West Visayas State University

COLLEGE OF PESCAR
GRADUATE SCHOOL
La Paz, Iloilo City

DANCE
COMPOSITION

BASICS
MPE 508 Dance Composition,
Choreography & Production
 Introduction
Choreography, the art of creating and arranging
dances. The word derives from the Greek for
“dance” and for “write”. The composition of dance
is creative in the same way which the composition
of music is.
The notation of dance, however, is a work
analysis and reporting, performing generally by
people other than the choreography, in language or
signs that may well not be understood by the
creator.
 Elements of Dance
 Space
 Energy
 Time
 Body
SPACE ENERGY TIME BODY
Place Flow Speed Parts
- General - Free - Slow - Head
- Self - Bound - Fast - Arms
- Accelerate - Hands
- Declaration - Pelvis
- Legs
- Elbow
- Etc.
Size Weight Rhythm Shapes
-Big -Strong -Breath -Curved
- Small - Light - Pulse -Straight
- Near Reach - Angular
- Far Reach - Twisted
- Symmetric
- Assymentric
Level Force Relationship

-High -Smooth -Near

- Medium - (sustained SHARP - Apart
- Low Sudden) -Alone
- Around
-Below
- Beside
SPACE ENERGY TIME BODY
Direction Stillness Balance
-Forward -Active -On
- Backward - Passive - Off
- Sideward
- Diagonal
- Up
- Down

Pathway
- Straight
- Curved
- Circular
- Zigzag

Focus

- Single
- Multi
- Low
Chapter 1:
THE BODY: Exploring the Ways We Move

Dance Composition Basics

CHAPTER
1
THE
BODY
Exploring the Ways We
Move
Lesson 1: Impulse: Origin of
Movement
Dance, the movement of the body in rhythmic way, usually to music and
within a given space, for the purpose of expressing an idea or emotion,
releasing energy or simply taking delight in the movement itself.

Dance is a powerful impulse, but the art of dance is the impulse

channeled by skillful performers into something that becomes intensely
expressive and that may delight spectators who feel no wish to dance
themselves. As the origin of movements from along time ago, in the
earliest history of human dance is a continuing mystery.

There are evidences of illustrated ceramic fragments, some archeologist

has speculated that dance originated some 5000 to 9000 years ago in
early agricultural cultures.
Moreover, movements are also illustrated by native people and has
become purposive in dance.

Native people illustrates dances that are ritualistic or ceremonial

nature: the war dance, expressing prayer for success and thanksgiving
for victory; the dance of exorcism or healing, performed by shamans to
drive out evil spirits; the dance of invocation, calling on the gods for
help in farming, hunting, the fertility of human beings and animals, and
other tribal concerns; initiation dances for secret societies; mimetic
dances, illustrating events in tribal history, legend, or mythology;
dances representing cosmic processes; and more rarely, the dance of
courtship, an invocation for success in love.

The dance of religious ecstasy, in which hypnotic or trancelike states

are induced, was represented in America by the remarkable Ghost
dance.

Lesson 1: Impulse: Origin of Movement

These are the origins of movements where has been developed
through years from its main purpose to human beings. Thus, from
its purpose, emotions occurred dance became an expression.

Native American has a great contribution on developing skills,

knowledge, ideas, explicit gestures, time, space, connection,
communication, revealing the face of society and as well as
exposing one’s culture through movement.

Dance became an identity, directly impulse people, product of

motions was the life we need to transmit throughout the
world.
In helping developed the deep intelligence of dance, Francois Delsarte, Liselott Diem, and Rudolf Von Laban
are considered by the early pioneers of movements where they created the new idea; MOVEMENT
EDUCATION in the 1800s to early 1900s.
Francois Delsarte
19th November 1811 – 2oth July 1871)
Francois Alexandre Nicolas Cheri Delsarte

 Born on 19th November 1811 – 2oth July 1871

 He was a French singer, orator, and coach.
 Frenchman (19th Century)
 Emphasized the motion of expression of thought
and emotion
 Applies aesthetics
 Focused his work in the arts
 Contributed CRITICAL IDEAS
 Connections among MIND, BODY, and SPIRIT
 He saw movement TIME, SPACE, and MOTION
 Combination of movement (Away from the
center of the body)
 He introduced the idea of PARALLELISM in
MOVEMENT
 His nine laws of motion referred to
ALTITUDE, FORCE, MOTION,
SEQUENCE, DIRECTION, FORM,
VELOCITY, REACTION, and
EXTENSION.
Delsarte coached preachers, painters, singers,
composers, orators and actors in the bodily expression
of emotions. His goal was to help clients connect their
inner emotional experience with the use of gesture.

