NAME: Laura Natario

DATE: Lesson #1 of 4 Lesson Sample Unit

BIG IDEA
One’s unique perspec ve and corporeality both expresses and interprets ar s c form.

ESSENTIAL QUESTION
How does your interpreta on re ect your percep on of ar s c forms?

FOCUS QUESTION
How do we observe and manipulate shapes in dance?
What are some strategies dancers use to explore and interpret movement?
How do choreographers use the principles of design and cueing to create and manipulate dancers’ shapes? How
do they do that without words?

OBJECTIVES
● Become familiar with basic movement elements, concepts and terminology
● Create and interpret movements and shapes
● Make connec ons between the work “The séances aren’t helping…” by Carol Bove and dance-making

INDICATORS OF STUDENT LEARNING

CONTENT – Students will know:
● That percep on of s muli is unique to each individual
● That one can understand another’s percep on of s muli through observa on
● Basic movement elements, concepts and terminology
● The sculpture installa on “The Seances aren’t Helping” by Carol Bove

SKILLS – Students will be able to:

● Explore movement and shape inspired “The Séances aren’t Helping...” by Carol Bove
● Compare and contrast their movement interpreta ons of “The Seances aren’t Helping” by Carol Bove
● Observe the diversity of interpreta ons and discuss the origina on of these various perspec ves
● Analyze the experience of embodying a peer’s interpreta on of “The Seances aren’t Helping” by Carol Bove

ACTIVITY SEQUENCE

● Warm-up: Students are led into a shape-based improvisa onal ac vity and cued to create various
types of shapes, using various dance elements (e.g. “make a round/ at/small/balanced/
unbalanced/twisted/narrow/large/wide/symmetrical/asymmetrical/angular shape”). Students are
invited to no ce the similari es and di erences in the body shapes that their peers are crea ng
around them from the same cues. They observe their peer’s shapes and allow them to in uence their
own body’s shape (i.e. to manipulate their shape). Students reproduce a shape from a peer across
the room and consider the e ects of their embodied experience of interpre ng that shape. Students
are guided through a structured improvisa on connec ng one shape to the next.

● Introduc on of Theme: Students are led into a discussion about the choreographic process.
Ques ons that will be discussed will include: what is the job of the choreographer (manipula on of
moving bodies - emphasis on the point that manipula on in dance does not have a nega ve
connota on)? What is the job of the dancers? What is the crea ve rela onship between the


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 choreographer and the dancers? What is cueing and what types of cueing does the choreographer
use (kinesthe c, visual, verbal)?
● Students are shown Carol Bove’s installa on “The séances aren’t helping...”. Students are then
prompted to come up with descrip ve shape words that they see in this work (twisted, rectangular,
circular, rounded, sharp, etc). These words are wri en in marker on a large canvas post-it that is
stuck to the mirror.

● Explora on: Students are paired o and the curtains are closed over the mirrors in the studios or
the remainder of the lesson. Students are given an explana on of what mirroring in dance is.
Students are then asked to engage in mirroring explora on with their partner. They are cued to
observe and pay a en on to their partner’s body and to pay mind to what they interpret from
their partner’s movement. Then each student is handed a small vinyl skeleton gure. Students
are instructed to sit facing away from one another. Partner A manipulates their skeleton gure
into a shape considering the shape words related to Bove’s sculptures. Partner A turns around
and hides their skeleton and cues partner B to recreate the shape in Partner B’s body. Then they
will turn around and see the di erences between the two vinyl skeletons and repeat swapping
roles.

● Development and Elabora on: Students are broken into 4 or 5 groups of 4 students each (if uneven,
instructor will ask for volunteers to take on two roles). Each member of the group is given a photo of
one of the four sculptures of “The séances aren’t helping...” by Carol Bove . Students are instructed to
each create a shape based upon the picture they received. Then groups will be asked to connect the
shapes through movement into a group movement composi on. Students will be able to choose to do
this in unison or not (ar s c choice)

● Culmina on / Sharing: The 4-5 groups will perform their group composi ons for the class. Students will
each come up as groups and perform in turn. The students witnessing these performances sit at the long
side of the studio. Students are provided instrumental music for each performance. Witnessing students
will be given a graphic organizer to notate their feedback. The graphic organizer will be plo ed into three
sec ons for each group (ques ons for the group, similari es to their own work, and di erences to their
own work).

