“Songs for Dancing”: Walking Song – Extension Ideas
My friend Cissy Whipp, who teaches dance in an elementary school in Lafayette, LA, has taken the Walking Song from my new Songs for Dancing and adapted it for use a several developmental levels.
First, she printed the visual supports found on the CD, one large for all to see, and small ones for pairs, individuals, and small groups.
The simplest level would be to follow the guided version of the song, with the words, using some scaffolding with “I model, you copy” and “You explore, I say what I see.” For this, a large version of the visual support is helpful.
The next level would be to let students decide how they are going to interpret what the words mean and make up their own versions, with pathway, direction and other space elements.
As you move towards freeing the students to make their own choices, use the music-only version. Students make up their own sequences (and, potentially, their own visual supports) and perform them individually.
To make it more complex and introduce interaction, individuals get together with a partner, learn each other sequences and perform those in unison and sequentially. Going further, pairs find pairs and learn all four sequences, performing those in unison, sequentially. There is room for them to play with the spatial relationships, too. It can get quite complex and sophisticated…..bringing what is essentially a primary and pre-primary activity into the intermediate arena.
I haven’t had a chance to try this yet, but I intend to when our fall classes begin.
Lessons on Place
Here are a three downloadable lessons on the concept of place for ages 4/5, 6/7 and 8-10 taught in a studio setting.
Place for 8-10s
Place for 6s and 7s
Place for 4s and 5s
The 4/5s lesson is a 45-minute plan. The others are 60 minute lessons.
THIS IS TYPICALLY A DAY ONE LESSON. That accounts for the “Getting To Know You” activity at the top of the lesson for the two younger groups, before the warm up.
I always start with Place as a Day One lesson, to teach the difference between in-place and traveling movement. HOWEVER, when I teach in an early childhood site, I do not get to traveling movement on the first day (and often not for several lessons). Under those circumstances, I am interested in cultivating the body control and concentration that is necessary for successful teaching.
In my studio classes, however, we have a BIG ROOM, a SMALL GROUP, and AN ASSISTANT, which makes a huge difference.
Music resources are generally:
- All my CDs
- Contrast and Continuum Vol. I – IV by Eric Chappelle (pairs with Anne Green Gilbert’s concept-based approach, that I use) I use the abbreviation C & C, then refer to the Volume and the Track on that Volume (e.g. C & C Vol II #11)
- Gradual Motion by Peter Jones (good, general warm up music for modern dance)
- Music by Shenanigans (Dance Music for Children, and others as indicated)
- Music by the New England Dancing Masters (Jump Jim Joe, and others as indicated)
- Later lessons will also reference:
- Music for Dancers by Kerri Lynn Nichols (different rhythms, pulses and patterns)
- Various folk dances, including some from Sanna Longden - www.folkstyle.com
All of these resources are available directly from the artists or from West Music, except Peter Jones. Google his name and the title to get a link.
Prop resources include:
- yoga mats cut into square (1/8″ mats; one mat = 10 squares). yogadirect.com has lots of colors and good price.
- small traffic cones
- chiffon scarves from Seattle Display and Costume. Good quality and price. Bright colors and don’t fray. Long-lasting. (http://displaycostume.reachlocal.net/store/Chiffon.html)
- Later lessons will also reference other props including:
- pool noodles cut into 1 ft. lengths (with any kitchen knife)
Instruments:
- tambourine and stick. I like the Remo Economy with 10″ head and a double row of jingles, I play it with a soft-headed mallet.This is a must for cuing transitions, getting the children’s attention, playing the pulse.
- YOU MAY ALSO WANT…..
- pitched percussion – temple blocks. A pentatonic scale. Played with two sticks. If you have any good, inexpensive sources….please share. The blocks run upwards of $175. The are generally mounted on a stand. My woodblocks came from a sale at a music store and were deeply discounted.
- soprano recorder. I use this for transitions (as a clean up time cue after free dance at the beginning of class) and for movement quality contrast.
Spring Fever Lesson Ideas
Now that the weather is changing, the children are getting restless. Yesterday, I aligned my lessons with 3-5 year olds to address this.
Little Seed
One group did “Little Seed” from AlphaBeat. I set up the activity by first exploring body shapes and level changes. We also spent a little time on Energy, by doing a live version of “Drumtalk” (also found on AlphaBeat) and talking about the “S” words “Smooth,” “Sharp” and “Shaky.”
