contemporary syllabus grade 1 - bbo.dance · music: midnight at the oasis -- brand new heavies ....

CONTEMPORARY SYLLABUS

GRADE 1

Level 1 Award in Graded Examinations in Dance

Female & Male Syllabus Version (ii) April 2018

© bbodance 2018

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Contents CONTEMPORARY SYLLABUS ..................................................................................................................................................... 1

GRADE 1 .................................................................................................................................................................................. 1

Introduction and Overview ...................................................................................................................................................... 3

Stage Directions ...................................................................................................................................................................... 5

Vocabulary .............................................................................................................................................................................. 6

Grade 1 ................................................................................................................................................................................ 6

Centre Technique ................................................................................................................................................................... 7

Exercise 1 Demi Plie ........................................................................................................................................................... 7

Centre Technique ................................................................................................................................................................... 9

Exercise 2 Foot Positions and Transference of Weight ...................................................................................................... 9

Centre Technique ................................................................................................................................................................. 11

Exercise 3 Tendu .............................................................................................................................................................. 11

Centre Technique ................................................................................................................................................................. 14

Exercise 4 Foot Articulation ............................................................................................................................................... 14

Travelling Technique ............................................................................................................................................................. 16

Exercise 1 Walks ............................................................................................................................................................... 16

Travelling Technique ............................................................................................................................................................. 19

Exercise 2 Petit Allegro ..................................................................................................................................................... 19

Dance .................................................................................................................................................................................... 21

Dance A Peter Pan ............................................................................................................................................................ 21

Dance .................................................................................................................................................................................... 25

Dance B Emergence of a Butterfly .................................................................................................................................... 25

Training Exercises ................................................................................................................................................................ 29

Training Exercise (T1) – Warm Ups and Cool Downs ...................................................................................................... 29


Training Exercise (T2) – Preparation for Turnout.............................................................................................................. 31


Training Exercise (T3) – Curvature of the Upper Spine .................................................................................................... 33


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Training Exercise (T4) – Développé and Pirouette Preparation ....................................................................................... 34

Strand B: Creative Strand ..................................................................................................................................................... 35

A: Improvisation/Movement Generation ............................................................................................................................ 35

B: Composition .................................................................................................................................................................. 36

Strand C: Wider Learning Strand .......................................................................................................................................... 37

Teachers Notes: Wider Learning Strand .............................................................................................................................. 37

Appendix A ............................................................................................................................................................................ 39

Task 1 (Preparation for Set Dance A): Emotional Understanding of the Narrative........................................................... 39

Appendix A ............................................................................................................................................................................ 40

Task 2 (Preparation for Set Dance B): The Lifecycle of a Butterfly .................................................................................. 40

Appendix A ............................................................................................................................................................................ 41

Task 2 (Preparation for Set Dance B): The Lifecycle of a Butterfly .................................................................................. 41

Additional Information ........................................................................................................................................................... 42

Syllabus Team ................................................................................................................................................................... 42

Introduction and Overview

About the Syllabus

This Grade 1 Contemporary Dance syllabus should be approached as a complete course of study comprising

of three strands: Technique and Performance, a Creative Strand and a Wider Learning Strand. Technique

and Performance consists of set exercises and dances which are examined, and Training Exercises which

support learning but are not part of the examination content.

The inclusion of Creative and Wider learning strands marks a change in the ethos of bbodance syllabi at

Graded Examination level. By engaging with these strands from the outset, it is hoped that students will be

encouraged to develop an individual and creative response to the technical syllabus material.

The Technique and Performance Strand is comprised of 6 set exercises and 2 Set Dances (A and B). Only

one Set Dance is required for examination purposes, although teachers may decide to teach both. A range of

training exercises including warm-ups have been provided to support the delivery of the set syllabus. Please

note that Training Exercises are for teaching and learning purposes only and are not included in the

examination for Grade 1 Contemporary Dance.

