Curricul Dance Class Stage 2/

um Year 4 Teacher’s signature:

Topic Indigenous Australia Date: 21.3.2021 Time: 12pm-1pm

Learning Intention Outcomes Prior knowledge

In this lesson, students will be learning to compose movement Performing: DAS2.1 Music Content & Processes (Board of
inspired by ‘Brolga’ (Bangarra Dance Theatre, 2001) to Performs dances from a range Studies, 2006)
communicate and interpret ideas through expressive dance qualities. of contexts demonstrating Students have previously explored
movement skills, expressive creating a range of shapes with their

 movement skills, expressive creating a range of shapes with their

Success criteria
qualities and an bodies to express intentions, such as
By the end of this lesson, students will have composed a dance to
understanding of the elements greeting or conveying work. Students
effectively communicate and interpret ideas representing wildlife
of dance. have some understanding of the
through expressive performance. This indicates a student can:
• Create movement inspired by ‘Brolga’ (Bangarra Dance • Dances using expressive elements of dance and have used them
qualities to interpret ideas to explore movement ideas based on a
Theatre, 2001).
• Communicate ideas by combining movement through
and communicate feelings, theme, for example share jumps to
eg. chooses from a range of represent exploding fireworks.
elements of dance, such as space and dynamics.
action and dynamics to
• Interpret ideas through a range of expressive qualities.
re ect the interpretation ofStudents are currently learning about
an idea ‘Community and Remembrance’ for
stage 2 History (Board of Studies, 2012)
Composing: DAS2. whereby they are “identifying the
Explores, selects and special relationship that Aboriginal and
combines movement using the Torres Strait Islander peoples have to
elements of dance to Country and Place” (p.43). Students
communicate ideas, feelings may apply this knowledge for
or moods. appreciating and understanding the
• Creates movement content theme for this dance lesson.
in relation to a dance idea
(as an individual, with a Lesson Products
partner or in a group). Teacher has prepared all teaching slides
and Youtube links to avoid
advertisements.
fl
.



2

Assessment Strategies
This lesson will assess stage two, year 4 students’ composing and performing within Dance (Board of Studies, 2006). Evidence of learning the content for outcomes
DAS2.1 and DAS2.2 will be collected using various summative and formative assessment strategies.

Summative Assessment
Summative assessment involves evidence of student learning towards specific outcomes and standards (Dixson & Worrell, 2016). This is integrated into the dance lesson by
collecting quantitative data for assessing whether students achieved or did not achieve the focus outcomes and content (Macy et al., 2017). These strategies include:
• Holistic rubric (Appendix 2, Lesson 2 Holistic Rubric): Each group performance will be marked using a holistic rubric. This allows the teacher to explicitly recognise
how a group of students’ understanding of composing movement to communicate (DAS2.1) and interpret ideas (DAS2.2) have developed and thus, are/are not achieved.
• Exit slip: By encouraging self-reflection, students can communicate to the teacher what they learned overall and what they want to learn next. This provides a brief,
definitive indicator for student confidence and competence when composing a dance to effectively communicate and interpret ideas representing wildlife. Additionally,
this allows the teacher plan future lessons according to student interests and needs (AITSL, 2011).

Formative Assessment
Formative assessment for learning involves ongoing communication between the teacher and students for guided understanding (Dixson & Worrell, 2016).
This is implemented into the dance lesson by collecting qualitative data for assessing how well students are progressing towards the success criteria (Macy
et al., 2017). These strategies include:
• Guided Inquiry: Involves the teacher asking questions to scaffold and stimulate student learning for deeper understanding of concepts (Kuhlthau et al.,
2015). For instance, asking students to identify connections between Brolga and the Bangarra performance allowed them to be active learners for
identifying the expressive qualities that communicated ideas.
• Constructive discussions: Provides opportunities for students to gain knowledge and deeper understanding of concepts (Dixson & Worrell, 2016). By
engaging in whole-class discussions and answering ‘wonderings’, the teacher is able to assess student knowledge and provide instant, constructive
feedback for progressing their learning (Dixson & Worrell, 2016). For instance, answering individual questions about the ‘Brolga’ allows the whole class
to extend their knowledge.
• Observation: Involves ongoing assessment by observing student progress throughout the lesson. For instance, observing individual students compose
their animal or observing groups of students create their performance. This also allows the teacher to intervene off-task behaviour and/or adjust teaching
strategies to better suit the lesson (Dixson & Worrell, 2016).
• Mind-map: Involves organising student ideas according to specific content. For instance, mind-mapping the characteristics of Brolga in their natural
habitat. This allows the teacher to assess their application of dance knowledge for interpreting ideas (Dixson & Worrell, 2016).