● Relaxa on / Re ec on: Students are led in a discussion about the di erences and similari es
they saw between groups. Students are advised to speak in “I statements”, u lizing the feedback
protocol (projected on the screen). They are asked to consider how one’s lived experience and
percep on de ned how they interpreted both the task and the embodiment of “The séances
aren’t helping...” by Carol Bove.

ASSESSMENTS
● Forma ve: evalua on of performances with student and teacher discussion of feedback
○ DOK LEVEL 2
● Summa ve: This assessment would occur at the conclusion of the subsequent lesson. Students would
perform a nal version of their work a er applying appropriate feedback gleaned from previous lesson’s
discussion.
● Criteria:
○ Each performance must have a beginning, middle and end.
○ All group members must perform.
○ Each shape should be de ned at least once in the performance.
○ Transi ons between shapes should be inten onal, well thought out and designed to connect one
shape to another.
● Feedback protocol: Dance
○ Feedback Protocol Dance Studio, Informal Sharing
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 ○ Ana Nery Fragoso, 2009
■ 1. A dancer/group performs their work for the rest of the class.
■ 2. While observing the dance, everyone in the audience thinks about the requirements to
complete the dance project.
■ 3. Only two comments from the audience using the following sentence: “I like the way
(NAME/GROUP) did______________ because, ______________________.”
■ 4. Only two sugges ons for improvement from the audience using the following sentence:
“I would like to suggest (NAME/GROUP) that ________ because
____________________.”
■ 5. Revision: The dancer/group takes the feedback and decides how to apply it to revise the
dance.
MODIFICATIONS FOR SWD/ELL
● Instruc ons
● Google slide - visuals (ELLs)
● SWD - di eren ated by individual expression. There is no expecta on for certain types of movements in
this lesson and movement expression is subjec ve in nature.

EXTENSIONS (SUPPORTS AND CHALLENGES)

● Instruc ons - In the following lesson, students discuss the ways in which to choose and apply appropriate
feedback. Students would discuss why it is important to get an outside opinion, why a dance ar st cares
about the audience’s opinion, how a choreographer selects appropriate feedback and what feedback is
important to consider. Then students collaborate to apply per nent feedback and revise their work.
Students engage in a summa ve performance assessment.

RESOURCES
● PICTURES:

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 ●

● Photo source: h ps://www.metmuseum.org/exhibi ons/lis ngs/2021/facade-commission-carol-bove

● PROPS: 30 vinyl skeletons
● MATERIALS: Graphic Organizers, Canvas Post-it note, Macbook, Projector/Smart board
● WARM UP MUSIC: “Clouds, Not Clocks” Slow Meadow
● PERFORMANCE MUSIC:
○ “ASOS Model Crush” dné
○ “Truth - Helios Remix” Balmorhea
○ “Snookered” Dan Deacon
○ “Walk - Starkey Remix” Ludovico Einaudi, Starkey
○ “Silent Smoke” Al’Tarba
○ “Bright Night” Dntel

BLUEPRINT FOR TEACHING AND LEARNING IN DANCE STANDARDS

Dance Making
X Develop Skills and Techniques
X Improvise
X Choreograph
X Perform

Developing Dance Literacy

❏ Understand Dance as a Means of Expression and Communica on
X Apply Dance Vocabulary, Terminology, and Symbols
❏ Analyze, Cri que and Communicate about Dance
❏ Iden fy and Compare Dance Styles, Genres, Major Works and Ar sts

Making Connec ons

❏ Understand Dance History and the Social and Cultural Signi cance of Dance (Theatrical, Ritual & Social Dances)
X Connect Dance to Other Arts and Disciplines
❏ U lize Technology in Connec on with Dance
❏ Connect Dance to Health and Well-Being
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 Community and Cultural Resources

X Engage with Community and Cultural Ins tu ons, Colleges, and Universi es
❏ Use Dance Research Resources
X Share Dance Experiences in and Between Schools

Careers and Lifelong Learning

❏ Learn About Careers in and Related to Dance
❏ Set and Work Toward Goals
X Value Dance as a Source of Enjoyment and Lifelong Learning

NYS LEARNING STANDARDS FOR THE ARTS

Ar s c Process: ☐Creating

Anchor Standards:

❏ Anchor Standard 1: Generate and conceptualize ar s c ideas and work.

X Anchor Standard 2: Organize and develop ar s c ideas and work.

❏ Anchor Standard 3: Re ne and complete ar s c work.

