity.
436 • Arts Toolkit Dance • Creative Dance
Open Response Assessment
Prompt:
Dancers can use the elements of space, time, and force in different ways in order to
create interesting dances. When using time, dancers may alter the speed or the
rhythm of their movements.
Directions:
A. Choose either speed or rhythm.
B. Using your choice from above, describe how dancers use either speed or rhythm.
C. By detailing specific movements and how they were performed, describe how your
group used either speed or rhythm in order to create an interesting dance.
OPEN RESPONSE SCORING GUIDE
4
• Student
describes speed
as moving fast or
slow, or rhythm as
a pattern of moving and non-moving (or of sounds
and silences).
• Student accurately and thoroughly describes
how his/her
group’s dance
used fast and
slow movements
by giving the specific movements
performed and
the speeds with
which they were
performed; or
describes the
rhythm by recalling the fruits used
or describing the
counts used and
gives movements
performed to the
rhythm.
3
• Student
describes speed
as moving fast or
slow, or rhythm as
a pattern of moving and non-moving (or of sounds
and silences).
• Student somewhat accurately
and thoroughly
describes how
his/her group’s
dance used fast
and slow movements by giving
the specific movements performed
and the speeds
with which they
were performed;
or describes the
rhythm by recalling the fruits used
or describing the
counts used and
gives movements
performed to the
rhythm.
2
1
• Student
describes speed
as moving fast or
slow, or rhythm as
a pattern of moving and non-moving (or of sounds
and silences).
• Student basically
describes how
speed or rhythm
was used.
• Student does
not give any detail
as to what movements were performed.
• Student
attempts to
describe speed
and rhythm.
• Student minimally or inaccurately describes
how the dance
used speed or
rhythm, not detailing any movements or how
they were performed.
0
• No answer or
irrelevant
response.
Arts Toolkit Dance • Creative Dance • 437
Performance Assessment
Performance Event:
Students, in small groups, create and perform a dance in ABA form. The two phrases from which to choose are the accelerate/decelerate phrase and the fruit/rhythm
phrase.
Directions:
Students choose one phrase to be “A” and one to be “B.” Regarding the fruit phrase,
students are to create a movement phrase that clearly articulates the rhythm created.
Dances are to show clear use of form (ABA)—with each movement choice transitioning smoothly from one to another, clear use of speed, and a clear use of rhythm.
PERFORMANCE SCORING GUIDE
4
• Dance clearly
shows ABA.
• Dance has
smooth transitions
from one phrase
to the next.
• Dance demonstrates excellent
differences
between fast
movement and
slow movement.
• Dance clearly
articulates the fruit
rhythm.
• Dance looks
well rehearsed.
3
2
1
• Dance generally
shows ABA.
• Dance has
smooth transitions
from one phrase
to the next.
• Dance shows
some differences
between fast
movement and
slow movement.
• Dance articulates the fruit
rhythm.
• Dance looks
rehearsed.
• Dance shows
ABA.
• Dance has transitions from one
phrase to the
next.
• Dance shows
little difference
between fast
movement and
slow movement.
• Dance attempts
to articulate the
fruit rhythm.
• Dance looks
somewhat
rehearsed.
• Dance does not
have ABA form.
• Dance has
little/minimal or
no transition from
one phrase to the
next.
• Dance shows
little or no difference between fast
and slow movement.
• Dance does not
attempt to articulate the fruit
rhythm.
• Dance does not
look rehearsed.
0
• Non-participation
Author: Kacey
Frazier, Artist-inResidence
Copyright 2004,
2008 KET
Reviewed by the
Kentucky Department
of Education
This lesson plan is part of
the Dance Arts Toolkit. To
order the entire toolkit or
for more information
about the Arts Toolkit
project, visit
www.ket.org/artstoolkit
438 • Arts Toolkit Dance • Creative Dance
Model Lessons
Grades 3-5*
* Can be adapted for all
grades
Materials
CROSS-CURRICULAR
COLLABORATION: DANCING
THE WATER CYCLE
posterboard and markers
sheets of colored paper
(blue, white, clear)
Length
Concept/Objectives
Activities
Toolkit Resource
1 class period
Students will create a
dance using the elements of dance and
locomotor and nonlocomotor movements.
