D@win Facilitation observation and/or reflection document

A guideline to help with your reflection of sessions, whether you are the facilitator
of the session and reflecting on your own practice or whether you are a participant
in the session reflecting on the session & practices.

Observation 1:

Facilitator: Y
Participant: N

Setting: Online via Microsoft Teams. Date: 11.03.21

Half of the students Half of the

Number of participants in session: in studio. students at
Home.

Ability & age of group: 11-16

Intermediate-
Type of session: (Technique, advanced.
creative/other) Creative/technique.

1
Insert Session Plan for the session you are reflecting upon (if available & applicable):
THIS IS AN EXAMPLE TEMPLATE – you are welcome to use this or create your own

SESSION PLANNING SHEET

Subject: Topic/Curriculum links: Covid-19 lockdown thought, feelings
Pre-Recorded and Live School workshops and experiences. Dance Curriculum.
Choreography Workshop
Class/Group Date: Session No. Skill area – Bodily Awareness: demonstrate set
Theale School Thurs 10th Session length: material and use the material as a stimulus for
March 1hour choreography exploration.
Learning Objectives
Skill area – Awareness of the quality of movement:
by the end of the lesson all children will be able to – have
When creating their own material, students should
learned set phase and add 1 count of 8 of their own material using
be able to apply choreographic techniques such
the stimuli of the set phase and themes.
as cannon, accumulation and levels.
most children will be able to - Add up to 3 counts of 8 of their
own material with complex movements.
some children will be able to – Show confidence in performing
and in a solo or in a group.

Learning Activities/Classroom Organisation Resources Timing

Keeleigh to lead workshop from the studio – Chloe at Home.

Keeleigh will demonstrate Warm-up while Chloe vocalises
Chloe will demonstrate and lead set material 15-mins
Remainder of the workshop to be lead together.

Introduction: Keeleigh and I will introduce ourselves and say a little bit about the
company and the piece that we will be working on.
Comfortable - Lauv
WARM UP:
Isolations – Rotations of the joints working from the neck/head, working Cool Girl - dodie
downwards.
Spine exercise – spinal roll downs, flat backs, short plank. Exercise is repeated Croft – Poppy
twice. Ackroyd
Piles – In parallel and first positions, repeated twice Come and get your
Feet – Parallel and first positions, repeated twice. love -Redbone.
Cardio – series of runs, high knees and butt kick, followed by star jumps around the This is me – Greatest
room. showmen cast remix.

Should have time to do all exercise to prevent injury. Feet or piles can be cut out if 2mins
needed
 2 min dissection on the reflection of the piece (thoughts, feelings, likes and
dislikes). Isolation - Joy 15mins
Division
SET PHASE: Teach the phase from the piece shown. Song on repeat 15mins

CREATE OWN MATERAIL: Individually to create up to 3 counts of 8 using the set

material and their experiences of lockdown.

DEMONTRATION 4-5 students at a time will have the opportunity to show what 5-10mins
they have created. Not all students need to show if they don’t want too.

COOL DOWN: gentle cool down to prevent injuries and discussion of the workshop
for reflection and feedback
Life Story – Olafur
Arnalds, Nils Frahm 5mins

2
 Differentiation - Support Differentiation – Extension
Live: students can ask for feedback during the working Students will be given an option to think about formations
period. and placement in the space. Maybe more complex
choreographic devices such as motif development and
fragmentation.

Observation 1 – Artist/student evaluation and reflection – to be completed after the session

A guide of elements of delivery is provided below to help structure your reflection:

Preparation and organisation

As Keeleigh and I followed the same plan for the pre-recorded, we felt prepared and rehearsed going
into the session. We met on a separate call before the session started to troubleshoot any technical
issues and to plan placing of ourselves while demonstrating.
A link was sent out to the teachers and students before the class earlier that morning. However, there
was still issues with some students not being able to access the class and therefore joined in late.
Additionally, we only found out the ages of the group 24 hours before the workshop. This didn’t give us
an opportunity to adapt the session to the wide variety of abilities at each age.

Session content and structure

We kept to the same structure as the pre-recorded session, meaning that is was easy to follow for both
us and the students to follow along. However, due to a late start as a result of technical issues, we had
to cut out the tendu exercise from the warmup and cut down the creative from 15 minuets to 5 minuets.
If we had the change to re do the session, we could vary the content with the use of speed and also
suggesting extensions during the warmup to include 5th position.

Engagement and communication

The students who were participating in the workshop from home showed clear engagement though the
use of vocal and physical acknowledgement. For example, presenting a thumbs up.
However, there were challenges with engaging the students that were in the studio. When either me or
Keeleigh tried to communicate with them, there was no response and after the warmup, they seemed to
be going ahead with different task. Although we don’t know for sure, but these students might have
already done a similar session and that is why there was a lack of engagement and communication.

3
Differentiation & assessment

As we were limited for time, it was challenging to plan ahead support and extensions. However,
upon feedback after the session, the shorter time period for the creative task gave those
students who found the set phase easier provided a challenge.
Keeleigh and I gave out teaching points for the creative tasks for anyone who was a stuck. Such
as suggesting choreographic devices, levels and reversing the set phase.

Pace & flexibility

Overall, the pace of the session was fairly swift due to the shorted time from the start of the
session. As mentioned, we did need to cut a exercise from the warm-up and shorten the
creative task as we did run out of time.
In the future, I would consider for these possible delays and plan the session for 40-50 minuets
to allow for technique issues.

Your notes post facilitation feedback with observer (Caroline) if applicable . Caroline will
discuss elements of your preparation and organisation, session content and structure,
engagement and communication, differentiation & assessment and pace & flexibility:

Observation 1 – Key areas of focus & objectives to be carried forward post reflection

Key Strengths

Well adapted to the unforeseen situations.

The quickness of the creative task gave enough of a challenge for the older/more advance students.

Key areas for development

Ensuring engagement of all students. At home or in the studio.

Placement of ourselves so that the whole of our body can be seen.

4
Additional Notes/ Objectives going forwards.