Ar s c Process: ☐Performing

Anchor Standards:

❏ Anchor Standard 4: Select, analyze, and interpret ar s c work for presenta on.

X Anchor Standard 5: Develop and re ne ar s c techniques and work for presenta on.

❏ Anchor Standard 6: Convey meaning through the presenta on of ar s c work.

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 Ar s c Process: ☐Responding

Anchor Standards:

X Anchor Standard 7: Perceive and analyze ar s c work.

X Anchor Standard 8: Interpret meaning in ar s c work.

X Anchor Standard 9: Apply criteria to evaluate ar s c work.

Ar s c Process: ☐Connecting

Anchor Standards:

X Anchor Standard 10: Relate and synthesize knowledge and personal experiences to inspire and inform ar s c work.

X Anchor Standard 11: Inves gate ways that ar s c work is in uenced by societal, cultural, and historical context and, in
turn, how ar s c ideas shape cultures past, present, and future.
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 NAME: Laura Natario

DATE: Lesson #2 of 4 Lesson Sample Unit

BIG IDEA
One’s interpreta on and percep on of works of art are quintessen ally unique to each individual.

ESSENTIAL QUESTION
How do you translate your unique interpreta on and percep on of artworks into presenta onal forms?

FOCUS QUESTION
How do dancers think and speak through their bodies in movement?
What are the prac ces dancers employ to develop stories and concepts within movement
choreography?
How do dancers use words to describe and develop their choreographic work?

OBJECTIVES
● Become familiar with the rela onship between words and dance movement in reference to the LMA dance
elements.
● Understand the concept of abstract versus literal movement
● Make connec ons between the poem “A Noiseless Pa ent Spider” by Walt Whitman and dance-making

INDICATORS OF STUDENT LEARNING

CONTENT – Students will know:
● That one’s understanding of a concept or theme translates di erently through each unique dancer’s body.
● That one’s interpreta on and subsequent presenta on of one’s understanding of a concept or theme is no more right
or wrong than another’s presenta on of their understanding of the same concept or theme
● Basic movement elements, concepts and terminology
● The poem “A Noiseless Pa ent Spider” by Walt Whitman

SKILLS – Students will be able to:

● Explore movement inspired by “A Noiseless Pa ent Spider” by Walt Whitman
● U lize storyboarding to create choreographic studies inspired by “A Noiseless Pa ent Spider” by Walt Whitman
● Develop a choreographic study collabora vely in small groups u lizing both abstract and literal movement inspired
by “A Noiseless Pa ent Spider” by Walt Whitman

ACTIVITY SEQUENCE

● Do-Now: Students will be asked to write down their own de ni ons of the words “abstract” and
“literal”. A erwards, students share-out these de ni ons as a class and decide on classwide
de ni ons of the words.
● Warm-up: Students are led in a visualiza on and improvisa on based warm-up ac vity. Students
are instructed to nd a space in the studio to lay, sit or stand and close their eyes (whichever posi on
they are most comfortable doing). As soon as students are se led, they are read aloud the poem “A
Noiseless Pa ent Spider” by Walt Whitman 3 mes. Once at a normal pace, again slower and a third
me extremely slow. Students are then asked to consider the words, phrases and images that stuck
out to them. Students are then asked to open their eyes with a so gaze and begin to improvise
movement to the poem when it is read again (3 more mes at parallel speeds as the rst 3 mes).


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 Students again are asked to se le into a place in the studio to lay, sit or stand with their eyes closed.
Silently, students are asked to consider their experience. Students are asked to silently consider
ques ons such as “Were your movements literal or more abstract?”, “What movements or types of
movement correlated with which words or phrases?” and “What story, theme, concept or idea was
your body nding within these words? Was it abstract or was it literal?”

● Introduc on of Theme: Students are paired o , handed interview worksheets and asked to interview
one another on their warm-up experiences. The ques ons “Were your movements literal or more
abstract?”, “What movements or types of movement correlated with which words or phrases?” and
“What story, theme, concept or idea was your body nding within these words? Was it abstract or
was it literal?” will be the ques ons used in the interview. A er interviewing one another, students
will be asked to consider the similari es and di erences between one anothers warm-up experiences.
Students are then asked to notate at least 2 similari es and 2 di erences between one another's
experiences. Once those are notated by each pair, one student from each pair writes down their
nota ons on a large canvas s cky-note posted on the mirror of the studio.
● Media: Student watch youtube video “A Poe c Experiment: Walt Whitman interpreted by three
animators - Jus n Moore (TED-ED)”
o Students led in a discussion of the di erences and similari es and abstract and literal
interpreta ons of the poem created by the three animators featured in this experiment.
o Students storyboard their own interpreta on of the poem as a class.

