Making Ideas Dance

WORKSHOP 1: MAKING IDEAS DANCE

WEEK 1: THURSDAY 12TH JULY 2012

LECTURER/CHOREOGRAPHIC ARTIST: JACQUI DREESSENS

There was a mixture of feelings in the studio on the first day, evidenced through the body language of peers and small group conversations about what to expect. Apprehension, curiosity, excitement and perhaps stress were what stood out to me. This may have been what I tuned into, however, because I was a little of all. The workshop was designed and implemented in a way that allowed any negative feelings to melt away, and for students to be guided, in small steps, to a feeling of success on their first day. A progression of simple tasks to more complex. This is how it happened…

Introduction: Jacqui Dreessens, our lecturer/choreographic artist, welcomed the cohort of students with a discussion on expectations, assessment and an outline of the unit. Each person anonymously wrote down their reason for choosing dance as an elective. At random, a small group of students read aloud a response. I believe this was part of a pre-assessment by Jacqui to reveal any prior experiences with dance, feelings towards the subject and student objectives. 

Warm Up: Standing in a circle, facing each other, the group loosened their bodies beginning with shaking their hands. This was the first sign of the motif to be present throughout the workshop. The small steps throughout the warm up were accessible to all. These included

• Running on the spot
• Shaking and vibrating hands
• Touching body parts such as head, shoulders and knees

In sensing an uncomfortable energy in the space, Jacqui closed the curtains to hide the mirror, and explained the reasons behind her pedagogy; Adapting to the students’ comfort zones in initial workshops.

This was then extended from remaining on one spot to making use of the kinesphere to become more comfortable with our new surroundings.

Students exploring the kinesphere

Students explore the positive and negative space, with an emphasis on safety and awareness of other bodies. 

Students are following directions, such as touching heads

Throughout our exploration of the dance studio, the group followed simple directions. These included

• Call out your own and others' name
• Freeze frames
• Change levels
• Vibrate hands (further example of the motif)

Activity 1: Our first activity was a whole group exercise. After a discussion on the possibilities of using  poetry as a means to explore dance, we used a poem titled 'Fish' to further tune in to our motif of shaking or vibration. 

The group contracted the space and began to move in unison, initially led by Jacqui. She described the process of how to follow others in the front, change directions, and for others to  continue to the phrase by becoming the new leader. We improvised our movements but explored the motif of fish swimming and the current of the ocean. 

The contracted group of students following an improvisation.

Activity 2: After dividing into six small groups we began work on a problem solving activity in which we had to create a movement piece using the poem to guide a narrative movement piece. Jacqui drew our attention to the macro perspective. We had to consider the following questions:

• Who are you?
• Where are you going?
• How are you going to get there?
• Why?

With those guiding questions each group decided on a position as the introduction, a problem,  a resolution, and a final position and had time to practice their dance. We then performed in succession. Each group knew to start when the group preceding them held their final position. 

This workshop would be well suited to many primary years with appropriate adaptations. 

Workshop adaptation for the early years:

VELS Level 2 states students 'should complete an appropriate warm-up that prepares their body for sustained physical activity; for example, a warm-up based on content that will be used in the lesson' (VCCA 2007a). The warm up used in this workshop is relevant for all primary years levels as it starts with the simple. A version of the contracted space activity where students can improvise movements would be ideal for this ability group. As stated in VELS Level 2, students will offer an emerging ability to use 'body shapes and travelling movements suggested by action words that suggest dynamic qualities of movement' to make choices about expressive ways of using arts elements (VCCA 2007a). 

Workshop adaptation for the middle years:

Dance students working towards VELS Level 3 should be involved in learning activities that 'explore and consider stimulus material, identifying ideas, concepts, observations and feelings that suggest dance and movement possibilities' (VCCA 2007b). With this in mind, I would consider giving task cards to this age group with a stimulus. However, it may be that the group works on one particular piece over a 3 week period. 

Reflection:  I enjoyed my first dance class. The inclusive nature of the workshop repositioned my views on how dance can be taught in the primary years. I noticed elements that could be introduced in integrated studies and processes that could be taught to help kinaesthetic learners in a classroom. My initial thoughts were that we would learn a choreographed piece, and line up in front of the mirror for the entire class. It's great to see that it's not an exclusive subject. 

Victorian Curriculum and Assessment Authority (VCCA) 2007a,  Approaches to learning and teaching - the arts (dance) level 2, State Government Victoria,<http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance02.pdf>

Victorian Curriculum and Assessment Authority (VCCA) 2007b,  Approaches to learning and teaching - the arts (dance) level 3, State Government Victoria,<http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance03.pdf>