Rutgers University

Mason Gross School of the Arts

Graduate School of Education

Dance Education Program

2016

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DANCE EDUCATION PROGRAM

07:207:403 TEACHING CONCEPTS 2

FIELDWORK LESSON PLAN & VIDEO

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Carson Michura

05/06/2016

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Catherine Gallant

PS. 89

201 Warren Street NY, NY

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Submitted to:

Dr. Barbara Bashaw, Graduate Director Dance Education, Rutgers University

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Dance Education Program, Rutgers University, B. Bashaw (2014)

LESSON PLAN

Danielson

CONTEXT

Other:

Title of Lesson:
Group shapes
Grade/Class:

Duration/Minutes:

Second Grade

50 Minutes

Demographic/Class Information:

1b, 4b

30 students in class

Tribeca, NY

Middle / upper class status

Mixed races, mostly white

Zero IEPs in class

Lesson Abstract:

4b

In this lesson, students will continue their exploration of Laban movement analysis (LMA) . They will
work to embody the shapes; ball, pin, wall and screw (twist). Students will create individual shapes
thru a freeze dance warm-up and will collaborate with the students in their group to create a final
shape phrase to then show to the class. The class will observe the group phrases and think about
what shapes that particular group included in their dance, and how they demonstrated these
shapes eectively or ineectively.
Video Clip Description:
The video clip(s) included for this lesson shows the beginning of class, the warm-up/anticipatory
set and the closure. These clips show the teacher addressing the class and task directions. The
students independently working on their task was not filmed for teachscape. The clips combined
amount to around 12 minutes. The tasks given in the video demonstrate the teachers direction and
the students responses to that direction.

Developmental Assessment:

1b, 1f, 4b

Dance Education Program, Rutgers University, B. Bashaw (2014)

Motor & Physical

Cognitive

Aesthetic

Social/Psychological

Stage 4: Industry (competence) vs. Inferiority

(Mirus et al., 1993)

(Fitts & Posner, Motor Development, in Haibach et al., 2007)

(George Graham, Motor Development in McCutchen, 2006, p. 66)

(Michael Parsons, Aesthetic/Artistic Development in McCutchen, 2006, p. 72-76)

(Nancy Eisenberg Psychosocial Development in McCutchen, 2006, p. 87-88)

Developmental Rationale:

1b, 3e

This lesson will test to see if the student is capable of working with others. The group work will text
their social skills as well as their collaborating skills and determine if they can work in situations
that are not dependent on only themselves.

Dance Education Program, Rutgers University, B. Bashaw (2014)

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LEARNING SCOPE

Danielso
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Big Idea/Concept/Organizing Principle(s): (Wiggins & McTighe, 2011)

1a

Body

Eort

Shape Change

Relationship

Freedom vs. Control

Unity vs. Diversity

Linear vs. Spiral

Concrete vs. Abstract

Other:

Topic or Theme: LMA shapes & movement qualities

Learning Objectives:

1c, 1f

Students will be able to:

Backward Lesson Design:

*Dance genre: Creative movement w/LMA

*Dance Topic & Theme: Shapes

By the end of this lesson, 9th grade students will be able to:

1. Identify and execute the LMA body shapes Ball, Wall, Pin and twist.

2. Recognize LMA motif symbols that match their shape

3. Use the LMA symbols to create a choreographic phrase

4. Perform the choreographic phrase without assistance

5. Critique classmates performances constructively using proper dance terminology with explanations for any
statements given.

NCAS Dance Standards Addressed:

1c

DA:Cr1.1.HSI : a.Explore a variety of stimuli for sourcing movement to develop an improvisational

or choreographed dance study. Analyze the process and the relationship between the stimuli and the
movement.

DA:Cr3.1.2 : a.Explore suggestions and make choices to change movement from guided
improvisation and/or short remembered sequences.

Related NJCCCS Dance Standards

1c

Related NYC Blueprint Strands Addressed:

1c

Dance Education Program, Rutgers University, B. Bashaw (2014)

Grade 2 Benchmarks

Dance Making:

Developing skills and techniques

- Articulate body parts, shapes and actions

- Execute basic locomotor movements

- Controlling traveling and freezing, starting and stopping

Choreograph:

-Choose and order the movements in a sequence with a beginning, middle and end

- Recall, repeat and practice the sequence

- Cooperate with a partner or small group

Perform:

- Recall, repeat and refine movement sequences

- Understand appropriate performer and audience behavior

NJCCCS 21

1c

Common Core or Other Subject Standards Addressed (if any):

1c

Prerequisite Knowledge Needed:

1a

Knowledge of:

How to choreograph short phrases

Work with a group to collaborate

How to locomote through space

Understand concrete & abstract ideas

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Dance Education Program, Rutgers University, B. Bashaw (2014)

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PROVISIONS

Danielso
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Materials List:

1d, 1e, 3c

Other:

Music:

Drums for warm up

Web Resources: N/A

Video: N/A

Literature/Books/Articles: N/A

Props/Materials:

- Poster for reference (attached at end)

Visuals/Charts/Graphic Organizers:

- Poster of 4 Laban shapes class is focusing on

- Note cards with LMA words & symbols to be assigned

to groups

Educational Technology Resources:

1d, 1e, 3c

N/A

Vocabulary/Word Wall:

3a, 3c

*See attached visual posters

Ball

Pin

Wall

Screw ( twist)

Locomotion

Preparations:
-

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1d, 1e

Determine grouping

Photocopy LMA cards

Hang poster

Gather drum

Dance Education Program, Rutgers University, B. Bashaw (2014)

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Danielson Other:

LESSON OPENING
Procedure Number:

Minutes:

10

Title of Activity /Episode:

INTRODUCTION/ANTICIPATORY SET/ENGAGE
Materials:
Used by Student: N/A

1d, 1e, 3c
Used by Teacher:

Drum

Activity Description:

1e, 2a, 2b, 2c, 2d,

2e, 3a, (3b), 3c, 3e

1. Students will arrive to class and take o their shoes

2. Students will then be instructed to find a spot on the floor away from others and will be told
to close their eyes and imagine a shape (LMA) shape.

3. The teacher will chose a student to share their thoughts with the class as well as
demonstrate the teacher given shape they imagined.

4. The teacher will play then instruct the class to stand up and find their bubble spot in the
space.

5. The teacher will then drum at dierent tempos and instruct students to locomote thru space
but to freeze in a ball, pin, wall or twist shape when the drum stops playing.

6. After a few times of freezing in these cued shapes, the teacher will use descriptive words for
the students to move as or freeze in such as moving through mud, walking on clouds,
walking on hot sand etc.

Check for Understanding/Assessment:

1f, 3d, 4b

* Learning Objectives addressed: 1

* Teachers will listen for correct visual ideas of the shapes when prompted to think of a like-shape

* During the warm up activities, teachers will observe students ability to stop (freeze) in a given
LMA shape and start (locomote).

* Teachers will observe whether the students are able to execute the cued shape

* Students will assess whether or not they were able to successfully execute the given LMA shapes
Activity Analysis:

4a

Cued response warm-up task

Explorative movement improv

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Dance Education Program, Rutgers University, B. Bashaw (2014)

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Danielson Other:

LESSON CORE
Procedure Number:

Minutes:

10-15

Title of Activity /Episode:

COMMUNICATING LEARNING OBJECTIVES AND PURPOSE
Materials:

1d, 1e, 3c

Used by Student:

Note cards with LMA shapes

Used by Teacher: N/A

Activity Description:

!!

1.
2.
3.
4.

1e, 2a, 2b, 2c,

2d, 2e, 3a,
(3b), 3c, (3e)

After the warm up, students will be instructed to gather around the prepared poster.

The teacher will review the LMA shapes and their symbols with the class.

The students will then be assigned a group and given 3 note cards stating which shapes their group is instructed to make

During the students self-practice, the teacher will check up on students and monitor progress

Check for Understanding/Assessment:

1f, 3d, 4b

*Learning objectives addressed: 1-3

* Students will determine how well they remember the Laban symbols for the 4 shapes on the
given cards when working with/speaking to one another within their groups

* Teacher will assess students understanding of the LMA symbols while assessing their group
work
Activity Analysis:

4a

Practice, Cued Response

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LESSON CORE

Danielson Other:

Procedure Number:

Minutes:

8-10

Title of Activity /Episode:

Group shapes show
Materials:

1d, 1e, 3c

Dance Education Program, Rutgers University, B. Bashaw (2014)

Used by Student: N/A

Used by Teacher: N/A

Activity Description:

1e, 2a, (2b),

2c, 2d, 2e, 3a,
(3b), 3c, (3e)

1. After completing the choreography of their group shapes, they will be assigned to show one
another their phrases and the teacher

2. The teacher will instruct students to watch and after showing, point out what shapes they
saw in detail.
Check for Understanding/Assessment:

1f, 3d, 4b

* Learning Objectives addressed: 1-5

* Teachers will observe whether the students are correctly executing the given
shapes

* Students will assess whether they are able to successfully perform their given
shapes

* Teachers will visually assess students performances for correct formation of
the LMA shapes