● Explora on: Students are given each 4 blank sheets of drawing paper to create a storyboard
from. Students are asked to draw or write down in words their interpreta on of the poem in four
parts. Students then return back to their original partnerships, switch storyboards and improvise
movement from one another’s storyboard sheets while the crea ng partner observes and
notates observa ons. Students reverse roles and repeat the ac vity.

● Development and Elabora on: Students are asked to then collaborate with another partnership to
create a small group of four students. Each small group decides upon a theme or concept and one of
the four sheets of each member of the group to add to the group work. Students decide on an order
that they should set their four sheet (one from each member) storyboard into that makes sense to the
concept or theme that has been chosen. Students collaborate to create a choreographic study that
illustrates the group storyboard.

● Culmina on / Sharing: Each small group will perform their group composi ons for the class. Students
will each come up as groups and perform in turn. The students witnessing these performances sit at the
long side of the studio. Students are provided instrumental music for each performance. Witnessing
students will be given a graphic organizer to notate their feedback. A er each performance, performing
groups will share their group storyboard and give a short synopsis of their process of crea on.

● Relaxa on / Re ec on: Students are led in a discussion about each group's choreographic study
u lizing the classroom feedback protocol. Students are asked to consider what they observed,
what they imagined, and how it t into their understanding of the poem “The Noiseless Pa ent
Spider” by Walt Whitman.

ASSESSMENTS
● Forma ve: evalua on of performances with student and teacher discussion of feedback
○ DOK LEVEL 2
● Criteria:
○ Each performance must have a beginning, middle and end.
○ All group members must perform.
○ Each storyboard should be referenced at least once in the performance.
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 ○
Transi ons between storyboards should be inten onal, well thought out and designed to connect
one shape to another.
● Feedback protocol: Dance
○ Feedback Protocol Dance Studio, Informal Sharing
○ Ana Nery Fragoso, 2009
■ 1. A dancer/group performs their work for the rest of the class.
■ 2. While observing the dance, everyone in the audience thinks about the requirements to
complete the dance project.
■ 3. Only two comments from the audience using the following sentence: “I like the way
(NAME/GROUP) did______________ because, ______________________.”
■ 4. Only two sugges ons for improvement from the audience using the following sentence:
“I would like to suggest (NAME/GROUP) that ________ because
____________________.”
■ 5. Revision: The dancer/group takes the feedback and decides how to apply it to revise the
dance.
● Summa ve: This assessment would occur at the conclusion of the nal (4th) lesson. Students would
perform a solo choreographic work that examined their rela onship with an ar s c s muli (auditorial,
visual, or concept/theme) of choice.

MODIFICATIONS FOR SWD/ELL

● Google slide - visuals (ELLs), transla on of poem available
● SWD - di eren ated by individual expression. There is no expecta on for certain types of movements in
this lesson and movement expression is subjec ve in nature.

EXTENSIONS (SUPPORTS AND CHALLENGES)

● Instruc ons - Students collaborate to apply per nent feedback and revise their work.

RESOURCES
● MATERIALS: Graphic Organizers, Canvas Post-it note, Macbook, Projector/Smart board, storyboard sheets,
sound system to play music
● A Poe c Experiment: Walt Whitman interpreted by three animators - Jus n Moore (TED-ED) h ps://
www.youtube.com/watch?v=6jCw8ydqkrg
● PERFORMANCE MUSIC:
○ “ASOS Model Crush” dné
○ “Truth - Helios Remix” Balmorhea
○ “Snookered” Dan Deacon
○ “Walk - Starkey Remix” Ludovico Einaudi, Starkey
○ “Silent Smoke” Al’Tarba
○ “Bright Night” Dntel
● “A Noiseless Pa ent Spider” by Walt Whitman
A noiseless pa ent spider,
I mark’d where on a li le promontory it stood isolated,
Mark’d how to explore the vacant vast surrounding,
It launch’d forth lament, lament, lament, out of itself,
Ever unreeling them, ever relessly speeding them.