Delsarte categorized ideas related to how emotions are

expressed physically in the body into various rules,
‘laws or ‘principals’. These laws were organized by
Delsarte in charts and diagrams.

Delsarte did not teach systematically but rather through

inspiration of the moment, and left behind no
publications on his lessons.
Liselott Diem
(August 1906 – April 1992)
Liselott Diem
Professor Liselott Diem and her husband, Carl,
founded an internationally known in Germany,
Deutsche Sporthochsschule Koln, to train
teachers in sport and physical education. The
college taught a “natural approach to teaching
children to move effectively in all kinds of
situations”. Children were encouraged to
explore movement freely in their own way and
according to their unique stages of development.
 The teacher’s role was to provide an
environment that supported and fostered this
focus. The teacher would use simple
equipment such as balls, wands, ropes, boxes,
and benches to allow children develop a wide
variety of movement responses individually,
with partners, or within small groups. Diem’s
approach centered on learning to build
movement skills and balance.
 Teachers were encouraged to challenge
children by asking questions such as “Who can
do this?” and “How can this be done
differently?” they would then guide the
children toward improving the quality of
movement. Diem’s focus for older children
was more on developing an awareness and
analysis of muscular force as well as how to
move in time and space.
Rudolf Von
Laban
(1879 – 1958)
Rudolf Von Laban
Rudolf Von Laban is considered by most as the true
pioneer of movement education. A critical contribution
was his theory of movement, focusing specifically on
the concept of effort.
 Laban believed that body was an instrument
of expression and made a distinction between
this expressive movement and movements
that serve a purpose in everyday life
(functional movement). Expressive movement
communicates ideas in dance or other forms of
artistic expression. Functional movement has
a purpose in addition to helping with the tasks
of everyday life, such as sports and games.
The four factors of movement that Laban
identifies are weight, space, time and flow
became the bedrock of what became known as
movement of education.
Lesson 2: Phrase: Linking Movements

Phrase has a BEGINNING, MIDDLE and END.

Movements selected in a dance phrase may
flow one to the other naturally or may be
connected by a transition movement. Evolving
dance sequence from action words is another
way to demystify the creative process.
Example: From the individual dancer, later to be
developed throughout the section, followed by three
dancers with the same movement but reordered. Another
soloist performs original movement phrase and inserts
one or two extensions, the last group dances the phrase
with insertions together.
Lesson 3: Personal: Vocabulary of Movements.

Movements that COMMUNICATES meaning WITHOUT

USING WORDS. First identifies by LITERAL USAGE and
COMBINED WITH THE DANCE CONCEPTS of time,
space, and energy. This must be experienced in different
parts of the body and eventually transformed into dance
movements. Transferred from simple arm, head, or
shoulder movements to full-body actions.
Example: two dancers are task to do a
performance based on a conversation or an
argument that which will be illustrated through
body movements. The two dancers will then create
their body expression as a usage for
communication.
Lesson 4: Shape: Body Design

Shape and design are an aspect of the

elements of space. Perhaps, it is the
STRONGEST VISUAL COMPONENT in
dance, and it may refer to individual body
shapes;
3 – dimensional space
Group shapes
Body shapes are presen in all actions in dance for they CONVEYS
MEANING. There are six types of body shapes used in dancing:

 Shapes with straight lines and angles

 Curving or Organic Shapes
 Open and Closed Shapes
 Symmetrical and Asymmetrical Shapes
 Harmonious and Contrasting Shapes
 Centered and Off-centered Shapes
CHAPTER
2
THE
SPACE:
Exploring the Expense We
Move In
Lesson 1: Air and Floor Pathways: Mapping and Route

Pathways are patterns made as a dancer

moves through the air or on the floor (Straight,
vertical, horizontal, zig-zag); can be made with
locomotor or non-locomotor movements,
separately or in combination. It describes
shapes in space around the body, leading to
definition of body shapes and gives awareness
of the pathways of a gesture.
Lesson 2: Diagonals: From Corner to
Corner

