Workshop 4- Telling Stories: Morris Bush Dance

Lesson
Today's class began with an activity reflective of Aboriginal culture. As a class we made our way outside the Courthouse theatre to locate a Eucalyptus tree. Jacqui informed us that we were going to partake in a tree welcoming ceremony based on a traditional Aboriginal custom. However, before this was to take place, in order to get us thinking creatively, Jacqui posed the question, "how could this tree resemble us?". It was interesting to listen to some of the other students responses! We we then instructed to take a branch from the Eucalyptus tree and it was mentioned that, just as the aboriginals do, we are to quietly day thank you. I found  this to be a really moving experience, as although I have learnt a lot about Aboriginal history and culture throughout my schooling, I have rarely participated in any of their traditional customs.

Following this, we made our way back to the theatre in order to prepare for some dancing to take place. In order to maintain the traditional Aboriginal rituals, we then used the branches we had plucked from the trees to 'cleanse the space' around us. This was down with a sweeping motion on the ground and in the air all around us. Next, we threw our branches into the 'fire' in order to create the smoke. We each heated our hands on the fire in a cannon-like routine. As we swept the area we performed the chant, 'Nah Nah Nakin Nah'. During this activity we also worked on our stamping skills, which was representative of us stomping on the earth.

The next culture we investigated through dance was that of the bushwhackers, who partake in bush dancing in the stock yard dance. This was probably one of my most enjoyable dances from any workshop as i enjoy performing learnt dances, and i really enjoyed the fast-pace, relaxed attitude that goes with this particular style. As there was only one male in our class of 9, Jacqui set about dividing the group into boys and girls as this dance required different movements for each gender. As a girl, I was instructed to make my way to the centre of the circle and curtsy, as did the other girls, while the males were instructed to bow. We were taught how bush dancing was used as an important tool in improving people's socialisation skills. As many of the farmers etc who would participate in this genre would lack much human contact for the majority of their week. My favourite part of the dance was moving around the circle linking arms with each other!

Next it was time to explore African culture through dance and we were taught the 'Gahu' dance which originated from the people of Ghana, the Ga people. We began by moving around in a circle, which Jacqui informed us was our way of honoring Mother Earth. I really liked this idea and the way the Africans display great gratitude for the different features of nature. It was explained to us that they refer to the earth as 'Mamma Africa'. Before participating in the dance, we got to place a Kanga around our hip area which was a kind of shawl like piece. It was used in order to assist us in accentuating our hips. The different themes produced in the dance included a sense of earth and pride, the sun shining from our hearts, moonshine from our hips and starshine from our pelvis area (which brings in the next generation). I thoroughly enjoyed performing such a meaningful dance and appreciate the significance behind the African style of dance.

I believe that all of these dances would be excellent to introduce into a primary school setting. Furthermore, these dances provide the additional benefits of teaching children about a variety of cultures, and promoting a sense of appreciation for this earth. I also think children would enjoy utilising props when dancing (Branches and the Kanga) and believe the teaching of Aboriginal History through any means possible is imperative. In order to prevent any uncomfortableness among the students (particularly those in 5/6) I think it would be a good idea to allow them to hold onto each others shoulders when moving around the circle in the Gahu dance.


                                                  African Gahu Dance

Learning outcome
Cognitive:Students use synthesis to combine the learnt elements of each cultural dance to perform a coherent piece.
Affective:in relation to organisation students are able to organise the values and beliefs of the different cultures respresenting them through traditional dance.
Psychomotor:Students further enhance their skilled movements by learning the various skills and techniques associated with the cultural dances taught.

VELS

All students should experience learning in the disciplines and forms of the Performing Arts (Dance, Drama and Music) and Visual Arts (Art: two-dimensional and three-dimensional, and Media). Learning and teaching programs at this level involve these arts disciplines individually (for example Visual Arts – Art: two-dimensional and three-dimensional), or in combination (for example, Dance and Drama, or Media and Music).

References

Elikem S, 2011, Gahu African Dance, North Carolina Asheville US, retrieved 10 October 2012, <http://www.youtube.com/watch?v=jbeLcQOaPVk>/

Workshop 3- African Body Percussion & Soundscapes

Lesson:
In today's class we were informed that we were to be focussing on body percussion, a revolutionary dance. The technique of body percussion involves using various body parts to create a sound as well as performing a dance. It was and continues to be used in many countries folk traditions.