And you O my soul where you stand,

Surrounded, detached, in measureless oceans of space,
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,
Till the bridge you will need be form’d, ll the duc le anchor hold,
Till the gossamer thread you ing catch somewhere, O my soul.
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 BLUEPRINT FOR TEACHING AND LEARNING IN DANCE STANDARDS
Dance Making
❏ Develop Skills and Techniques
❏ Improvise
X Choreograph
❏ Perform

Developing Dance Literacy

X Understand Dance as a Means of Expression and Communica on
❏ Apply Dance Vocabulary, Terminology, and Symbols
❏ Analyze, Cri que and Communicate about Dance
❏ Iden fy and Compare Dance Styles, Genres, Major Works and Ar sts

Making Connec ons

❏ Understand Dance History and the Social and Cultural Signi cance of Dance (Theatrical, Ritual & Social Dances)
X Connect Dance to Other Arts and Disciplines
❏ U lize Technology in Connec on with Dance
❏ Connect Dance to Health and Well-Being

Community and Cultural Resources

❏ Engage with Community and Cultural Ins tu ons, Colleges, and Universi es
❏ Use Dance Research Resources
X Share Dance Experiences in and Between Schools

Careers and Lifelong Learning

❏ Learn About Careers in and Related to Dance
X Set and Work Toward Goals
❏ Value Dance as a Source of Enjoyment and Lifelong Learning

NYS LEARNING STANDARDS FOR THE ARTS

Ar s c Process: ☐Creating
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 Anchor Standards:

X Anchor Standard 1: Generate and conceptualize ar s c ideas and work.

X Anchor Standard 2: Organize and develop ar s c ideas and work.

❏ Anchor Standard 3: Re ne and complete ar s c work.

Ar s c Process: ☐Performing

Anchor Standards:

X Anchor Standard 4: Select, analyze, and interpret ar s c work for presenta on.

❏ Anchor Standard 5: Develop and re ne ar s c techniques and work for presenta on.

❏ Anchor Standard 6: Convey meaning through the presenta on of ar s c work.

Ar s c Process: ☐Responding
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 Anchor Standards:

X Anchor Standard 7: Perceive and analyze ar s c work.

❏ Anchor Standard 8: Interpret meaning in ar s c work.

X Anchor Standard 9: Apply criteria to evaluate ar s c work.

Ar s c Process: ☐Connecting

Anchor Standards:

X Anchor Standard 10: Relate and synthesize knowledge and personal experiences to inspire and inform ar s c work.

❏ Anchor Standard 11: Inves gate ways that ar s c work is in uenced by societal, cultural, and historical context and, in
turn, how ar s c ideas shape cultures past, present, and future.
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 NAME: Laura Natario

DATE: Lesson #3 of 4 Lesson Sample Unit

BIG IDEA
The authen c expression of one’s unique percep on allows the audience to experience subject ma er
as the ar st does.

ESSENTIAL QUESTION
How does your interpreta on and percep on inform your performance inten on?

FOCUS QUESTION
How do choreographers develop material from inspira onal sources (s muli)?
How does the performance or viewing of a work of art inform how the audience perceives it?
What is performa ve intent?
How do choreographers direct their dancers to perform works in a certain way to elude a certain
quality/statement/emo on? How do dancers apply the intent of the choreographer to the
intent of their performance?

OBJECTIVES
● Become familiar with the rela onship between auditory and musical s muli and choreographic intent
● Understand the concept of theme and varia on
● Create choreographic studies from Laban mo fs
● Make connec ons between the varia ons of Ludovico Einaudi’s song, “Experiences” and dance-making

INDICATORS OF STUDENT LEARNING

CONTENT – Students will know:
● The implica ons of authen c ar s c intent in performance and non-performance ar s c works.
● Basic movement elements, concepts and terminology
● The song “Experiences” by Ludovico Einaudi and its varia ons by Starksy and Greta Svabo Bech (“Circles”)

SKILLS – Students will be able to:

● Explore movement inspired by the song “Experiences” by Ludovico Einaudi and its varia ons by Starksy and Greta
Svabo Bech (“Circles”)
● U lize the concept of theme and varia on to create mul ple versions of choreographic phrases
● Create Laban mo fs and develop choreographic phrases from them

ACTIVITY SEQUENCE
● Warm-up: Students engage in a cued improvised warm-up sequence three mes to the three versions of the
song “Experiences” by Ludovico Einaudi (with versions by Starsky and Greta Svabo Bech). Students are given
the same cues and ming for each cue for each song version.