Then, we talked about seed shapes, roots and shoots. See the notes for the Companion Guide on the AlphaBeat page on my website (a download, available in the side bar). We explored three kinds of seeds and how they fall. Heavy seeds fall directly down, sharply. Light, blowing seeds drift down. Maple seeds spiral down. (I used the vocabulary spiral). We practiced each of these seed types, chaining the next one on as we learned it. Then, I asked them to choose their favorite one to use in the dance.
Then I demonstrated the dance with the music and asked them to observe what I did. Next, they all did it. Lastly, I divided the group into two and they took turns being ‘audience’ and ‘performer.’
With sufficient front-loading, this is a very satisfying activity.
Trees
Another group did the Trees poem from AlphaBeat and following that with “Travelers and the Magic Forest” (also on AB). As with the seeds exploration, for each new tree we chained on to the sequence. I kept it simple, combining their ideas (e.g. What does a king wear? A crown! What would the king of trees look like? We made a shape balanced on one leg (child’s idea) with a crown made from two hands (another child’s idea) or showing simple solutions (e.g. an aspen has trembling leaves. Let’s tremble our fingers.)
Keep drawing out the critical thinking from the children. (e.g. If a poplar grows up straight and tall, where would you start to show that? Being high or being low? Low!)
Travelers and the Magic Forest
We did this in four “quadrants” after scattering to self space spots. I joined each group to help them with the journey through the forest and back home again, and to help them see that traveling “between” the other trees was more fun that just going “around” the whole group (something they are used to from other activities). It helps when you have other teachers and aides in the room, to anchor different groups.
This could also be done in two groups. One stays, one goes, and they alternate three times.
Free Dance
Using “Free Dance” from the new Songs for Dancing, I have three students go into the middle of the circle to do their own dance, as everyone on the edge copies. After everyone has had a turn in the middle, everyone goes in and we all free dance.
This has been a great way to discharge that extra energy, to build community, and to be personally creative and expressive.
I follow that with “Resting” to bring everyone back to calm and centered focus.
Apples and Oranges
This dance, from Step on the Beat, also helps everyone dance in an exuberant, yet structured fashion. With the youngest, we don’t even attempt to hold hands and follow the circle line; we just turn around on our own spot during “circle ’round.” We reverse the rotation the second time.
Then, half the circle is Apples, and follows the leader (the teacher or aide) around the circle line (galloping or skipping) while the Oranges put on their binoculars and watch.
Next time, it’s the Apples’ turn to watch while the Oranges dance.
In the next full rotation, the children follow the circle line in the opposite line of direction (again, lead by you, having moved over to the other side) doing the same or different form of locomotor movement.
Happy Spring Dancing!
30-minute lesson plans for 3-5 year olds
Music Resources: AlphaBeat, Songs for Dancing, Brain Bop, Step on the Beat
Props and supplies: Tambourine and stick, yoga dots, small traffic cones
Lesson 1
Concept: Place (Self Space) and Social Skills (Listening, Body Control, Taking Turns, Imagining)
Note: Teach Body Shapes for Learning as you need them. (Songs for Dancing p. 55)
- Down By The Station – to come to the circle (Songs for Dancing #1)
- Welcome Song (Songs for Dancing #2)
- Listen and Repeat: Our Brains are inside our heads
Brain Bop Warm Up with music (Brain Bop #1 & 2) - Listen and Repeat: Self Space, Stay in one Spot
Action Dance (AlphaBeat #10) - Resting (Songs for Dancing #38)
- Review Key ideas (see Listen and Repeat)
- Take the train back to the door (either Songs #1 or instrumental only #22)
Lesson 2
Concept: Direction
- Down By The Station – to come to the circle (Songs for Dancing #1)
- Change Heads/ Everybody Do This (1 set) (Songs for Dancing #4 & 5)
Clap-Tilt-Flap-Bounce - Sodeo (AlphaBeat #1)
Model Forward, Backward, Side to Side. Grab “up” and “down” telephones to “call the doctor”
Tip: I think about stopping and I stop. (Use this to model preparing to stop and change directions from moving forward to moving backward, etc.) - Little Birdies (Songs for Dancing #19)
Model line of direction for flying. - Resting (Songs for Dancing #38)
- Closure
Lesson 3
Concept: Shapes & Body Parts
- Down By The Station – to come to the circle (Songs for Dancing #1)
- Brain Bop Warm Up (Brain Bop #1 & 2)
- Body Shapes Jam (AlphaBeat #8)
Front-load the rhyming parts extensively. (See downloadable Companion Guide on AlphaBeat page for rhymes)
Do once sitting, once standing. - Stick Together (Step on the Beat #3)
First, practice “driving” through the space with a magic dot, dropping the dot on the ground, standing on the dot/jumping on the dot, picking it up and repeating. Next, everyone starts on their own perfect spot. Practice sticking parts together to make a shape and traveling in that shape. Keep this part brief. Then put on the music.