Students review the
water cycle and the
elements and movements of dance.
Dancing the Water
Cycle from the
Teaching Creative
Dance DVD
Technology
Students will demonstrate an understanding of the
water cycle auditorily, visually, and
kinesthetically.
TV/DVD player
Vocabulary
Dance
dance elements
• space
• time
• force
locomotor
nonlocomotor
Science
condensation
evaporation
precipitation
water cycle
Students sing songs
about the water
cycle, create a visual
representation of the
water cycle, and create and perform a
dance based on the
water cycle.
Students will communicate their
understanding of the
water cycle by creating a dance that represents the stages in
the cycle.
Instructional Strategies and Activities
Note to teachers: This is the lesson plan that accompanies the Dancing the Water Cycle
model lesson demonstrated on the Teaching Creative Dance DVD. This lesson is
an example of a cross-curricular project that involved the collaboration of the science
and physical education instructors. In the Teaching Creative Dance video, this
lesson was conducted in the classroom with the science and P.E. teachers taking turns
leading the class. Review this plan as you watch the video.
Introduction
Begin the lesson by reviewing the water cycle with the students. Review the three
basic elements of the water cycle: precipitation, evaporation, and condensation.
Address different learning styles allowing the students to gain a better understanding
of the water cycle. Examples used in the video lesson:
Arts Toolkit Dance • Creative Dance • 439
• Auditory/Rhythmic: Students learn and sing two songs about the
water cycle.
• Visual: Show students different colors of paper. Ask students to match the paper
with a stage of the water cycle and put them in order.
☛ White
☛ Blue
☛ Clear
suggests a cloud
suggests water
suggests gas
represents condensation
represents precipitation
represents evaporation
Kentucky
Academic
Content
Big Idea: Structure in
the Arts
Academic Expectations
1.15
Exploration
Program of Studies
Hang three posters with the water cycle headings on the board or in another visible
location. Review the dance elements of space, time, and force as well as locomotor
and nonlocomotor movement. Have students suggest dance elements for each stage
of the water cycle; fill in the posters as the students give suggestions.
Understandings
AH-P/4/5-SA-U-1
Skills and Concepts
AH-P/4/5-SA-S-Da1
AH-P/4/5-SA-S-Da2
AH-P/4/5-SA-S-Da3
Evaporation
Condensation
Precipitation
Space:
Space:
Space:
Time:
Time:
Time:
Force:
Force:
Force:
Locomotor:
Locomotor:
Locomotor:
Nonlocomotor:
Nonlocomotor:
Nonlocomotor:
Core Content
AH-(EP)(04)(05)-1.2.1
AH-(EP)(04)(05)-1.2.2
Big Idea: Processes in
the Arts
Academic Expectations
2.22
Examples:
Space: levels, directions, pathways
Time: fast, slow
Force: heavy, light
Locomotor: walk, hop, jump, slide
nonlocomotor: swing, sway, twist, turn, melt, rise, fall
As a class, lead the students through some of the movements. This will allow the students to explore the space of the room and practice the dance moves.
Creation and Performance
Divide students into three groups. Each group will be given one of the water cycle
posters. The poster determines the stage of the water cycle dance that group is creating. As a group, the students will create a 16-count dance to demonstrate the stage
of the water cycle. The dance will have 8 counts of locomotor movement and 8
counts of nonlocomotor movement and include at least two different elements of
space, time, and force.
When all groups have created their stages of the water cycle dance, have each group
perform. The water cycle stages should be performed in order and repeated several
times to demonstrate that the water cycle never ends.
Add smooth, flowing music.
440 • Arts Toolkit Dance • Creative Dance
Program of Studies
Understandings
AH-P/4/5-PA-U-1
Skills and Concepts
AH-P/4/5-PA-S-Da1
AH-P-PA-S-Da2
AH-4/5-PA-S-Da3
Core Content
AH-(EP)(04)(05)-4.2.1
AH-(04)(05)-4.2.2
Science Core Content
SC-EP-1.1.3
SC-EP-2.3.1
SC-04-1.1.1
SC-05-2.3.1
SC-05-2.3.2
Support/Connections/Resources
Dance Content: Creative Dance for All Ages by Anne Green Gilbert
Science Content: FOSS Science Stories “Water,” published by Delta Education
The Water Cycle Songs: www.songsforteaching.com/curriculumrocks/watercycle.html and teachers.net/gazette/MAY02/crafts.html.