There are four types of diagonals from corner

to corner:
• Corner/s
• Cube
• Diagonal
• Tessellation
 Corner/s - a place or angle where two or
more sides or edges meet.
 Cube – is a symmetrical three-dimensional
shape, either solid or hollow, contained by
six equal sides and eight corners.
 Diagonal – (oblique lines) lines that are
neither perpendicular nor parallel that are
made by connecting the opposite corners of
a cube, passing through the center.
 Tessellation – An arrangement of shapes
closely fitted together, especially of
polygons in an repeated pattern without gaps
or overlapping.
 In Rudolf Laban’s analysis of movement called
Laban Analysis, the diagnosis around the body
afford the clearest three-dimensional use of the
personal space around the body. Each diagonal
makes an axis that cuts through the center of the
body. There are four possible axis connecting the
eight corners of the cube and crossing each other.
Lesson 3: Symmetry: Balancing Shapes

Dance movements producing a reflection are called

mirroring movements. While mirroring, each dancer or
group of dancers claims one side of the divided space. As
if looking at each other in a mirror. In this case, the
dancers face one another with one dancer following the
lead of the body.

Dancers move in the same way at the same time, as if only

one person were moving. When dancers move both sides
of their bodies together to create symmetrical shapes, they
balance each other in space and produce visual symmetry.
Each dancer becomes one side of the observed shape
 Symmetric position is identical on the right
and left sides of the body. It looks and feels
stable, balanced and resolved. Think of a
pyramid, or mirror image.
Lesson 4: Positive and Negative Space: Sharing a Shape

Positive space is defined as the creation of

shapes that focus the eye on the body is
making, rather than the are surrounding the
body.

Negative space is defined as the creation of

shapes that focus the eye on the space
surrounding the body by creating an enclosed
space that draws the eye to that enclosed space.
Positive and Negative space can form an important
part of your overall composition
Positive Space – Space with something in it.
Negative Space – Empty space.
 Type of Positive and Negative Space
Interlocking Forms – Forms and shapes created by
two dancers.
Pas de Deux – A duet where two dancers dance
together
Balance
Asymmetry
Shape
Levels
Lesson 5: Balance: Support Each Other

To reflect an object in dance means to produce its mirror

image in relationship to a reflecting line that divides the
space into two parts. Onstage, the reflection line may
divide the space horizontally, creating an upstage side and
a downstage side, or vertically, creating a stage-left side
and a stage-right side.

Dance movements producing a reflection called,

MIRRORING MOVEMENTS. Literal Mirroring, a term
for dancers that always dance in the same movements.
Lesson 6: Imitation: reflecting Each Other

 Dancers do the same movement on opposite sides of

the stage while the other dancer remains in a shape
along the vertical reflection line, which divides the
stage into right and left sides.
 A choreographer must place the dancer into the stage
in strategically balanced forms that constantly
change but are always pleasing to the eyes of the
audience. Dividing the stage in half with an
imaginary reflection line and placing dancer on
opposite sides of that line allow a choreographer to
use reflecting forms in space to achieve formal unity.
CHAPTER
3
THE
TIME:
Exploring Tempo
Lesson 1: Slow Motion: Dancing in Revenue

The manipulation of time is an important part of dance

composition. Motion produced without a time frame often
does not offer an accurate sense of the length of this time.

The motivation for movement determines a subjective

measurement of time. Often pulses played in music determine
how fast or slow a movement ought to be danced.

Choreographers prefer to allow dancers to find the innate

tempo of a movement phrase before introducing counts or
pulses. They believe that the body makes its own music.
Lesson 2: Speed: Learning to Dance
Quickly
Learning new choreography is fun and interesting, particularly
if you can remember the steps quickly. Memory is actually an
essential skill in competitive dancing, but often we leave it too
much to chance.

Watch before you Do or Question

Learn the choreography in chunks that logically connect to tell a
story.
Mark it slowly
Set a very specific schedule if repetition
Develop personal, not external cues
Repeat it in your mind, as well as with your body.
The more you memorize, the easier it gets.
 
Lesson 3: Pacing: Combining Different Pulses

Dancers will create a contrasting beat

study with three dancers, demonstrating the
pulse, the pulse in half time, and the pulse in
double time.
 
Lesson 4: Accelerating: How Fast Can It Go?

 In music, acceleration is commonly used to heighten emotional

response.

 A retard or a grateful slowing is often used at the end of a

composition to prepare listeners for the resolution of the work.

 Gradual change of tempo, whether slow or fast, is another

compositional device available to choreographers.