Tip: I think about stopping and I stop. (Use this to model transition from traveling to stopping to make shapes)
OR
3. Shape Song (Songs for Dancing #8) Use visual support downloadable from the CD
Resting/Closure/Reflection
Lesson 4
Concept: Energy (Smooth, Sharp, Shaky, Swinging)
- Down By The Station – to come to the circle (Songs for Dancing #1)
- Change Heads/
Everybody Do This (2nd set) (Songs for Dancing #6 & 7)
Twist – March – Yawn/Sleep – Kick - Concept Introduction using letter “S” visual supports
Sm = Smooth
Sh = Shaky, Sharp - Popcorn and Melted Butter (Songs for Dancing #16)
Reflection: When were we smooth? Sharp? Shaky? - Imaginary Journey (AlphaBeat #11)
Reflection: Where did we go? What did we do when we were there?
Add two more “S” words.
Sw = swinging (as we skipped through the meadow, which is a field with flowers and sunshine)
St = still, stopped, stuck (when we were in ‘sticky glue.’) - Resting/Closure/Reflection
Lesson 5
Concept: Speed – Slow and Fast
- Brain Bop Warm Up
- Drumtalk (AlphaBeat #7) or live with tambourine and stick
- Introduce the concept
- Trip to the Zoo (Songs for Dancing #15)
Show Animal Pictures first (see downloadable visuals).
Decide on speeds with the children.
Use cones or dots to divide the space into two lands, slow and fast.
See DVD for detailed modeling ideas.
Review - Resting
- If time: Little Birdies (Songs for Dancing #19)
Reflect on when Birdies are slow and fast - Closure
Lesson 6
Concept: Locomotor Movement Skills: Galloping and Skipping
- Warm Up: AlphaBeat #3-6, Everybody Do This or Brain Bop Warm Up
- Introduction to galloping (see Songs for Dancing DVD modeling)
- Galloping Song (do in two groups, divided into Apples and Oranges) (Songs for Dancing #11)
- Do Apples and Oranges (Step on the Beat #1) – with gallop away and back.
- Introduction to skipping (see Songs for Dancing DVD modeling)
- Skipping Song (whole group activity) (Songs for Dancing #12)
- Repeat Apples and Oranges – with skip (and gallop) away and back.
- Resting
- Review/Closure
Twenty-minute lessons for Ages 3 – 5
Here is a sequence of five, 20-minute lessons I taught to 3-5 year olds in an Early Childhood setting with approx. 18 children, 1 lead teacher, 1 – 2 assisting teachers and myself. Creative dance was entirely new to this population. We worked in an open space, cleared of all supplies, with a circle marked on the floor with gym tape (starting with Lesson 3, for teaching “Sodeo”). Music Resources: AlphaBeat, Brain Bop, Step on the Beat, Songs for Dancing
What type of jazz type music is good for kids?
It depends on the style of jazz you are teaching, the phrases you are choreographing, the dances you are making.
Any time I hear a “jazzy” tune, I make a note of it and add it to my compilation.
Here are some that have caught my attention…
- “Twisted” by Lambert, Hendricks and Ross
- “Yellow Moon” by the Neville Brothers
- Various tracks by Joe Zawinul and Weather Report (e.g. “Birdland”)
- Various tracks by Pat Methany
- Various tracks from “Comparsa” (an album by Deep Forest)
What are you using?
Costumes for Creative Dance Performance – What to do?
Kerry B asked:
Do you think that kids need to dress in “costume” for performances to portray a certain character……..Is it necessary or could be too distracting and take away from the dance itself.
I am doing a movement sequence about horses and butterflies for my kids ages 4-5 (creative ballet and movement). Could they just wear dance clothing and uses their simply dance and pretend to be whatever animal or person we put in the story? I know many parents want them to “look cute” , but hats fall off, wings get caught in hair ect.
My personal thoughts are it is a dance performance, not a costume show……but now to convince others.
My thoughts on this:
For an informance, children dress as they wish, following the basic safety rules: no shoes, hair off the face, comfortable clothes.
For an abstract dance, ask for a color scheme that everyone has in their wardrobe:
- jeans and white shirts
- black bottoms and bright colorful tops, no patterns (or worn inside-out if patterns will show, keep a scissors on hand to snip off tags)
- dress as a twin with your partner; work it out with your partner
For a theme-based dance, ask for colors that suggest the theme:
- water dance: everyone wears cool colors (blue, green) and off white
- fire dance: everyone wears warm colors (red, orange, yellow)
For characters, add a costume piece that suggests the role
- bandana around the neck for cowboys, pioneers, etc.