● Introduc on of Theme: Students share-out as a class by answering the ques ons, “How did the di erent
versions of the song inform your improvised movement? Was there di erences and/or similari es each me
through?”, “How would you describe your movement to each version of the song?”, and “What emo ons,
images or thoughts came up during each improvisa on?” Students are led into a presenta on and discussion
of the structures of theme and varia on in both dance and music and the structure of mo f in both music
nota on and Labanota on. Students then discuss the variable of performa ve intent in choreographic and
ar st works.


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 ● Explora on: The class develops a laban mo f collabora vely. Four students are asked to volunteer to
express this mo f through improvised movement. As each dancer performs, the other three turn away so
as not to be in uenced by one another. The class discusses the similari es and di erences they saw in
each of the four volunteer dancers' expressions of a shared laban mo f.
● Students then develop a movement phrase as a class based on the same laban mo f. A er learning and
performing this phrase in unison, students are asked to make at least two changes individually. Students
are then instructed to perform their version of the phrase one by one.

● Development and Elabora on: Students form small groups of 3 students per group. Each group is asked to
rst develop a laban mo f of their own. A er developing this mo f, students are asked to collabora vely create
a movement phrase that expresses the laban mo f they created as a small group. Then each group member
selects a version of the song “Experiences” and works on their own to develop a varia on of the phrase
developed as a group.

● Culmina on / Sharing: Each small group will perform their group composi ons for the class. Students will
each come up as groups and perform in turn. The students witnessing these performances sit at the long
side of the studio. Witnessing students will be given a graphic organizer to notate their feedback.

● Relaxa on / Re ec on: Students are led in a discussion about each group's choreographic study
u lizing the classroom feedback protocol. Students are asked to consider what they observed,
what they imagined, and how it t into their understanding of the dancer's expression.

ASSESSMENTS
● Forma ve: evalua on of performances with student and teacher discussion of feedback
○ DOK LEVEL 2
● Criteria:
○ Each performance must have a beginning, middle and end.
○ All group members must perform.
○ Each storyboard should be referenced at least once in the performance.
○ Transi ons between storyboards should be inten onal, well thought out and designed to connect
one shape to another.
● Feedback protocol: Dance
○ Feedback Protocol Dance Studio, Informal Sharing
○ Ana Nery Fragoso, 2009
■ 1. A dancer/group performs their work for the rest of the class.
■ 2. While observing the dance, everyone in the audience thinks about the requirements to
complete the dance project.
■ 3. Only two comments from the audience using the following sentence: “I like the way
(NAME/GROUP) did______________ because, ______________________.”
■ 4. Only two sugges ons for improvement from the audience using the following sentence:
“I would like to suggest (NAME/GROUP) that ________ because
____________________.”
■ 5. Revision: The dancer/group takes the feedback and decides how to apply it to revise the
dance.
● Summa ve: This assessment would occur at the conclusion of the nal (4th) lesson. Students would
perform a solo choreographic work that examined their rela onship with an ar s c s muli (auditorial,
visual, or concept/theme) of choice.

MODIFICATIONS FOR SWD/ELL

● Instruc ons
● Google slide - visuals (ELLs), auditory instrumental music s muli
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 ● SWD - di eren ated by individual expression. There is no expecta on for certain types of movements in
this lesson and movement expression is subjec ve in nature.

EXTENSIONS (SUPPORTS AND CHALLENGES)

● Instruc ons - Students collaborate to apply per nent feedback and revise their work.

RESOURCES
● “Experiences” - Ludovico Einaudi
● “Experiences” - Ludovico Einaudi (Starsky Remix)
● “Circles” - Greta Svabo Bach, Ludovico Einaudi
● MATERIALS: Graphic Organizers, Macbook, Projector/Smart board, individual headphones and access to
personal devices to play music, sound system

BLUEPRINT FOR TEACHING AND LEARNING IN DANCE STANDARDS

Dance Making
❏ Develop Skills and Techniques
❏ Improvise
X Choreograph
❏ Perform

Developing Dance Literacy

X Understand Dance as a Means of Expression and Communica on
❏ Apply Dance Vocabulary, Terminology, and Symbols
❏ Analyze, Cri que and Communicate about Dance
❏ Iden fy and Compare Dance Styles, Genres, Major Works and Ar sts

Making Connec ons

❏ Understand Dance History and the Social and Cultural Signi cance of Dance (Theatrical, Ritual & Social Dances)
X Connect Dance to Other Arts and Disciplines
❏ U lize Technology in Connec on with Dance
❏ Connect Dance to Health and Well-Being

Community and Cultural Resources

❏ Engage with Community and Cultural Ins tu ons, Colleges, and Universi es
❏ Use Dance Research Resources
X Share Dance Experiences in and Between Schools

Careers and Lifelong Learning

❏ Learn About Careers in and Related to Dance
X Set and Work Toward Goals
❏ Value Dance as a Source of Enjoyment and Lifelong Learning

NYS LEARNING STANDARDS FOR THE ARTS

Ar s c Process: ☐Creating
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 Anchor Standards:

X Anchor Standard 1: Generate and conceptualize ar s c ideas and work.