Diagnostic Assessment Possibilites: All of the above may be utilised for planning future teaching and learning (Macy et al., 2017)

**Evidence of assessment strategies throughout the lesson are highlighted in blue**

Time Teaching instructions Space and/or grouping Resources

 Introduc Before introducing topic, inform Aboriginal and Torres Strait Islander students the Before the lesson Introduction:
following lesson may contain images, names and words of persons who have passed.
tion Move all tables and • IWB for teaching slides.
10 Introduction (5 minutes) chairs to the side of the
1. Reintroduce theme of ‘Indigenous Australia’ and how we will learn dance through this theme.
minutes Mention the term ‘Indigenous’ refers to “belonging naturally to a place” to acknowledge classroom to create an Warm-up Activity 1:
Aboriginal and Torres Strait Islander peoples as the first peoples of Australia (Queensland open space for
Government Department of Education and Training [QGDET], 2011, p.8).
• IWB for teaching slides
movement. • ‘Brolga’ (Bangarra Dance
2. Introduce Bangarra Dance Theatre and explain the culture, meaning and significance of their Theatre, 2001). Youtube
company (Figure 12). This is important for acknowledging and respecting the artistic ownership
and culture of Aboriginal and Torres Strait Islander peoples (QGDET, 2011). Students may also Introduction: link:
ask questions about any ‘wonderings’ they may have.
Figure 12: Bangarra Dance Company
• Students seated on the https://www.youtube.com/
floor in front of the watch?v=zxnra4q1ElA
Warm-up 1: What is Brolga? (5 minutes) Interactive White Not to be played yet.
3. Introduce ‘Brolga’ (2001) by Bangarra Dance Theatre by discussing the culture and meaning
that is expressed through the dance (Figure 13). Students may also ask questions about any Board (IWB). • ‘Brolga Dances and
‘wonderings’ they may have.
Figure 13: Discussing Brolga
• Teacher-directed behaviour’ (Plumes of Oz,
2019). Youtube link:
4. Before watching ‘Brolga’, play 30 seconds (4:30-5:00) of the Youtube clip with wild Brolga in Warm-up 1: https://www.youtube.com/
their natural environment on the IWB. As you play this video, have students describe the Brolgas
movement and teacher records this on the white board in a mind map (Figure 14). This will • Students seated on the watch?v=_Cl2tEMQxAU
prepare students for identifying the expressive qualities that represent Brolga within the Bangarra floor in front of the
performance (2001).
Figure 14: Brolga movement IWB.
Warm-up Activity 2: Stretching
• 3. Teacher-directed
Will occur later before movement activity. This will be more suitable and appropriate for • 4. Student-centred
students throughout the lesson.

 Activity 1: Expressive qualities (10 minutes)

Body 7. Give students A4 white boards and a marker (or paper and marker is fine). They will use this to describe the movement and expressive qualities
they observe in ‘Brolga’ (2001). Play the Youtube clip ‘Brolga’ by Bangarra Dance Theatre (2001) from 1:26-2:16. Repeat a second time to provide
Activity 1: Activity 1:
35 another learning opportunity.
• Students sitting on the • IWB for teaching slides.
8. Discuss with students what similarities they notice between the movement in ‘Brolga’ (Bangarra Dance Theatre, 2001) and ‘Brolga Dances and
minutes behaviour’ (Plumes of Oz, 2019). This will allow students recognise the expressive qualities used to convey Brolga within the dance (Figure 15).
Figure 15: Brolga Similarities
floor or at desk. They • ‘Brolga’ (Bangarra Dance
Activity 2: Warm-up & Stretch (5 minutes) must be able to see Theatre, 2001). Youtube
5. The teacher will also be involved in this section to motivate students and maximise participation (Russell-Bowie, 2015). Students stand up and
spread out, ensuring that when they stretch their arms out horizontally, they are not touching anyone around them. the white board. link:
6. Play ‘Djapana’ by Yothu Yindi from the previous lesson. The stretching exercise for this lesson is called “Isolation of body parts” (Russell-
Bowie, 2015, p.218) to focus on lengthening and moving each body part. This allows students to prepare for composing expressive movement • Teacher at front of https://www.youtube.com/
similar to ‘Brolga’ and circulate blood through their muscles to prevents injury (Russell-Bowie, 2015).