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The Creative Strand includes Improvisation and Composition. This work will collectively allow students to

explore topics and themes in the syllabus material and choreograph their own bow for the end of the

Examination. The tasks for creative work are directly linked to each of the Set Dances and are supported by

recommended online resources. This work provides interest and motivation before teaching the actual Set

Dance choreography and will familiarize students with the themes and music for the Set Dances. In

choreographing their own bow, students may use themes or characters from one of the Set Dances, selecting

from steps and movements that they have already created for the Composition Task

The Wider Learning Strand is about gaining knowledge and understanding of Contemporary Dance and

studying some of the best-known shows from the repertoire (appropriate to the level and age range). Dance

students should know about their art form and be familiar with the repertoire, just like students of music, art or

drama. In addition, the study of repertoire is one of the best ways of encouraging performance style and

quality. Students can be inspired by watching (and listening to) great performances by leading professionals.

The Specification

Grade 1 continues a series of qualifications which are recognised in England and Wales and form part of the

Regulated Framework (RQF) at Level 1. Successful completion of the Examination leads to the following

qualifications:

BBO Level 1 Award in Graded Examinations in Dance: Grade 1

Full details of the Examination for Grade 1 in Contemporary Dance can be found in the Specification, including

duration, recommended uniform and assessment criteria. Please note that Specifications for all Graded and

Vocational Graded Examinations are available via the website.

The Syllabus Film is the definitive record of the syllabus. Any discrepancies or inconsistencies between the

film and written word should be brought to the attention of bbodance HQ for amendment by the Qualifications

and Awards Approval Board.

Note on Examinations

This syllabus will come into effect from January 2019.

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DSL Down Stage Left

DSR Down Stage Right

USR Up Stage Right

USL Up Stage Left

USC Up Stage Centre

DSC Down Stage Centre

SR Stage Right SC

Centre Stage De côté De côté

Stage Directions

FRONT

SL Stage Left

Derrière

En face

Devant

En avant

En arrière

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Vocabulary Grade 1 The following French terms are introduced in Grade 1:

Barre Fondu

Demi Petit

Demi-plié Plié

Derrière Retiré

Devant Sauté

Développé Tendu

Natural Parallel (parallel 1st):

Stand with your feet hip bone width apart, lifting through the arches of the feet, thinking of the weight being

dispersed through three points – the heel, the big toe and the outside ridge. Ensure the anklebones are

straight and the sides of heel are at right angles to the floor. Extend the legs and ensure the thigh muscles are

lifted and gently externally rotated with no grasping of the knee joints. The pelvis should be held in a neutral

position with the core stomach muscles lifted up and back towards the spine and the whole spine should feel

extended and supported. Check that the ribcage is not hyper extended and there is a good flow of breath.

Relax the shoulders by rotating them back and down, and let the arms hang with extension down into the

fingers. Extend your neck and hold the head without tension in the jaw.

Arms:

The arms used in contemporary dance technique are often the same positions as classical ballet with a

softening of the elbow and wrist joints and a lengthening of fingers.

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Centre Technique Exercise 1 Demi Plie Music: Somewhere Only We Know – Lily Allen

Music Steps Arms Head

Commence: Starting position is natural parallel

Opening Chord 1 - 6

Wait 6 counts

7-8 Prepare Arms to 2nd through the sides, palms facing forward

1 - 2 Plie and lengthen

3 – 4 Repeat

5 - 6 Lift up R Leg and place in 1st position and repeat on L leg

7 - 8 Circle arms down and across body and back to 2nd position


3 – 4 Repeat

5 - 6 Lift up R Leg and place in 2nd position and repeat on L leg



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3 – 4 Repeat

5 - 6 Lift up R Leg and place in parallel position and repeat on L leg


Breathe for 2 counts

Repeat whole exercise

Teaching Tips

Initially, use coloured stickers to highlight the positions of the feet from parallel to 1st to 2nd.

Notes on Style

The movements should be flowing and continuous. The amount of head movement in the arm circles is governed by the student’s interpretation, but should be consistent with the style. Balance and the confident transference of weight should be evident.

The students should be encouraged to find and hold their own natural turnout in 1st and 2nd. This should not be forced turnout, with the emphasis on good alignment of the ankle, knee, hip and safe practice. This use of turnout is relevant for the entire syllabus.