❏ Anchor Standard 2: Organize and develop ar s c ideas and work.

❏ Anchor Standard 3: Re ne and complete ar s c work.

Ar s c Process: ☐Performing

Anchor Standards:

❏ Anchor Standard 4: Select, analyze, and interpret ar s c work for presenta on.

X Anchor Standard 5: Develop and re ne ar s c techniques and work for presenta on.

❏ Anchor Standard 6: Convey meaning through the presenta on of ar s c work.

Ar s c Process: ☐Responding

Anchor Standards:

X Anchor Standard 7: Perceive and analyze ar s c work.

❏ Anchor Standard 8: Interpret meaning in ar s c work.

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 ❏ Anchor Standard 9: Apply criteria to evaluate ar s c work.

Ar s c Process: ☐Connecting

Anchor Standards:

X Anchor Standard 10: Relate and synthesize knowledge and personal experiences to inspire and inform ar s c work.

❏ Anchor Standard 11: Inves gate ways that ar s c work is in uenced by societal, cultural, and historical context
and, in turn, how ar s c ideas shape cultures past, present, and future.
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 NAME: Laura Natario

DATE: Lesson #4 of 4 Lesson Sample Unit

BIG IDEA
Ar sts inspire one another.

ESSENTIAL QUESTION
How does art inspire you?

FOCUS QUESTION
How do choreographers develop ar s c work that is both inspired by another ar st and showcases their original voice?
How does one create art that represents our interpreta on of art?
How can one create art that is inspired by other art without plagiarizing?

OBJECTIVES
● Create a original ar s c s mulus choreographic study individually
● Apply skills and knowledge developed in this unit to summa ve assessment task
● Successfully complete summa ve assessment task
●
INDICATORS OF STUDENT LEARNING
CONTENT – Students will know:
● The di erence between plagiarizing art and being inspired by other ar sts
● The rela onship between their self-selected ar s c s mulus and their unique ar s c voice
● A deeper understand of their ar s c capability as individuals

SKILLS – Students will be able to:

● Apply basic movement elements, concepts and terminologies to original choreographic studies
● Create an individual movement study that is inspired by a self-selected ar s c s mulus
● Apply feedback from peers and the teacher to improve the quality of choreographic study.

ACTIVITY SEQUENCE

● Warm-up: Students par cipate in an open-ended improvisa on ac vity. Students can choose to
improvise to their self-selected s muli however they choose. At the conclusion of this ac vity,
students will partak in silent journaling in order to notate their experience engaging in movement
inspired by their individual self-selected s mulus.

● Introduc on of Theme: Students will be given criteria for the nal project and show an example of
an exemplar project of each s muli type (auditory, visual, thema c). Students will be given a meline
for the work-block and expected milestones to be completed at various mes within the lesson.

● Explora on: Students will individually work on movement studies. Students will be given
guidance and feedback as the teacher observes their individual work.
● Development and Elabora on:At the half-way point of this work-block, students will be instructed to
nd a partner (a student that is working closest in proximity to them) and perform the round dra of
their works for this partner. The partner will then provide feedback based on the feedback protocol
students have been working with throughout the unit in addi on to the project criterion. Students will
then reverse roles. A er this process, students decide upon and apply feedback that they received
from both the teacher through informal feedback during individual work-blocks and peer feedback
received during partnership informal performances.


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 ● Culmina on / Sharing: Each individual will perform their group composi ons for the class. Students will
each come up and perform in turn. The students witnessing these performances sit at the long side of the
studio. Witnessing students will be given a graphic organizer to notate their feedback.

● Relaxa on / Re ec on: Students are led in a discussion about each group's choreographic study
u lizing the classroom feedback protocol. Students are asked to consider what they observed,
what they imagined, and how it t into their understanding of the dancer's expression.