Open Response Assessment
Prompt:
The water cycle has three basic elements of evaporation, condensation, and precipitation. Dance also has three elements of space, time, and force.
Element pairings:
Space – evaporation
Time – condensation
Force – precipitation
Directions:
A. Look at the element pairings above and choose one.
B. Describe a dance movement that uses the dance element in your pairing that will
show the water cycle element it is paired with.
C. Explain how the movement will show the water cycle element. Be sure to support
your answer with examples and/or details.
OPEN RESPONSE SCORING GUIDE
4
• Student demonstrates extensive
knowledge of
concepts and
vocabulary of
dance/science
and applies this
knowledge consistently and
effectively.
• Student communicates this knowledge and understanding effectively and consistently
with insightful use
of supporting
examples and/or
details.
3
2
1
• Student demonstrates broad
knowledge of
concepts and
vocabulary of
dance/science
and applies
this knowledge
effectively.
• Student communicates this knowledge and understanding effectively with use of supporting examples
and/or details.
• Student demonstrates basic
knowledge of
concepts and
vocabulary of
dance/science
and some correct
application of this
knowledge.
• Student communicates this knowledge and understanding using
some supporting
examples and/or
details.
• Student demonstrates limited
knowledge of
concepts and
vocabulary of
dance/science
and makes inappropriate or
underdeveloped
application of this
knowledge.
• Student communicates this knowledge ineffectively
with little or no
use of supporting
examples and/or
details.
0
• No answer or
irrelevant
response.
Arts Toolkit Dance • Creative Dance • 441
Performance Assessment
Performance Event:
Working in a group, create a dance reflecting the water cycle.
Directions:
You will be assigned a stage of the water cycle. Work cooperatively with other students in a group to create a 16-count dance to demonstrate the stage. The dance
should include 8 counts of locomotor movement and 8 counts of nonlocomotor
movement and include at least two different elements of space, time, and force.
Show enthusiasm and attentiveness as you perform your dance with other groups to
demonstrate the stages of the water cycle.
PERFORMANCE SCORING GUIDE
4
• Student works
cooperatively to
create a 16-count
dance demonstrating the
assigned stage of
the water cycle.
• Group creates a
16-count dance.
• Dance includes
8 counts of locomotor movement,
8 counts of nonlocomotor movement and at least
two different elements of space,
time, and force.
• Student shows
extensive enthusiasm and attentiveness in performing the
dance.
3
• Student works
somewhat cooperatively to create
a 16-count dance
demonstrating the
assigned stage of
the water cycle.
• Group creates a
16-count dance.
• Dance includes
8 counts of locomotor movement,
8 counts of nonlocomotor movement and two elements of space,
time, and force.
• Student shows
enthusiasm and
attentiveness in
performing the
dance.
2
1
• Student works
with group to create a 16-count
dance demonstrating the
assigned stage of
the water cycle.
• Group creates a
dance.
• Dance includes
some locomotor
and nonlocomotor
movements and
some reflection of
the elements of
space, time, and
force.
• Student shows
little enthusiasm
and attentiveness
in performing the
dance.
• Student is minimally cooperative
in working with
the group.
• Group attempts
to create a dance.
• Dance includes
minimal variety of
movements and
minimal reflection
of the elements of
space, time, and
force.
• Student shows
no enthusiasm
and attentiveness
in performing the
dance.
0
• Non-participation
Author:
Rick Carr with Shelby
Ison, Northside
Elementary School,
Woodford County
Copyright 2004,
2008 KET
Reviewed by the
Kentucky Department
of Education
This lesson plan is part of
the Dance Arts Toolkit. To
order the entire toolkit or
for more information
about the Arts Toolkit
project, visit
www.ket.org/artstoolkit
or call (859) 258-7294.
442 • Arts Toolkit Dance • Creative Dance