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Centre Technique Exercise 2 Foot Positions and Transference of Weight Music: When You Wish Upon a Star – Linda Ronstadt

Counts Steps Arms Head

Commence: Starting Position is natural parallel

Introduction 8 counts

Wait 4 counts

5-7 Stretch out R foot and sway to R, sway L, close R foot parallel

8 Place R foot back into natural parallel

1 Plié

2 Tendu R foot to 2nd position

3 Transfer weight onto R leg

4 Close L Leg to parallel and simultaneously lengthen both legs

5 - 8 Repeat last 4 counts to L side

1 Plié

2 Shunt (chasse) R foot devant, both knees soft and release L heel

3 Transfer weight back onto L

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leg and tendu R leg devant

4 Close R foot to parallel

5 - 8 Repeat last 4 counts to L side

Repeat whole exercise

Teaching Tips

When the students are confident with this exercise, set them a creative task to suggest arms for the side

transference and backwards transference. Note that correct ankle alignment is used on the back leg on the

shunt forward.

NB: The video tutor says to shift the weight back on to the R foot on count 3 of the second phrase, but

demonstrates transferring the weight to the L leg. The syllabus and practical demonstration are correct.

Notes on Style

This exercise is to evidence continuous movement and the confident transference of weight with the arms held

in a natural position. If students are struggling with this, include some basic core strengthening exercises into

the warm up, i.e. ‘the plank’.

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Centre Technique Exercise 3 Tendu Music: Midnight at the Oasis -- Brand New Heavies




Wait 8 counts

1 Lift R heel

2 Transfer to a lifted L heel

3 Transfer to a lifted R heel

4 Pause


6 Transfer to a lifted R heel


8 Place L heel down

1 - 2 Tendu R foot devant and close

3 - 4 Repeat counts 1 – 2 with L leg

5 Plie with curved upper spine To 1st position

6 Lengthen spine, remain in plie Open to 2nd position

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7 – 8 Lengthen legs Lower arms down side

1 - 2 Tendu to 2nd position, close, R leg

3 - 4 Tendu to 2nd position, close, L leg

5 – 6 Tendu to 2nd position, close, R leg

7 – 8 Circle shoulders back

1 - 2 Tendu to 2nd position, close, L leg

3 - 4 Tendu to 2nd position, close, R leg

5 – 6 Tendu to 2nd position, close, L leg

7 Place R foot into 1st position

8 Place L foot into 1st position

Repeat whole exercise in 1st position except the final 2 counts

7 – 8 Place feet back into natural parallel

Teaching Tips

As with the entire centre technique exercises, socks may be required depending on the studio floor. These

may be worn in the examination, preferably black, but must be removed for the travelling exercises.

A simple clapping exercise 123 pause, 1234 will support students to understand the pattern of the heel lifts.

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Notes on Style

The tendu should be performed with even counts out and close. Training Exercise 3 (T3) will support students’

understanding of the use of the curve in the upper back.

To build strength, repeat the exercise starting on the left leg – although, as with all the technique and

performance exercises, the summative examination will be as listed in the written syllabus and supporting

video. Dancers will not be evaluated to the left if not specified in the written syllabus and video.

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Centre Technique Exercise 4 Foot Articulation Music: Funky Town – Lipps,Inc. (https://www.youtube.com/watch?v=tVlMFS8CB-k)



Relaxed at sides


Wait 4 counts

1 - 2 Lift R heel and lower

3 - 4 Lift R heel and lower

5 Lift R heel

6 Tap R foot in low coup de pied at the side of the ankle

7 Place R foot onto demi

8 Lower R heel

1 – 8 Repeat last 8 counts to L side

1 Lift R heel

2 Tap R foot in passé on the side of the calf

3 Place R foot onto demi

4 Lower R heel

5 – 8 Repeat last 4 counts to L side

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1 - 2 Demi plie To 1st position

3 – 4 Legs straighten To 2nd position

5 – 6 Turnout R foot Lower R arm

7 – 8 Turnout L foot Lower L arm

1 - 2 Rise heels

3 - 4 Lower heels

5 - 6 Rise heels Arms lift through sides of body to high open-V (open fifth)

7 - 8 Lower heels Lower arms through sides of body

Repeat all of the above in first position

*Last 4 counts of 3rd phrase, turn feet back to parallel

Teaching Tips

Initially, you may choose to teach this exercise with a use of a barre as support. When the students are

confident with the exercise, put them into small groups (3 or 4) to devise arms that are suitable for the exercise

and style of music as a creative task. You can show them other disco classics to give examples, i.e. YouTube

‘You Should be Dancing.’ Check that students have correct alignment of the ankle to lower leg when

performing heel lifts.