We started the lesson by viewing some YouTube clips which showed the Gumboots Dance Story that was performed in the Playhouse Theatre in London. The movements in the film were incredible and highlighted the talent of the performers who originated from South Africa. The vary skills they had to perfect in order to create such a performance was their use of movement, memory retention as well as body alignment. These skills are also a great addition to any primary dance education classes. We also viewed a clip on the world renowned performers of ‘Stomp’, who again proved to possess extraordinary body percussion skills and was heavily influenced by the 19^th century South African dance.

The warm-up activity for this workshop involved the use of Soundscape. Jacqui placed herself in the centre of the circle and created the Soundscape by performing a variety of movements with her body that made a sound. She did so, by beginning at one student and slowly progressing to the rest of the group. Until Jacqui was face to face demonstrating her movement to you, you would continue to perform the previously instructed movement. This was an enjoyable activity and was a good basis for exploring the various movements one can create with their body.

Our Groups Soundscape

After this activity, we placed ourselves in groups of 3 and were instructed to create our own soundscapes. We create a soundscape which was based on a natural disaster or any human process. Our group decided to create a soundscape on the process of getting up in the morning to the sound of a ringing alarm. We chose to incorporate many sounds into performance including the stomping of our feet, rubbing of our arms, clapping of our hands and clicking of our fingers in order to demonstrate the process. When it came time to perform to our peers, each group was asked to forbid from revealing their chosen topic in order to allow them to guess it instead. Furthermore, those who were in the audience were encouraged to think of a question about each performance. This questioning was used as a means of determining performance representation and can be useful when teaching dance to primary school students.  Jacqui highlighted how questioning on topics such as the use of space, sound, relationships, juxtaposing levels, group structure, spatial organisation and  locomotion can be important in generating classroom discussion.

After the Soundscape activity we progressed into exploring gumboot body percussion. In order for us to be able effectively dance like the dance creators from South Africa, Jacqui stated that we need to ensure we freely move our hips as they do. In order to attempt this we moved around a circle while we swung our hips from side to side holding on to the person’s hips in front of us.
Whilst still in the circle, a variety of upper body movements were introduced as well as a series of African chants much like the Zulu tribe.

Our final activity involved a recreation of the Gumboot Dance story. In order to learn the somewhat difficult techniques, Jacqui took us through the steps whilst we were still standing in the circle. This ensured that we could master the moves at our own pace and then arrange them altogether to create the piece. Once we had successfully mastered the elements we got with a partner and attempted to perform the piece in unison. As each pair was rehearsing, Jacqui made her way around to each group to confirm their movements were accurate and assist with any complications. Once it was confirmed that each pair had got the moves down pat we performed the piece as a whole group on the courthouse stage whilst a student recorded it.

Overall, I think this activity would be a beneficial task to incorporate into a primary school setting as not only is it inclusive, with every student involved but it is also very informative regarding the culture of Africa. Furthermore, I feel that some students work better when performing learnt work as if they are lacking confidence they don't have to worry about creating their own moves.

Learning Outcomes
Affective:in relation to 'Characterisation by a Value Complex' students will be able to create a soundspace which reflects a natural distaster or a daily process.
Cognitive:In relation to synthesis students will be able to form a coherent dance based upon the use of Soundscapes. Students will also be able to comprehend the features of a soundscape.
Psychomotor:Students will develop their skilled abilities in relation to soundscapes, when mimicking the teachers movements throughout the warm-up activity and performing a learnt version of the Gumboot Dance Story. Students will also build upon their basic fundamental movements.

                                         Gumboots Dance Story

References

N/A, 2007, Gumboots Dance Story, The Playhouse Theatre, London UK, retrieved September 28 2012, <http://www.youtube.com/watch?v=ce_2p9wQRS4>

Workshop 2- Site Specific Dance

Lesson:
Today’s workshop involved reminiscing on some of our experiences during teaching practicum as well as venturing out into the public to partake in some site specific dance . The lesson began by getting each student to think back to their time on teaching placement and evaluate the overall experience of it by rating it on a scale of 0-10 with zero highlighting an excellent experience.  Due to a fairly enjoyable experience during my teaching rounds I chose to place myself at number 3 on the scale. The remaining students in the group were spread out along the line and 2 fellow peers also placed themselves in the number 3 spot.