 It requires an understanding of movement timing and of the change

in the amount of time it takes perform the movement phrase.
CHAPTER
4
THE
ENERGY:
Force Generating Movement
 Energy is about how the movement happens. Choices about energy include
variations in movement flow and the use of force, tension, and weight.

 An arm gesture might be free flowing or easily stopped, and it may be

powerful or gentle, tight or loose, heavy or light.

 A dancer may step into an arabesque position with a sharp, percussive

attack or with light, flowing ease.

Energy may change in an instant, and several

types of energy may be concurrently in
play.
Energy choices may also reveal emotional
states. For example, a powerful push might
be aggressive or playfully boisterous
depending on the intent and situation. 
Some types of energy can be easily expressed in words, others spring
from the movement itself and are difficult to label with language.
Sometimes differences in the use of energy are easy to perceive; other
times these differences can be quite subtle and ambiguous.

Perhaps more so than the other elements, energy taps into the nonverbal
yet deeply communicative realm of dance:
Lesson 1: Inertia: Readiness to Move

Newton’s third law of motion states: “An object that is at

rest will remain at rest, or an object that is moving will
continue to move in a straight line with constant velocity,
if and only if the net force acting on the object is zero”.

Ballroom dancing is an excellent demonstration of

inertia. When a couple join and create a frame for
dancing they are not yet in motion, they are at rest. The
dance does not start when the music starts, the dance
starts when the lead creates a net force greater than zero.
Without this initial force the couple does not dance.
In dance, physics is always present and visibly seen
in the form of Balance, turns, jumps, and even the
body size matters. Velocity, Momentum and force
are used to help prepare the dancers to move
accordingly.

VELOCITY is how fast and in what direction an object

is moving (basically rate = distance/time + direction)
MOMENTUM is mass time velocity ( if an object has a
large momentum, it’s hard to stop it)
FORCE is basically a push or a pull ( to change an
object’s momentum, you have to apply sine kind of
force for some time)
Lesson 2: Opposites: Contrasting Energies

Saying that a dance “has a

lot of energy” is
misleading. All dances use
the element, though in
some instances it may be
slow, supple, indirect
energy - not the punchy,
high speed energy of a fast
tempo dance.
Lesson 3: Dynamics: Qualities of Movement

The use of different gradations of energy to

perform a movement is often described as
adding dynamic quality to movement.
Specifically, in dance we identify six dynamic
qualities: sustained, percussive, swinging,
suspended, collapsed, and vibratory.
Six dynamic Qualities
 Sustained = slow, smooth, continuous, even
 Percussive = sudden, sharp, choppy, jagged
 Swinging = sway, to and fro, pendulum, under curve
 Suspended = stillness balance, high point
 Collapsed = fall, release, relax stillness balance,
high point
 Vibratory = shake, tremble, wiggle
 Warp-Up and Quality Definitions
Example:
Dancers demonstrate a percussive movement phrase
and the dancers show percussiveness in their bodies

 Swinging (using legs, then arms, then whole body)

 Collapsed (swing a leg up, then collapse the body over it; repeat,
alternating legs)
 Sustained (melt gradually all the way to the floor until finishing in a
stretched shape)
 Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
 Suspended (rise to relieve on both feet and allow arms to follow; find a
point of balance, balance on one foot)
 Vibratory (begin a soft beating of the feet on the floor and allow the
vibration to move up through the body like a volcano until it erupts out
through the fingers)
Movement Qualities
 Swinging legs – regularity, evenness
 Sustained, stretched arms – laziness, calm
 Percussive Jumps – happiness, joy, excitement
 Vibratory beating – anger, resentment
 Collapsing walks – defeat, failure, grief
 Suspended Breath – anticipation, surprise
Lesson 4: Intensity: Increasing and
Decreasing Force
At its best, dancing appears fluid and effortless. To
an observer, it may seem that the dancer is simply
leaping, turning and floating through space.

