NOTES FOR TEACHERS Included in this resource. This resource provides context in relation to the ‘isms’, meaning romanticism, classicism, modernism and post modernism. The examiners reports refer to the importance of “context where relevant” being a key factor for missing marks in the higher bands. Your students, where relevant should be able to put the works they are studying into the context of these art movements. Contents Notes for teachers on the artistic and architectural movements of Classicism, Romanticism, Modernism and Postmodernism and links to the ‘isms’. 10 pages of contextual information, images, and discussion points for your students. Timeline for Gene Kelly, Bob Fosse and Jerome Robins A suggested task to use this information. Essay structure and an example of how to include this contextual information.

This complete PPT lesson provides a detailed overview of the structure of a ballet class. It is designed for a teacher who already teaches ballet, there are no instructional videos. The PPT allows students to understand and follow the structure of a ballet class with a focus on developing skills for pirouettes. This PPT can be used for a full 6 weeks with the teacher building lesson on lesson with new exercises to fit the laid out structure of class.

NOTES FOR TEACHERS The development of American Jazz dance from the 1930s to 1975 was influenced by a combination of social, economic, and historical events – this is context. Key figures like Gene Kelly, Jerome Robbins, Bob Fosse, and others played significant roles in shaping this art form and AQA want you to be able to put this into context when writing your essays. Below are some of the key events and contributors that impacted American Jazz dance during this period. With your students discuss these events. Assess prior knowledge and the impact or effect the time we live in has on the art we create and therefore the development of a style like American Jazz Dance. Included in this resource. This resource provides social, historical and cultural context for the USA from1900 – 1975. The examiners reports refer to the importance of “context where relevant” being a key factor for missing marks in the higher bands. Contents Notes for teachers 22 pages of contextual information, images, and discussion points for your students. A suggested task to use this information. You are free to use this information however you feel appropriate. Essay structure and examples of how to include this contextual information.

23 page workbook designed with BTEC, NCFE and ASDAN Performing Arts courses in mind. Editable for you to make more specific to your course or use as is for your students. Real world situation: Dance Showcase You can change what you are designing for or keep as is: Dance Showcase with three trios that need the production roles of Costume Designer, Set Designer and Hair and Make-up Designer filled. Page 1 states the purpose of the workbook as follows: In this workbook are activities that will contribute to your final grades this year. You will be assessed on your research document and logbook entries (Criteria 1), on your participation and contribution in rehearsal (Criteria 2), your performance and application of performance skills (Criteria 3) and finally your contribution to the production process (Criteria 4). You can be awarded pass, merit, or distinction for each of these criteria. What does this mean? To complete criterion 4, you must complete some design tasks. Below is a list of options, you must complete at least two of these roles. To achieve a distinction, you need to produce work that is successful as well as inspired and inventive; the work will demonstrate a concrete understanding of stimulus, choreographic intention and overall dance ideas. Be sure to read all the tasks before deciding on which 2 to complete. Design options – you must complete at least 2 ● Costume – developing and shaping ideas, e.g. mood boards, producing draft sketches, pitching ideas, making changes, refining ideas and creating final designs, e.g. drawings showing construction methods and materials ● Set – developing and shaping ideas, e.g. mood boards, producing draft sketches, pitching ideas, making changes, refining ideas and creating final designs, e.g. scale plans, 3-D models and annotated drawings ● Make-up – developing and shaping ideas, e.g. mood boards, producing draft sketches, pitching ideas, making changes, refining ideas and creating final designs, e.g. facial plans.

In this workshop lesson your students will explore codified actions that we all use and how this idea has been used in ballets to aid the storytelling. Task include: Watching excerpts from Sleeping Beauty by Marius Petipa Creating your own mimed conversation with emphasis on dance terminology like actions and dynamics Performing to peers and appreciating each others ideas Reflecting and improving your work through rehearsal Reflecting and reviewing an a section of Sleeping Beauty to demonstrate critical appreciation skills This lesson has teacher guidance on some slides for non-specialists and has a strong drama element to it as well.

This is a 3 part lesson exploring ways to build tension and tell stories through dance. The lesson is focused on the work of Jerome Robbins “West Side Story” Lesson 1: Learn some stylised actions (videos provided for the non-specialist). Students explore the impact of the infamous walks and clicks and choreograph their own short sequences using this idea. Lesson 2: Focused more on the stylised actions and using them to develop the work from the previous lesson in their groups Lesson 3: Focus on expressive skills and preparing for performance of their work. Students will perform and then watch an excerpt from the musical to reflect on demonstrating critical thinking and appreciation of Jerome Robbins choreography. There are teacher guidance notes throughout, feel free to adapt and change slides according to your students needs.