Begin with the head and gradually work towards the feet to isolate body movement, however avoid full neck rolls (Russell-Bowie, 2015). The
room, controlling watch?v=zxnra4q1ElA
teacher should be talking throughout the stretch to guide students through safe movement. Ideas for body isolation can be seen in figure 16 below.
Figure 16: Isolation (Russell-Bowie, 2015, p.218). IWB. • A4 White board & marker
per student (or paper and
Activity 3: Composing ideas (10 minutes)
7. Using ‘Brolga’ (2001) as inspiration, teacher asks students to think of another animal and how Activity 2: marker).
they would represent this in a pose. Teacher to model example to students (ie. putting hands on • Students and teacher
head as ears and standing on one leg to represent a rabbit) and have them guess what it is to
scaffold learning (Margetts & Woolfolk, 2019). standing. Activity 2:
• Everyone spread out • IWB
8. Students ‘think, pair, share’ ideas by having a peer guess their pose (Kaddoura, 2013). This will
allow students to practise communicating and interpreting ideas. reasonably. • ‘Djapana’ by Yothu Yindi
(1989). Youtube link below
9. Teacher then asks students to make their pose move for 4 counts. Teacher models example to
students (ie. hopping for 4 counts in rabbit pose) and asks students why I chose to hop (ie. because Activity 3: https://www.youtube.com/
rabbits hop). This allows students to link previous learning to Activity 1, as they learn their • Students and teacher watch?v=aqCab1GI7XQ
movement needs to express their animals characteristics.
standing.
As a class, teacher and students hold their pose. The teacher counts “5, 6, 7, 8” and everyone • Everyone spread out Activity 3: —
moves on “1, 2, 3, 4”.
reasonably.
10. Discuss with students why they chose their movement to assess their understanding of creating Activity 4:
movement in relation to an idea.
Activity 4: • IWB for playing
Activity 4: Composing as a group (10 minutes) • Students grouped into ‘Djapana’ (Yothu Yindi,
11. Students will be grouped into 4 to share and combine their ideas to compose one performance of 16 counts.
The song ‘Djapana’ by Yothu Yindi (1989) will be played throughout practice and used when performing. 4 and spread out from 1989).
This will be performed as a group and will allow students to naturally explore elements of dance, for instance:
other groups.
• Action: the animal poses used to interpret ideas. • Teacher moving
• Dynamics: varying dynamics between different animals, such as smooth for snake but sharp for crocodile.
• Time: timing and maintaining movement to the song ‘Djapana’ by Yothu Yindi (1989). around between each
• Space: moving using different directions. group to check
• Relationships: performing same movement as members in the group.
progress.
12. Teacher to move between groups to ensure and observe student learning.

 Conclusi Performance (10 minutes) Performance: Performance:

on 13. Students perform their group compositions to ‘Djapana’ (Yothu Yindi, • Performing group at • IWB
15 1989). After each performance, teacher to ask audience: the front of the class. • ‘Djapana’ by Yothu Yindi
minutes • What animals could you identify? • Audience sitting (1989). Youtube link below
• Why did you think it was that animal? appropriately in front https://www.youtube.com/
• What did you like about their performance? of them. watch?v=aqCab1GI7XQ
Teacher to record responses for assessment of learning. However, do not • Teacher watching
make obvious to students to avoid making them nervous. performance. Cool-down: —
• No music required.
Cool-down (3 minutes) Cool-down:
14. Using ideas from Russell-Bowie (2015), students will quietly walk • Students spread Reflection:
around the room until the teacher says “freeze”. Students then follow the around the open space • Sticky note (range of
teachers stretch (ie. rolling down towards toes or stretching the arms colours).
upwards) whilst encouraged to focus inhaling and exhaling (Russell- Reflection: • Pencil/pen.
Bowie, 2015). • Wherever students
can write on a hard
Reflection (2 minutes) surface.
21. Students complete an exit slip for one thing they learned today and
what they want to learn next (Figure 17). This slip is created using a End of lesson:
sticky-note and is added to the ‘Inspiration’ wall. • Put the furniture back
Figure 17: Exit Slip sample into the space.