The skilled dancer understands the mechanics

involved and how those can be used to influence
performance results. With some knowledge of the
physics behind basic dance movements, a dancer can
learn to jump higher, spin faster and move more
quickly.
 Against Gravity
The forces acting on an
individual dancer create a push-
pull relationship between the
dancer and the surrounding
space. The force you exert on the
floor is affected by the direction
and magnitude of the force.
When balancing in relieve, or on
your toes, you are exerting a
force against the floor that is
equal to the force of gravity
being exerted on you. This results
in a zero sum force acting on the
body placing you in your centre
of gravity.
Directional Movement
Moving in a constant direction,
as in performing dance combinations
across the floor, creates momentum.
Momentum is mass in motion. The
amount of momentum depends on the
amount of mass moving and how fast
that mass is moving.
Developing strength in your legs
will move you across the floor
quicker. Combinations across the
floor produce linear momentum,
while turns involve angular
momentum. Torque and rotational
inertia are the physics principles that
can affect the speed and balance of
your spin.
 Torque and Turns
Torque is important in the
production of many dance
turns. This can come from the
friction produced by pushing
off the floor. The harder you
push off the floor, the faster you
spin. Torque also can be
produced by the leg. The
extension and retraction of the
leg in turns, such as in a fouette,
affects the rotational inertia of
the turn. In other words, you
slow down when the leg is
extended and speed up when
the leg is retracted.
Going Up
Graceful, elegant leaps in
dance are achieved by
overcoming gravitational pull
and creating the illusion of a
raised center of gravity.

The height of jumps is

affected by force and speed. The
more mass, or strength, you
have in your legs, the more
power you are able to apply to
the jump. That coupled with
timing can create a jump that
appears to float in the air.
CHAPTER
5
THE
CHOREOGRAPHIC
DEVICES:
Creating Finished Compositions
Lesson 1: Call and Response: Antiphonal Movement

In African cultures, call and response is widespread pattern of

democratic participation in public gatherings, in discussion of civic
affairs, in religious rituals, as well as in vocal and instrumental
musical expression (see call and response in music).

African bondsmen and bondswomen in the Americas continued

this practice over the centuries in various forms of expression in
religious observance; public gatherings even in children’s rhymes
and most notably in music in its multiple forms: blues, gospel and
rhythm

 Link:
Lesson 2: Canon: Dancing in Unison a Few
Courts Apart
Canon in a dance supports unity and variety in a
dance composition and is an important structuring
device for the choreographer. One of the most used
compositional structures in dance is that of the
canon.
Originally a musical term, but commonly used
by dancers to describe a single theme executed at
different times, the canon is used by beginner and
experienced choreographers alike.
Four types of Canon:
 Reverting Canon
In it simplest form, a Reverting Canon, is like a
round in singing, for example Row, Row, Row Your
Boat, where one dancer dances a movement phrase
from beginning to end and subsequent dancers
begin the exact same movement phrase at periodic
intervals.
For example:
This is a bit like
a Mexican Wave and, like
all canons, can be used to
create a range of effects. 
If the dance is about the
ocean the canon can depict
the waves rolling in by
using a movement phrase
that involves curving
shapes that move from a
high level to a low level.
 Simultaneous Canon
In a Simultaneous Canon the dancers still all do the
same movement phrase but they start at the same time,
from a different count in the phrase.  This provides a
dense and interesting effect in the choreography and
can be used to represent complexity without the
choreography appearing chaotic. 

The logic of the pattern of movement is apparent to the

viewer and so there is still a sense of unity to the
composition.  This type of canon is often used
structurally in a piece of choreography to depict a
building to a climax.
For example:
Using the wave stimulus
from above the effect
could be of a stormy ocean
with the waves coming at
various intervals (Time)
and in different directions
(Space).  Have the dancers
talk about the effect of the
changes, to Time and
Space, on the
choreographic intent.
 Cumulative Canon
A Cumulative Canon joins in at various stages
of the movement phrase and the dancers all
finish at the same time.  Only the first person
does the entire phrase.  The effect of this canon is
often one of force or power as each dancer adds
to the emphasis of the movement. 
For example:
It is often used to add
power to the intent of a
movement phrase and
can highly effective when
using large numbers of
dancers. Taking our wave
example again, the
addition of the dancers
could represent the
building of a massive
wave.
 Loose Canon
A Loose Canon is the most flexible of all the canons
as it can use a variety levels, directions or position in
space. In this type of canon, you can add improvised
material, freeze parts of the movement phrase or
even change the dynamic of the movements within
the phrase.  This is particularly useful when showing
an intent that depicts changes over time. 
For example:
Our original ‘wave’ canon may be varied to show how
the wave changes with the change of tide; each dancer
depicts a different stage in the changing tide
 The Echo Canon Activity
A fun activity that uses a reverting canon is to
have the dancers in pairs move as ‘The Voice’
and ‘The Echo’, moving one after the other; ‘The
Voice’ must stay still until ‘The Echo’ has
finished duplicating the movement.  This can
also be done in small groups but is most effective
when the movement phrases are relatively short
and done in sight of the others in the group. 
For an extension of this activity using a loose
canon try doing it close together at first so the
echo is quite ‘loud’ and move further away so the
echo becomes ‘fainter’. The dancers then need to
decide which elements of dance they will choose
to portray this change in ‘volume’. This provides a
way of the dancers solving a ‘movement problem’
by using the elements of dance to create a change
in meaning.
Lesson 3: Directional Mirroring: Parellel
Reflecting and Reverse Reflecting
 Mirroring Reflecting the movements of
another person as if they are a mirror image
(facing each other) Narrative Structure a
dance that tells a story through movement.
Mirroring is a technique that requires
dancers to do the same travel, jump, shape
or balance at exactly the same time.
 Parallel Reflecting
 To reflect an object in
dance means to produce its
mirror image in relationship
to a reflecting line that
divides the space into two
parts. On the stage, the
reflection line may divide
the space horizontally,
creating an upstage side and
a downstage side, or
vertically, creating a stage-
left side a stage-right side.
 Reversal Reflecting
The term “reversal” has two meaning in dance. It has the general
definition of describing a movement or position that is in some way
turned around, so that we see it again: altered in some systematic
way.