* Students will assess their understanding of the 4 types of shapes through
verbal discussion (and teachers will also assess students comprehension via
this verbal discussion)
Activity Analysis:

4a

Self-check, Practice

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Dance Education Program, Rutgers University, B. Bashaw (2014)

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LESSON CLOSURE

Danielson Other:

Procedure Number:

Minutes:

Cool down

3-5

Title of Activity /Episode:

CLOSURE
Materials:

1d, 1e, 3c

Used by Student: N/A

Activity Description:

1e, 2a, (2b),

2c, 2d, 2e, 3a,
(3b), 3c, (3e)

Students will use the remaining minutes in class to put on their shoes and cool down before their teacher comes to
gather them from the dance classroom. The lights will be turned o for this exercise, Students will be instructed to lay
flat on the floor by their wall spots with legs lifted onto wall. They will be instructed to close their eyes and take deep
breaths. The teacher will instruct them to breath in and out evenly while they wait for their classroom teacher to come
get them.

Check for Understanding/Assessment:

1f, 3d, 4b

Activity Analysis:

4a

Cued-Response

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Dance Education Program, Rutgers University, B. Bashaw (2014)

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APPENDIX A: LESSON DEFENSE AND SELF-ASSESSMENT

!New Jersey Professional Teaching Standards:

Standard 9: Professional Learning

!Danielson Framework for Teaching:

Danielson 4a: Reflecting on Teaching

Danielson 4e: Growing & Developing Professionally

LESSON DEFENSE & SELF-ASSESSMENT

Danielso
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GSE 1: Classroom Organization

4a

Other:

This lesson worked really well with this class. The direct task kept them on task and focused
throughout the lesson. The warm-up helped them visualize and practice making the LMA shapes
individually before they were asked to do it in a group. I would want to separate the groups during
the freeze warm-up so the watching group could observe the students dancings shapes, but that
may get out of hand with this particular class because of its size. A smaller class I would definitely
separate the groups.
GSE 2: Content

4a

This class has worked with LMA symbols and movement from preschool to 2nd grade, so doing an
LMA lesson seemed like a good way to teach them even more while still being familiar with the
topic. I would try to incorporate more of using just the symbols for them on the note cards instead of
writing the word too, but this is more advanced and could be used as a second lesson idea also.
GSE 3: Pedagogical Techniques

4a

I would definitely work on vocal profession especially with the class size being so big. I also realized
I didnt necessarily demonstrate any of the shapes so maybe I could try to incorporate that but I
also liked not demonstrating so the kids would generate their own ideas.
GSE 4: Assessment
I would really like to create some sort of worksheet-based assignment to go along with this lesson. I
think that would be a good way to reinforce what was taught during class.

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Dance Education Program, Rutgers University, B. Bashaw (2014)

DANCE SPECIFIC RUBRIC (2015)!

Unsatisfactory

Application of Laban
Movement Analysis

Movement analysis using

fundamental biologic/
physics and somatic
principles (BESSR)
critical for eective
dance teaching and
learning.

The teacher does

not yet evidence the
use of LMA to
support the scope
of teaching.

The teacher does

not yet distinguish
between the
dierent elements of
BESSR

Basic

Proficient

The teacher
evidences the use
of LMA during
some aspects of
teaching but
makes errors (i.e.:
during observing,
describing,
assessing,
feedback,
planning and
reflecting).

The teacher
applies some
elements of
BESSR
errors.

The teacher
evidences accurate
use of LMA during
some aspects of
teaching (i.e.:
during observing,
describing,
assessing,
feedback, planning,
and reflecting).

The teacher is able

to eectively target
BESSR
with accuracy.

The teacher applies

BESSR
movement links to
other curriculum.

The teacher uses

motif notation.

Some of the
teachers selected
teaching style
was not well
matched to the
intended dance
learning objective.

The teacher plans

and implements at
least one teaching
style
accordance to the
intended learning
objectives.

The teacher
makes some
errors in
employing the
teaching style
And/or the teacher
tends to prefer
one teaching style
overall.

The teacher
eectively selects
and adjusts several
teaching styles
during instruction
and in accordance
with the intended
dance learning
objectives.

The teacher
accurately employs
the basic
components of
each teaching
style2

The teachers
embodiment of
movement
concepts is
unrehearsed or
has some errors.

The teacher is
erratic in verbally
labeling the
critical attributes
of exercises
(technical or
creative).

The teacher uses

demonstration
methods that are
not eective for
the exercise (i.e.:
poorly timed, too
many elements,
poor angles or too
many facings,
inaccurate touch
cues

The teachers
embodiment of
movement
concepts is clear
and evidences
alignment
principles.