- vests and ties for “boys” and “girls” (even if the whole cast is female)
Keep it simple, inexpensive and easy-on/easy-off.
One of the things that differentiates our work from Ballet/Tap/Jazz/Baton studios is that we de-emphasize the expenditures on the clothes, stay away from competition, and put the emphasis on the creative.
Informal Performance Reflections
The question is: How do you plan the overall lesson for an informal performance that showcases concept-based, student-centered creative dance learning? Do you first choose student favorites, then matching a concept? Do you choose a favorite concept lesson, and match activities? Or do you try something else?
Here’s what my college students had to say about that:
Response #1: I liked the way that we planned the informance by starting with the children’s favorites and then finding a concept lens that best fit. Since it is the children’s last day and they want to show off what they have learned, this gives them an opportunity to do so.
Response #2: The concepts themselves can be easily formed to fit different activities. But overall I think when choosing between a popular activity and the concept, the kids want to do their favorite activities. Therefore, I think favorites win out over concepts in the end and that’s fine for an informance. However, I’d also consider choosing the concept first and then finding favorite activities within the given concept to plan the informance. In a way I’d find that easier, but not as creative or fun.
Response #3: Asking the children their favorites gave valuable information and made them more willing to participate fully in front of their parents. However, I would take into account what activities go together well when choosing a concept; although something might be a favorite, it might not fit will with some of the other activities they chose. I believe choosing a lesson plan that is consistent and maintains the same thread is important when showing to an audience.
Response #4: By asking yourself what concept you would like to emphasize and then selecting activities that work well might limit you as to what activities you’d choose, or stop you from being as creative with which activities could work for any concept. But ultimately, I think either process could work well.
Mirror or not?
I was thinking about when to use the mirror and when to pull the curtain when teaching. For my 4/5 and 6/7 classes, I don’t use the mirror at all.
We want to encourage a healthy self-image, sensory experience, and awareness of others.
We want students to have 360 degree awareness, not a “flat front” awareness.
When my co-teachers work with the 8-10s, they leave the curtain open.
As the children choreograph, they check their shapes in the mirror. When they go across the floor, they occasionally check their line.
When to say ‘yes’ to the mirror, and when to leave it out? What are your thoughts on that?
Informance versus Recital
With our Fall semester closure coming up on Saturday, we’ve been talking about the difference between an informance and a recital (based on Anne Green Gilbert’s description in her book Creative Dance for All Ages (pp. 53 -55). Here’s what my college students observed:
Why choose an informance over a recital?
1) An informance allows all the students to always be participating and to learn and watch each other. It is also a way to share information and all that the children have learned throughout the semester to the parents and guests attending. It is a chance to educate the community about the program and the benefits of creative dance. At a recital there is a lot of down time and emphasis on the performance instead of constant engagement and learning together.
2) In an informance we are able to explain concepts and interact with parents. They are able to see and experience the learning process as it occurs in the classroom versus just watching as in a recital. It is at this time that we are also able to explain the value of and benefits of creative dance.
3) An informance allows for the children to show and tell and their family can take part in the activities as well. A recital is all show and it is easy for the children to get nervous and shy. So the informance adds more value to the performance and everyone can experience what each other has learned.
4) An informance is much less pressure on the kids, allowing them to show what they’ve learned in a supportive and welcoming atmosphere. Informances are also more productive than recitals for the kids because the learning involved for a recital is very static (kids perfect the teacher’s choreography for many weeks), whereas when preparing for an informance, kids explore all dance concepts, practice movement combinations, collaborate with others, and create dances themselves. This is a much more enriching process.
5) With a recital you’re pushed to spend your class time “rehearsing” to prepare for it. Where as in an informance you’re still having the students explore even as they’re showing off to the audience. This way you’re sharing your progress and development with the viewer, instead of having them dress up and show off something that was laid out for them.
6) I love the duality of an informance: informational and informal. What a great way to capture two aspects of this class and it’s purpose! Choosing an informance makes sense because it’s really showcasing the active involvement of the creative process. It isn’t just performing, it’s allowing for understanding and processing of why the dancers are doing what they are doing, and why the teachers are assigning the ‘assignments’ they assign. It allows for an opportunity to explain the benefits of creative dance and provides an opportunity to educate not only your students, but the community as well.