 Used this way, “reversal” may

describe a variety of different
symmetry operations, in time or
space, performed by a single dancer,
or by group dancers. A reversal is
not the same as creating a mirror-
image movement. Dancers call this
doing it on the side. To understand
reversals we must first be clear on
what is meant by the other side.
 Try to reverse the twists and turns of the body in motion,
“trouble” gives way to bafflement. Useful, is a set of rules to convert
any position or movement to its reverse:

1. Every step or leg movement to the front

goes to the back, and vice-versa.
2. Turns to the right change to the left, and
vice-versa.
3. Torso curves become arches and vice-
versa
4. Torso twists reverse direction, but tilts
stay the same.
5. Arms, in theory, should follow the
example of legs. In practice, however,
because they can be so extremely
awkward when combined with reversed
legs, arms are often simply done on the
other side.
Lesson 4: Variation: Interweaving and Varying Patterns

 In this choreography, dancers designs the

stage space in the same way a landscape
painter might approach a painting. Dancers
will use a predetermined pathway map.
 As the dancers meet or their path cross in
space, relationships form, some by accident,
some planned. The dance becomes a moving
landscape on the stage
 While the
dancers rehearse
their phrases, the
choreographer
should construct
a pathway map
indicating
entrances and
exits and note the
use of the stage
space.
Lesson 5: Problem Solving: Creating a
Movement Suite
 In this lesson, dancers will create a
group works that are made up to two or
four independent contrasting sections,
alternating slow and fast. Each section
should use movement phrases and
dynamics and groupings that are
different from the previous section.
 Dancers will choose dance suites
inspired by Chants.
 The selected sections are as follows:
“N’Diouk Tabala Wolof” – A quick men’s dance in
varied rhythms
○ https://youtu.be/X4R5Dm1bDR8
“Yofo Yo” – A weight-sharing counterbalanced duet
for two women
○ https://youtu.be/svgnrKyX8xl
“N’terole” – A solo featuring acceleration in music
and dance
○ https://youtu.be/omVUIg52Yo
“Women of Butela” – A quick dance for women,
alternating solo with group
○ https://youtu.be/Jq6JEof5Sg4
 The choreographer will choose a cast of four to six
dancers to create a suite of four separate sections.
All of the class members should have a role as
either choreographer or dancer.
 Section 1. Quick; full-group dance; duple in 4s (AB form
with two separate style of movement
 Section 2. Slow; duet; triple in 3s (theme and variations
(A,A1, A2,A3, A)
 Section 3. Trio; combination of different pulses; duple using
half time and double time
 Section 4. Full group dancing, accelerating and retarding
movement.
 Assess the process by making a video
recording of the work. Watch and critique
the work, discussing compositional choices.
 Rubrics:
Creating/Creativity
Performance
Responding
Connection
Scoring
 Write a Creative Assessment (Student Self-
Evaluation Questions.
THANK YOU SO
MUCH!!!

Prepared by:
Sharie Faith Q. Biñas

18-0087-GS
MMEd, COP
WVSU