Notes on Style

Students should be confident in transferring weight from two legs to one leg. Although this exercise has a

faster tempo, the movements should not become jolted. Training Exercise 4 (T4) will further develop students’

ability to transfer weight from standing to one leg.

NB: When in rotation, the arms can be either in front or behind the leg in passé, depending on which is more

natural for the student.

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Travelling Technique Exercise 1 Walks Music: Bare Necessities – Jungle Book


Commence: Starting position is a Sleeping Bear on the R side of body CS


Wait 4 counts

5 – 6 Starfish stretch onto back

7 - 8 Sleeping Bear on their L side of body

1 – 2 Starfish stretch onto back

3 - 4 Sleeping Bear on their R side of body

5 – 8 Roll up through body to natural parallel

1 – 4 Stretch arms up

5 - 8 Walk back to USL Lower arms

1 – 4 Circle both shoulders backward

5 – 8 Circle both shoulders forward

Tempo change

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1 - 4 Walk R, L, R, L on R diagonal

5 - 8 4 gallops in circle R, US and round finishing with weight on R foot

1 – 2 Transfer weight onto L foot and place R foot back on R diagonal

3 – 4 Walk backwards onto L foot on R diagonal

5 - 7 Transfer weight onto R foot, pas de bouree derrière commencing L foot

8 Petit assemblé with soft knees

1 - 4 Walk R, L, R, L on R diagonal

5 - 8 4 gallops in circle R, US and round finishing with weight on R foot

1 – 2 Transfer weight onto L foot and place R foot back on R diagonal

3 – 4 Walk backwards onto L foot on R diagonal

5 - 7 Transfer weight onto R foot and step forward, cross L behind R, step R

8 Petit assemblé with soft knees

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Teaching Tips

As an initial travelling exercise, the students could perform the 4 x walks and 4 x gallops in a circle, first to the

right, starting with the right leg, and then to the left.

When taking the 2 x slow walks back, the students have to transfer their weight from their front foot – a sticker

on their right foot when performing on the right will help as a visual reminder.

In the examination, the travelling exercises will only be asked for on the right side, as this is generally what

most students are more confident with, but within class they should always perform the exercises on the right

and left.

When students perform the shoulder rolls they should be encouraged to focus on breath.

Notes on Style

This is a travelling exercise so the 4 x walks forward and the steps ‘forward, behind, forward, assemblé’ need

to be the main focus. The entire exercise should be performed with soft knees, particularly the last 4 counts,

apart from the 2 x slow walks back.

The introduction is long and allows the students to develop characterisation as a ‘waking bear’ in preparation

for the set dances.

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Travelling Technique Exercise 2 Petit Allegro Music: Dancing Queen -- Abba


Commence: Starting position is natural parallel, USL, facing R diagonal

Introduction 8 counts (slow) –or –16 counts (quick)

1 - 4 4 pliés

5 - 8 4 rises with soft knees

1 – 4 4 sautés

5 - 7 3 spring runs R, L, R

8 Assemblé into 1st position with soft knees

Lift through sides of body into high V (open 5th position)

1 – 4 4 pliés Lower arms

5 – 8 4 rises with soft knees

1 – 4 4 sautés

5 – 7 3 spring runs, circle R, US and round finishing with weight on R foot

8 Assemblé into natural parallel

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with soft knees

Teaching Tips

Initially, the first 2 x sets of 8 counts should be performed on the left and right and these could be practised

with the whole class in a circle or with students travelling any direction in the studio.

Notes on Style

The sautés and runs should be performed just coming off the floor. The emphasis in the assemblé is on

travelling, not elevation.