ASSESSMENTS
● Forma ve: Informal feedback during individual work-block
○ DOK LEVEL 2
● Summa ve: Students would perform a solo choreographic work that examined their rela onship with an
ar s c s muli (auditorial, visual, or concept/theme) of choice.
○ DOK LEVEL 3
● Criteria:
○ Each performance must have a beginning, middle and end.
○ All group members must perform.
○ Each storyboard should be referenced at least once in the performance.
○ Transi ons between storyboards should be inten onal, well thought out and designed to connect
one shape to another.
● Feedback protocol: Dance
○ Feedback Protocol Dance Studio, Informal Sharing
○ Ana Nery Fragoso, 2009
■ 1. A dancer/group performs their work for the rest of the class.
■ 2. While observing the dance, everyone in the audience thinks about the requirements to
complete the dance project.
■ 3. Only two comments from the audience using the following sentence: “I like the way
(NAME/GROUP) did______________ because, ______________________.”
■ 4. Only two sugges ons for improvement from the audience using the following sentence:
“I would like to suggest (NAME/GROUP) that ________ because
____________________.”
■ 5. Revision: The dancer/group takes the feedback and decides how to apply it to revise the
dance.

MODIFICATIONS FOR SWD/ELL

● Instruc ons
● Google slide - visuals (ELLs)
● SWD - di eren ated by individual expression. There is no expecta on for certain types of movements in
this lesson and movement expression is subjec ve in nature.

EXTENSIONS (SUPPORTS AND CHALLENGES)

● Instruc ons - In the following lesson, students discuss the ways in which to choose and apply appropriate
feedback. Students would discuss why it is important to get an outside opinion, why a dance ar st cares
about the audience’s opinion, how a choreographer selects appropriate feedback and what feedback is
important to consider. Then students collaborate to apply per nent feedback and revise their work.
Students engage in a summa ve performance assessment.

RESOURCES
● Self-selected s mulus brought in by students
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 ● MATERIALS: Graphic Organizers, Macbook, Projector/Smart board, sound system to play music

BLUEPRINT FOR TEACHING AND LEARNING IN DANCE STANDARDS

Dance Making
❏ Develop Skills and Techniques
❏ Improvise
X Choreograph
❏ Perform

Developing Dance Literacy

X Understand Dance as a Means of Expression and Communica on
❏ Apply Dance Vocabulary, Terminology, and Symbols
❏ Analyze, Cri que and Communicate about Dance
❏ Iden fy and Compare Dance Styles, Genres, Major Works and Ar sts

Making Connec ons

❏ Understand Dance History and the Social and Cultural Signi cance of Dance (Theatrical, Ritual & Social Dances)
X Connect Dance to Other Arts and Disciplines
❏ U lize Technology in Connec on with Dance
❏ Connect Dance to Health and Well-Being

Community and Cultural Resources

❏ Engage with Community and Cultural Ins tu ons, Colleges, and Universi es
❏ Use Dance Research Resources
X Share Dance Experiences in and Between Schools

Careers and Lifelong Learning

❏ Learn About Careers in and Related to Dance
X Set and Work Toward Goals
❏ Value Dance as a Source of Enjoyment and Lifelong Learning

NYS LEARNING STANDARDS FOR THE ARTS

Ar s c Process: ☐Creating

Anchor Standards:

X Anchor Standard 1: Generate and conceptualize ar s c ideas and work.

X Anchor Standard 2: Organize and develop ar s c ideas and work.

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 X Anchor Standard 3: Re ne and complete ar s c work.

Ar s c Process: ☐Performing

Anchor Standards:

❏ Anchor Standard 4: Select, analyze, and interpret ar s c work for presenta on.

X Anchor Standard 5: Develop and re ne ar s c techniques and work for presenta on.

❏ Anchor Standard 6: Convey meaning through the presenta on of ar s c work.

Ar s c Process: ☐Responding

Anchor Standards:

❏ Anchor Standard 7: Perceive and analyze ar s c work.

X Anchor Standard 8: Interpret meaning in ar s c work.

❏ Anchor Standard 9: Apply criteria to evaluate ar s c work.

Ar s c Process: ☐Connecting
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 Anchor Standards:

X Anchor Standard 10: Relate and synthesize knowledge and personal experiences to inspire and inform ar s c work.

❏ Anchor Standard 11: Inves gate ways that ar s c work is in uenced by societal, cultural, and historical context and, in
turn, how ar s c ideas shape cultures past, present, and future.
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