Once every student had placed themselves on the scale, we each took a turn in choosing one descriptive word which summed up our overall time on teaching practicum. I chose the word ‘chaotic’. Next, Jacqui instructed us to then come up with a movement that signified the chosen word. We took turns in demonstrating our movements to our peers and then used these movements in a whole group activity. In this activity we formed a circle and moved around it, while each student took a turn of entering the middle and saying their word along with performing the movement.  This was done a couple of times and during the last round we were instructed by Jacqui to enter the centre of the circle, using an interesting locomotive technique. Following this warm-up we were placed in groups of 3, based upon our positions on the scale of 0-10. In these groups, were created a performance in which each of our group members had to perform their own movement as well as each other individuals in the group. Our group chose to stand in a V shape, where 2 of us were standing in the front and one student was at the back in the centre of us.  We were able to incorporate the movements any way we wanted and allowed the inclusion of levels, retrograde, repetition, contrast, cannon and unison. Once these were created we performed them for our peers.  The students who were watching the performance were encouraged to give feedback.

 Following this, we used these small group performances as part of our whole class presentation. The whole-group dance began with us starting in the positions we placed ourselves among the scale.  We then took 3 steps into any negative space and performed our individualised movement. This was repeated numerous times and led us into our small group starting position. Continuing on with the whole group dance we performed our small group creations at the same time as the rest of our peers did. As our groups’ performance was significantly shorter than the other groups we repeated the steps twice. The warm-up activity we completed in a circle was also incorporated into our final performance. The final position in our dance involved us forming a straight line across the stage in which we again, one at a time, announced our chosen word whilst performing its movement.

Before we embarked on our site specific work we were informed of the creative arts dance making process called ISARE. ISARE stands for improvisation, selection, arrangement, refinement and evaluation and provides a beneficial tool to use when taking dance class. Jacqui also mentioned the importance of ensuring that all students feel safe in the classroom and have a stable social structure.  This not only allows for higher self-confidence but encourages every student to be an active member of the class.

For the second half of our lesson, Jacqui took us outside to Johnston’s Park to begin our site specific work. During this time we participated in a ‘follow the leader’ type activity much like that of the one in the first workshop. We had a couple of turns doing this activity and some students volunteered to be the leaders.  Next we examined a statue of King George V and took it in turns to create a dance movement based upon any aspect of the statue. I chose to move my arms in such a way that it emulated his moustache.

The final part of the lesson involved us lying down on the lush grass of Johnstone Park and closing our eyes as Jacqui instructed us to feel and sense the earth around us. I found this activity to be very calming and peaceful.  The last activity we did was a Tai Chi lesson where we stood facing Jacqui as she guided us through the movements. During this activity, it was importance to maintain our balance as posture to ensure for best results.

                                                     Surprise Site Specific Dance-Columbia University

 Learning outcome

Affective: in relation to 'responding', the students observed the statue of King George V and engaged with it. The Thai Chi activity assists students in understanding and valuing their bodies.

cognitive: Students use the knowledge of descriptive words to create a movement that reflects this chosen word. Students are able to recognise the features of site specific dance and the art of Thai Chi.

Psychomotor:Students develop their reflex movement during the site specific performance, as they make involuntary movements to the stimluli present. they also work on their skilled movements and physical abilities when they perform Thai Chi.

VELS

At Level 3, students create and present works in a range of arts forms that communicate experiences, ideas, concepts, observations and feelings.

In Dance, students create a movement sequence based on ideas and feelings suggested by one or more images viewed in class.

At Level 3, students comment on the exploration, development and presentation of their arts works, including the use of specific arts elements, principles and/or conventions, skills, techniques and processes

References

Henderson, G 2011, Surprise Site Specific Dance, Columbia University, Low Plaza US, retreived 18 September 2012, http://www.youtube.com/watch?v=pQor8gYhHk4

Victorian Curriculum and Assessment Authority 2009, Victorian Essential Learning Standards, State Government of Victoria, retrieved September 18 2012, <http://vels.vcaa.vic.edu.au/

Workshop 1-Making Ideas Dance

Lesson
Walking into the Courthouse theatre, it soon became apparent that we were going to enjoy the coming weeks of dance workshops as an intimate group of 9 students. Jacqui Dreessens introduced herself as our teacher, and we were all familiar with her from our previous experience in ECA409. As we sat on the chairs overlooking the stage, Jacqui explained to us the importance of inclusive dance practice. It was explained that today's 'Mirror, Mould and Extend' workshop was designed to assist for this inclusiveness as well as encouraging students to build on their overall confidence. Furthermore, it incorporated group work which is a positive influence on both students’ confidence and social skills.