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Dance

Dance A Peter Pan Music: Peter Pan Overture – Jan A P Kaczmarek


Commence: CS, Wide parallel position Looking up, facing DSR

1 – 4 Wait

5 – 6 Looking up, facing DSL

7 Look to R

+ 8 Lift lower R arm in front Look to L and to R Palm

1 - 6 6 walks in circle US starting with R leg and round finishing with L foot into a wide parallel on R diagonal

7 Throw R arm up (i.e. Tinkerbell into the air)

8 Hands on hips Look DSL

1 - 4 Circle head clockwise

5 Twist chest L, lunge to R side Look down at L foot

6 Twist chest R, lunge to L side Look down at R foot

7 Twist chest L, unge to R side Look down at L foot

8 Bend forward Hands hold back of lower calves

Look between legs

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1 - 2 Curl up through spine and close L foot into natural parallel on count 2

Head down with the eyes to the feet

3 - 4 Tendu L foot and close Pull back slightly with elbows bent, palms facing back and fingertips toward floor

5 - 6 Tendu R foot and close

Tempo change

1 - 4 Knees soften slightly Circle arms across body and open, palms facing out

1 - 4 Sautés that zig-zag backwards, R, L, R, L

Leave in high, open position with palms facing out

1 - 2 R hand to take out small toy ‘dagger’ from R hip

3 – 4 R foot forward into lunge R arm extends forward, L arm on high diagonal palm out

5 – 8 Remain in lunge Make a figure of eight with R arm, UR to begin

1 Slash R arm to R

2 Slash R arm to L

3 - 4 Slash R arm to R

5 - 6 Retract to extend R arm forward, L arm remains high

7 – 8 Step L, R on R diagonal, forward Retract to extend R arm

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lunge forward, L arm remains high

1 - 2 Repeat last two counts Retract to extend R arm forward, L arm remains high

3 - 4 Lean body forward, plié on R leg and stretch L leg fully

Fully extend R arm forward, L arm remains high

5 - 7 Close L foot into natural parallel Put away dagger into R hip Look over R shoulder

8 Look over L shoulder to DSL

1 - 4 Run on slight up-stage R diagonal Arms cover head

5 - 8 Run on slight up-stage L diagonal Arms cover head

1 - 2 Run USC, face up stage

3 - 4 Step R, kneel into crouch with L knee placed on floor, spine curled

5 - 8 Roll onto L side, roll to back, roll onto R side, place L foot on floor, kneel R knee

1 - 4 Roll up through spine

5 – 6 Look to the R

7 -8 Look to the L

1 - 2 Jump to feet in low crouch Hands on floor

3 - 4 Jump up to standing into wide parallel, hold

Hands on hips

1 - 4 Step R, step across L, step R Gather R arm

5 - 8 Repeat previous 4 counts to the Gather L arm

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left

1 - 4 Stepping in a small semi-circle to the dancer’s right, step R, L, R, jump with L leg slightly bent behind body

Arms in high-V (open fifth position)

5 – 8 Walk down stage right, L, R, L, R, together

Arms travel across body in a circle and end back into high-V with a small release of the upper spine

1 - 16 The students create their own ending which will incorporate a bow

NB: The dancers demonstrating the complete dance with music do not reflect the correct timing when coming off the floor whilst facing back. Please refer to the timing showed by the tutor and reflected in the written syllabus.

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Dance

Dance B Emergence of a Butterfly Music: The Time of Your Life – Randy Newman


Commence: CS, on knees, and curled back Loose on floor and pulled in to sides of body


Wait 4 counts

1 - 2 Place R hand forward on floor above head, place L hand forward on floor above head

3 - 4 Place R hand back on floor, place L hand back on floor

5 – 6 Curl up through spine Push up through arms Looking forward

7 + 8 R hand ‘knocks’ 3 times at eye line in front of the body

Look to R hand

1 + 2 L hand ‘knocks’ 3 times at hip level in front of the body

Look to L hand

3 Body leans forward from hips Punch R hand forward, L clenched hand to L hip

Look forward

4 Stretch R hand

5 Fall forward onto R hand

6 – 8 Roll onto L side and onto back, ending on R side curled tight

Pulled in to chest, hands clenched

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1 Kick L leg upstage

2 Roll onto sitting bones facing upstage back with soft knees and flexed feet

Push up through R hand on floor

3 - 4 Stretch up both arms over head with flexed hands and open to shoulder height, arms slight bent

Look up to hands, look forward

5 Rock body to R Place R hand on floor Look to R hand

6 Rock body to L Place L hand on floor Look to L hand

7 – 8 Rock all the way onto R and place R knee down and place L foot on floor to face DSL