This free resource is the first of three lesson workshops exploring how Jerome Robbins builds tension and tells stories through dance. In this lesson students can learn some stylised actions (videos provided) and develop a short group sequence as “The Jets”. This lesson was written for year 8 but can be adapted for older and younger dancers. The final task can also be extended into a second lesson of refining their work ready to perform it. Look out for the next two lessons if you enjoyed this one!

This is the introduction lesson to my Capoeira scheme of work. In this lesson students will learn the basic actions (images and video linked in resource). Please note it is best that you learn these actions yourself prior to delivering the class so you can demonstrate them. Students then create their own short sequence as a soloist and then develop this in pairs. At the end of the lesson students watch an excerpt from A Linha Curva to reflect on how Itziki Galili incorporated this in his work (Links to GCSE). The full scheme of work and resources are available in my shop should you like this lesson.

In this lesson students will: Describe the lighting in Infra Understand why the lighting has been used by Wayne McGregor Be able to answer exam questions based on lighting. This free lesson guides you through the criteria for writing a 12 mark essay question on: Explaining how lighting enhances our understanding of Infra. If you like this lesson you can buy the bundle of 6 lessons including this one plus two on costume, one on aural setting and one on set design

12 mark “Comparison Question” based on A Linha Curva and Emancipation of Expressionism This is two part lesson (one hour each) that will guide your students through writing their 12 mark essays. In lesson one as a class you construct the best possible essay based on comparing costumes in these two works. In lesson two your students are challenged with choosing another feature to compare. You will need to adapt according to your students ability, this may take 3 lessons for some.

Revision Carousel - Section A GCSE Dance This is an activity for year 11s to revise for section A of the paper. In this session your students can choose the activity that best suits their revision needs. There are 3 areas to choose from. Decide on which order you wish to complete them based on your needs: Hypothetical choreography 1; writing a choreographic intent, writing a motif, ways of developing motifs Hypothetical choreography 2: writing a choreographic intent, choreographic devices, structures in dance, performance environments Skills in dance: Physical, technical, Expressive, Mental, ASDR, Defining key terms, warm up/ cool down, writing exercises, giving reasons for skills

This ppt follows on from “Analysis of choreographic content - Within Her Eyes” and “Analysis of choregraphic content - Artifical things” and continues to break down the choreographic devices, relationships and key movement phrases in the focus sections in order to compare them and embed the learning further. This resource is designed for students to edit together so I have used it in google slides to achieve this, however you can adapt this should that not be an option for you. The collaborative nature of the lesson allows for students to explore the set work as a team in order to build a response to 6/12 mark questions on choreographic content and approaches.

This ppt follows on from “Analysis of choreographic content - Artificial Things” and continues to break down the choreographic devices, relationships and key movement phrases in the focus sections (Dave and Laura’s Duet, Tumbling and Gliding). This resources is designed for students to edit together so I have used it in google slides to achieve this, however you can adapt this should that not be an option for you. The collaborative nature of the lesson allows for students to explore the set work as a team in order to build a response to 6/12 mark questions.

This ppt covers 2 lessons that break down the choreographic devices, relationships and key movement phrases in the focus sections (Kneeling, Flow two and Floor). This resources is designed for students to edit together so I have used it in google slides to achieve this, however you can adapt this should that not be an option for you. The collaborative nature of the lesson allows for students to explore the set work as a team in order to build a response to 6 and 12 mark questions.

In this resource you will have 6 lesson PPTs: Analysis of movement: daughter and mother Analysis of movement: son and father Analysis of set and props Analysis of costumes Analysis of Lighting Analysis of Aural setting I have taught this myself with my own students and it was very successful.

This resource is designed for you to present whilst students also have copy and complete the tasks. In this double lesson students will explore the context of Max Richters composition for Infra and the relatinoships between movement and aural setting. By the end of lesson two students will have planned and written a 6 mark question on the Aural Setting of Infra: Using your knowledge of the aural setting used in Infra, discuss how aural setting is used to enhance our appreciation of this work. (6 marks)

In these two lessons, students will look at a 6 mark question on costume. This is scaffolded to allow students to name features, describe them, interpret them and link to the choreographic intent of the work.