 To begin the first lesson we ran around the stage area trying to locate the negative space and avoid running into each other. During this warm-up we experimented by incorporating different levels as we walked or ran. We alternated between high, low and medium planes depending on what we chose. it was then introduced that we were required to locate different things around the room and touch them, signalling that we were aware of our surroundings.

  We then progressed to a 'follow the leader' type activity, whereby the teacher led the class around the negative space, continuing to explore the high, medium and low planes. Next, a student was chosen to become the leader and guided the remaining students through the negative space, in which they had to copy the leader's exact actions. 

Following the warm-up activity, the 10 of us formed a circle in the middle of the space to participate in a whole-class activity involving unison and contrast. The activity involved each student, one at a time, entering the centre of the circle and creating a unique movement which the rest of the group had to emulate. This created a unison effect as each student was performing the same movement, at the same time.  When the group wasn't imitating one particular student a range of individual movements were created to incorporate the technique of contrast.  

At the conclusion of the whole group activity, we split into groups of 3 in order to participate in the creation and performance of small group unison and contrast activity. In this activity, we had the ability to include unison and contrast in any way we wanted. However, a requirement of the task was that each student had to incorporate their individual movement into the performance. The performance also needed to include the use of the varying planes. Some groups chose to use techniques such as cannon, repetition and retrograde. The only guideline of the small group task was that it had to include 3 unison movements and 3 contrast movements. Once the dances were created, we had to perform them in front of our peers and were given peer and teacher feedback at the conclusion of our performances. Some of the feedback given included the need to include the space a bit more, ensure the groups timing is accurate etc.  

The next activity involved partner work and was centered on the mirroring technique. During this activity each student was placed in a pair and instructed to choose whoever was going first. This person would then create a movement which their partner would have to mirror. This meant that each person needed to face their partner and mirror image their every move. Next, in the same partnerships, we were guided on the concept of extend. This involved one person creating a movement on which their partner would connect and extend out into a different shape. This was also done as a whole group task. The last technique we incorporated was that of mould. Moulding involved create a shape around somebody else’s to create a larger shape. During these activities we used our previously applied knowledge of the varying planes in order to create shapes that were high, medium and low.  

The next activity in workshop 1 was a whole class one in which we used the staircase as our stage. In this task we could choose any of the mirror, mould and extend techniques and take turns in incorporating these into the overall image. Finally, we re-joined our small groups of 3 to partake in a second performance, this time including the techniques of mirror, mould and extend along with the varying levels of high, medium and low. The guideline to this task was that it had to be based around the notion of 'feeling free'. As such, our group chose to relate it to the conclusion of our time at University and included movements which signified us throwing away our books and stepping out into the world.

Learning Outcomes

 Affective: the students will build on their self-confidence and continue in developing positive self esteem.

Psychomotor: How the students move their bodies to represent the concept of 'feeling free'. Furthermore, they will be able to accurately perform the skills of mirror, mould and extend.

Cognitive: incorporate the concept of 'feeling free' into their dances, using prior knowledge of what the term means.

Assessment

At Level 3, students create and present works in a range of arts forms that communicate experiences, ideas, concepts, observations and feelings.

 

In Dance, students create a movement sequence based on ideas and feelings suggested by one or more images viewed in class, and then modify their work in response to feedback from other students in the class.

 

The students collect and combine a range of arts elements, principles and/or conventions, and use a range of skills, techniques and processes, media, materials, equipment and technologies. The students evidence of arts knowledge when planning arts works for different purposes and audiences and identify techniques and features of other people's works that inform their own arts making. They refine their work in response to feedback and self-evaluation.

References

Victorian Curriculum and Assessment Authority 2009, Victorian Essential Learning Standards, State Government of Victoria, retrieved September 10 2012, <http://vels.vcaa.vic.edu.au/

ECA410- Primary Dance Education

Contents

Workshop 1-Making Ideas Dance

Workshop 2-Site Specific Dance Education

Workshop 3- African Body Percussion and soundscapes

Workshop 4- Telling Stories-: Morris Bush Dance

Lecturer's name: Jacqui Dreessens

Group members names: Jessica Amezdroz, Cameron Brown, Melissa Fragitotta, Melissa Crosthwaite, Chanel McAsey, Hannah Smith, Justine Shay and Tessa Bullen.