Carry the L arm over the head and place both hands down on floor

Look up to L arm follow the hand to the floor

1 + Place L hand on floor, R hand on floor

2 + Travelling backwards along horizontal, place back L foot, place back R foot

3 + Place L hand on floor in front of R hand, R hand on floor

4 + Travelling backwards along horizontal, place back L foot, place back R foot

5 + Place L hand on floor in front of R hand, R hand on floor

6 Twist body to DSR diagonal, rest L knee on floor

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7 Uncurl spine and breathe in Lift shoulders

8 Relax from mid spine and breathe out

Drop shoulders

1 – 2 Spine stretch up and over to R side

Wipe brow with the back of the R forearm

3 – 4 Place L foot on floor into natural parallel and lengthen up through whole body to a standing position, and end with the back gently curled forward and knees soft

Lengthen through sides of body, hands facing down, cross the arms in front of body and place hands to shoulder blades

5 – 6 Stretch out and flutter R hand and place back into position

7 – 8 Stretch out and flutter L hand and place into position

1 – 2 Stretch out and flutter L foot devant and place back into position

3 – 4 Stretch out and flutter R foot devant and place back into position

5 – 6 Slightly uncurl and recover x 2 Jut both elbows to sides x 2

7 Fully lengthen spine and twist to R

Circle R arm back

8 Twist to L Circle L arm back

1 Step R foot USR Stretch R arm to high V Look R

2 Step L foot DSL Stretch L arm to high V Look L

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3 Step R foot DSR Stretch R arm to high V Look R

4 Step L foot USL Stretch L arm to high V Look L

5 – 7 + 6 x walks around in circle starting with R foot

Unfurl R arm at waist height to lead walk

8 + 3 runs R, L, R to DSL

1 Jump 2 feet together into natural parallel soft knees, spine curled

Float both arms to high V and down with inverted hands

Eyes looking forward and down on low diagonal

2 – 3 + 4 runs RLRL DSR

4 Jump two feet together into natural parallel soft knees, spine curled

Float both arms to high V and down with inverted hands

Eyes looking forward and down on low diagonal

5 – 6 Step gallop LRL to side DSL ending on side lung, L knee soft R knee long

Circle both arms together across body ending high

7 Transfer weight onto R leg USR Arms swing low and high to R side

8 Transfer weight onto L leg DSL Arms swing to and high to L side

8 counts (slow) –or – 16 counts (quick)

The students create their own ending which will incorporate a bow

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Training Exercises

Training Exercise (T1) – Warm Ups and Cool Downs

A) Counted Gallops

Student hold hands in a circle and stretch out R foot. Gallop to the R x 8, gallop to the L x 8, gallop to the R x 4, gallop to the L x 4, gallop to the R x 2, gallop to the L x 2, gallop RLRL. Repeat or reverse.

Top Tips: As this warm up activity cognitively engages students, it is suitable for 7-17 year olds. If you have a large group, you can utilize two circles travelling in opposing directions.

B) Walks, Runs, Gallops

An effective and quick warm up could be a series of walks, runs and gallops that additionally incorporates the use of arms and body. Depending on space, this could be performed with a set circle, or much freer, encouraging the students to make directional decisions to engage them cognitively. This warm up could then be further developed by the students suggesting actions that could also be incorporated.

Top Tips: You can give the movements numbers to correlate with the movement. You can ask students to suggest movements and also give students responsibility for calling out the numbers. Use a slower track and choose movements with a softer dynamic to utilise this exercise also as a cool down. These movements should include slower structures.

C) Walk – Run – Melt – Shock

Each instruction has a corresponding action. The melt action should also include a recovery.

Top Tips: To develop cognitive thinking, the actions can then be switched;

Walk = Run Run = Walk Melt = Shock Shock = Melt

D) Crab Pool

This warm up game is great for getting students warmed up via a fun game. As it is fast paced, it develops agility and spatial awareness, which is specifically important for large group dances.

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Mark off a large area in the studio.

One or two students start as ‘crabs’ –in a seated position, they place their arms down to lift their torso. They then must move like that. They travel around the ‘pool’, and if they tap a student via their arm or leg, that student also must join them as a ‘crab’.

The standing students must try and avoid the crabs by running around the pool

They automatically become a ‘crab’ if;

They step out of the pool

They make a noise (this is usually a squeal as they are so excited)

They bump into anyone they both become ‘crabs’

The last student standing is the winner

Top Tips: Play this game a few times to ensure that the focus is not the ‘winner’. Reiterate that it is not worth getting hurt, i.e. students trying to wildly jump over the crabs. Play with bare feet - so the risk of injury is reduced. Ask for volunteer ‘crabs’ rather than you choosing them.