The teacher
verbally labels and
visually charts the
critical attributes of
exercises (technical
or creative).

The teacher uses

several
demonstration
methods eectively
(i.e.: mirror, facings,
touch w/ consent
non-verbal cuing,
hand gestures,
case study,
fishbowl, video
playback,
reciprocal, etc.)

Style Agility

Eective dance teachers

synchronize power
orientation and adjust
teaching style to support
learners in achieving the
dance learning
objectives.

The teacher
primarily uses cued
response when
other teaching
styles
employed to
scaold the dance
learning objectives.

And/or the teacher

is not yet selecting
teaching style
accordance with the
intended learning
objectives.

Demonstration
Methods

Physical demonstration
of exercises and
processes accompanied
by verbal and visual
reinforcement is critical
for eective dance
teaching and learning.

N/A??

The teachers
embodiment of
movement concepts
lacks acuity or
contains many
errors.

The teacher does

not yet describe the
attributes of
exercises/tasks that
students are
expected to
embody.

The teacher uses

inappropriate or
distracting
demonstration
methods (i.e.:
admonishing,
profanity, dangerous
moves,
inappropriate
touch

Distinguished

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Dance Education Program, Rutgers University, B. Bashaw (2014)

The teacher evidences consistent

and accurate use of LMA across
the scope of teaching (i.e.: during
observing, describing, assessing,
feedback, planning and reflecting).

The teacher is able to

comprehensively address BESSR
Students know and independently
apply elements of BESSR
The students apply BESSR
make movement links to other
curriculum.

The students know how to use

motif notation.

The teacher seamlessly employs

multiple teaching styles
instruction, providing students
with the opportunity to target the
dance learning objectives from
dierent learning angles and with
an emphasis on promoting student
decision-making and
independence.

The teacher eectively scaolds

each teaching style
pre-requisite experience for
students to be successful in the
style.

The teacher accurately employs

the nuances of each teaching style
employed

The teachers embodiment of

movement concepts is well
rehearsed, clear and evidences
alignment principles specific to the
genre/style being investigated.

Students verbally label and

visually chart the critical attributes
of exercises (technical or creative).

The teacher and students

collaboratively deconstruct
exercises using multiple
demonstration methods eectively
(i.e.: mirror, facings, touch w/
consent3
gestures case study, fishbowl,
video playback, reciprocal, etc.)

Students demonstrate selfassessment using criteria provided

by the teacher.

Students detect inconsistencies in

peer or teacher demonstrations.

Vocal Projection and

Intonation

Vocal skill is critical for

eective dance teaching
and learning.

The teacher relies

primarily on nonverbal
communication.

The teacher is not

yet aware of vocal
resonance and how
to adjust vocal
volume (i.e.: is
consistently too soft
or is consistently
too loud).

The teacher
evidences flat
tonality when
guiding movement.

The teacher
attempts to
project during
exercises, but
waivers or is not
yet able to match
the various
conditions (i.e.:
space, music/
sound
accompaniment,
background
noise).

The teacher
attempts to use
vocal intonation,
but it is not yet
well matched to
qualitative
attributes of the
exercise.

The teacher
demonstrates
eective vocal
projection during
some of the
exercises.

The teacher adjusts

vocal volume to
some elements
(space, music/
sound
accompaniment or
background noise).

The teacher
demonstrates
some vocal
intonation to
indicate and
support movement.

The teacher demonstrates

eective vocal projection when
guiding a variety of exercises
(technical, creative, lecture).

The teacher is able to adjust vocal

volume to the space, music/sound
accompaniment as well as
background noise.

The teacher is able to fluidly shape

vocal intonation to indicate and
support the essential qualitative
attributes of movement.

The teacher invites students to

vocalize while self- or peer-guiding
exercises.

1BESSR

= Body, Eort, Space, Shape, Relationship (Laban Movement Analysis)

Gibbons, E. (2007).Teaching dance: The spectrum of styles. Bloomington, IN: AuthorHouse.

3 Teacher initiated touch of minors for the purpose of demonstration and feedback requires parental consent.

BASHAW, BARYLICK, CURRY (2015) Dance Education Program, Graduate School of Education/Mason Gross School of the Arts, Rutgers University

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Dance Education Program, Rutgers University, B. Bashaw (2014)

APPENDIX B: VISUALS/CHARTS/GRAPHIC ORGANIZERS

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Dance Education Program, Rutgers University, B. Bashaw (2014)

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Dance Education Program, Rutgers University, B. Bashaw (2014)