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Training Exercises

Training Exercise (T2) – Preparation for Turnout Music ¾ (Music suggestion “What a Wonderful World”)


Commence: Facing barre – 1st position Held at sides of body En face

Introduction 4 bars

Place hands on barre

1 Tendu R foot devant – turned out

2 Hold Tendu. Turn in

3 Hold Tendu. Turn out

4 Close 1st position

5 - 8 Repeat with L foot

1 - 8 Repeat in 2nd position with R and L

1 - 2 Tendu R foot derrière Slightly turned towards supporting leg

3 - 4 Close 1st position En face

5 - 8 Repeat with L As above

1 - 2 Demi-plié

3 - 4 Stretch

5 - 6 1st to 5th position

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7 - 8 Lower through 1st position to barre

1 - 32 Repeat whole exercise commencing with L foot

As above As above

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Training Exercises

Training Exercise (T3) – Curvature of the Upper Spine Music: To be chosen by teacher or students


Commence: Kneeling facing side with spine fully relaxed forward

Relaxed on floor


Breathe in and out

1 - 4 Roll up through the spine Arms fall naturally by sides of the body

5-8 Roll down the spine to the starting position

1-4 Roll up through the spine

5-8 Curve the mid to upper spine

(Thoracic & Cervical)

Bring arms up to 1st position

1-4 Lengthen spine to its natural position

To second

5-8 Roll down the spine to the starting position

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Training Exercises

Training Exercise (T4) – Développé and Pirouette Preparation Music: To be chosen by teacher or students


Commence: Starting position is natural parallel

Relaxed at side


Wait 4 counts

1 - 4 Lift right leg to pirouette position at the side of the knee

Lift to 1st

5-6 Développé devant Open to second

7-8 Lower leg to tendu and close Starting position

1-8 Repeat with left leg

1-4 Turn out right and left leg to 1st position

1-16 Repeat exercise using turn out forward (devant) and then to the side (to second).

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1) Use words or draw a picture to show the movement.

1) Use words or draw a picture to show the feelings.

Strand B: Creative Strand

The following information relates to the Creative Strand of the Grade 1 syllabus. The content is not directly

assessed in the examination, but it will help candidates to develop the characterization and elements of

presentation necessary to achieve the highest grades.

The Creative Strand is divided into two sections, A: Improvisation/Movement Generation and B: Composition.

We have included some tasks, which will get you started on delivering this content, but teachers are

encouraged to tailor and develop these tasks, and are free to add additional tasks as they see fit.

We would strongly recommend undertaking the Improvisation/Movement Generation tasks before learning the

set dances, as this will encourage the candidates to develop their own characterization and personality which

they can bring to the choreography, rather than copying the nuances from the written syllabus and filmed

recording.

A: Improvisation/Movement Generation

Task 1 (Preparation for Set Dance A): Emotional Understanding of the

Narrative

Can you identity 6 moments in the dance and describe and/or draw the movement and the attached feelings?

Provide a worksheet (see Appendix A) to complete this for the 6 chosen moments. Then ask the students to

reorder the moments and create a new piece of dance. This could be achieved as a solo or a duet and could

lead to a peer-teaching task.

The book, Amazing Grace by Mary Hoffman and Caroline Binch (if not available in your local bookshop then

https://www.amazon.co.uk/Amazing-Grace-Mary-Hoffman/dp/1845077490), is an excellent resource as it

discusses whether gender or race should define who plays the role of Peter Pan.

Task 2 (Preparation for Set Dance B): The Lifecycle of a Butterfly

https://www.amazon.co.uk/Amazing-Grace-Mary-Hoffman/dp/1845077490

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1) Use words or draw a picture to show what is happening in the lifecycle.

Can you identity the 4 stages in the lifecycle of the dance and describe the movement from the dance?

Provide a worksheet (see Appendix B) to complete this for the 4 stages. Then ask the students to use these 4

stages in reverse to create a new piece of dance. Again, this could be achieved as a solo or a duet and then

could lead to a peer-teaching task.

This task could also include a discussion on whether a butterfly has a gender and how can an insect be

presumed to be male or female, and this could be particularly useful if there are boys in the group? If a student

has a strong response to the idea of being a butterfly you could ask them if they would prefer to imagine being

another insect i.e. a moth.

For both tasks there should be an opportunity for the students to perform their choreography and receive

feedback. This could be ipsative from viewing a recording or from their peers.

1) Name one aspect of the new choreography that they liked

2) Name one aspect that needs further development.

B: Composition

Task 1 (Development of Set Dance Material and Student Bow)

From the improvisation tasks, the students should be able to choreograph the last 16 counts of their chosen

set dance, and this should include a bow to the examiner/audience. Depending on the age and ability of

students, they may be supported on this task. For example, it may be created via a group task with each

student choosing their last 4 counts.

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Strand C: Wider Learning Strand

The Wider Learning Strand is about gaining knowledge and understanding of Contemporary Dance and

studying some of the best-known shows from the repertoire (appropriate to the level and age range). Dance

students should know about their art form and be familiar with the repertoire, just like students of music, art or

drama. In addition, the study of repertoire is one of the best ways of encouraging performance style and

quality. Students can be inspired by watching (and listening to) great performances by leading professionals.

Teachers Notes: Wider Learning Strand

As part of this syllabus we are also keen for students to gain a wider understanding of the Contemporary

Dance genre. These tasks have been set to introduce the genre and to visually develop understanding

A) What is Contemporary Dance? https://vimeo.com/236827661 This is a short video that could be shown in part with young children and in full with older 12+. Plus you could provide images of contemporary dance (Google key companies for images i.e. Martha Graham, Merce Cunningham, Alvin Ailey Dance Theatre, Rambert, Nederland’s Dance Theatre, Akram Khan). Follow this with a group discussion on what the students think contemporary dance is? Have they seen any contemporary dance live or on screen? Ask students to fill an A4 piece of paper (or a diary page if you use a workbook with your students) with images (these may be drawn or provided to be stuck on) and words to represent ‘what is contemporary dance?’ to them as an individual.

B) Abide With Me: Akram Khan

https://vimeo.com/85959047 Akram Khan was invited to choreograph a prominent section of Danny Boyle’s Isles of Wonder London 2012 Olympic Games Opening Ceremony. The section featured 50 specially selected professional dancers, a 9-year-old boy and Khan himself. Set to the voice of Emeli Sandé singing Abide With Me, the piece was a moment of reflection and contemplation following the vibrant and astonishing, high tempo proceedings.

Khan’s work brought an infectious stillness to the ceremony and the theme of transferring possibilities and hopes between generations.

Lead a group discussion on what the students thought of the dance and create a visual image of this on a white board or large piece of paper. You could make this more interesting this by having images already prepared on these. Depending on the age and ability of the students, you could write down

https://vimeo.com/236827661

https://vimeo.com/85959047

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their responses or they could write their own responses.

What did they think of the movement? What did they think of the costumes? What did they think of the music?

Did they like the live singing? What did they think of the venue? Have they ever seen an outside performance?

What did they think of the range of dancers? What was their favourite aspect of the performance?

What did they not enjoy about the performance?

These questions should be used to develop students’ critical understanding of dance. There are no right or wrong answers and encourage the students to be non-judgmental of each other’s responses.

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Appendix A

Task 1 (Preparation for Set Dance A): Emotional Understanding of the Narrative 1) Use words or draw a picture to show the movement. 1) Use words or draw a picture to show the feelings.

2) 2)

3) 3)

4) 4)

5) 5)

6) 6)

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Appendix A


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Appendix A



1) Use words or draw a picture to show what is happening in the lifecycle.

2)

2)

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Additional Information

The Contemporary Dance syllabus was originally devised for bbodance in 2018.

Syllabus Team Syllabus devised by: Sam Le Bihan assisted by Ben Warbis and Edd Mitton

Project Development Manager: Sam Le Bihan (Head of Teaching Qualifications and Level 3 Dance)

Education Advisor: Dr. Carol Martin (Director of Learning bbodance)

Editorial Team: Fiona Knower and Kate Vandivier

Video Tutor: Ben Warbis assisted by bbodance Level 3 students

contemporary syllabus grade 1 - bbo.dance · music: midnight at the oasis -- brand new heavies ....

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