contemporary syllabus grade 2 - bbodance

Level 2 Award in Graded Examination in Dance © bbodance 2018

CONTEMPORARY SYLLABUS

GRADE 2

2

Contents

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

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

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

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

Exercise 1 – Plies with Use of the Upper Spine .................................................................................................................. 7

Exercise 2 – Foot Articulation and Tendu ......................................................................................................................... 10

Exercise 3 – Rond de Jambe á Terre ............................................................................................................................... 14

Exercise 4 – Tendu and Grande Battement ...................................................................................................................... 16

Exercise 5 Preparation for Turns ...................................................................................................................................... 18

Travelling Technique ............................................................................................................................................................. 20

Exercise 1 – Travelling ...................................................................................................................................................... 20

Exercise 2 – Falls .............................................................................................................................................................. 22

Exercise 3 – Petit Allegro .................................................................................................................................................. 24

Exercise 4 – Allegro .......................................................................................................................................................... 25

Dance A – The Ugly Duckling ............................................................................................................................................... 27

Dance B – Forces ................................................................................................................................................................. 33

Training Exercises ................................................................................................................................................................ 38

Training Exercise 1 – Warm Ups and Cool Downs ........................................................................................................... 38

Training Exercise 2 – Mobilisation of Joints and Lengthening of Soft Tissue ................................................................... 40

Training Exercise 3 – Floor Work & Use of Spine ............................................................................................................. 42

Training Exercise 4 – Falls ................................................................................................................................................ 44

Strand B: Creative Strand ..................................................................................................................................................... 45

A: Improvisation/Movement Generation ............................................................................................................................ 46

B: Composition .................................................................................................................................................................. 46

Strand C: Wider Learning Strand .......................................................................................................................................... 47

Credits ................................................................................................................................................................................... 49

Appendix A ............................................................................................................................................................................ 50

Appendix B ............................................................................................................................................................................ 52

Appendix C – Additional Resources ..................................................................................................................................... 54

3

Introduction and Overview

About the Syllabus

The Grade 2 Contemporary Dance syllabus should be approached as a complete course of study comprising three strands:

Technique and Performance Creative Wider Learning

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 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.

Technique and Performance

Comprises nine set exercises and two 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 has

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.

Creative

This 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 familiarise 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 steps and movements that they

have already created for the composition task.

Wider Learning

This 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.

4

The Specification

Grade 2 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 2

Full details of the examination for Grade 2 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.

Note on Examinations

This syllabus will come into effect from January 2019.

5

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

6

Vocabulary The following French terms are used and/or introduced in Grade 2:

Assemblé

Demi

Demi-plié

Petit

Plié

Retiré

Rond de jambe

Tendu

Natural Parallel (parallel 1s t position):

Stand with your feet hip 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 ankle bones 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 rib cage 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.

Head:

The term ‘head on the back’ is used to describe how the headline remains in its simplest alignment in relation

to the chest and shoulders, i.e. the head is not turning and instead remains more natural. This term is referred

to throughout the syllabus film.

7

Centre Technique Exercise 1 – Plies with Use of the Upper Spine Music: When You’re Smiling – Dean Martin

Music Steps Arms Head

Commence: Natural parallel Relaxed at sides

Introduction

8 counts

Wait 8 counts

1 Round head and shoulders forward keeping pelvis neutral

Held naturally following the curve of the spine

2 Recover to standing

3 Curve head and shoulders to the R keeping the pelvis neutral



5 Round head and shoulder forward keeping pelvis neutral



7 Curve head and shoulder to L keeping the pelvis neutral



1 - 2 Demi plié, straighten knees

3 - 4 Rise, lower heels


8

7 Place R foot into 1st position

8 Place L foot into 1st position

1 - 8 Repeat first 8-counts

1 - 2 Demi plié, straighten knees May need to move wider to accommodate the plié



7 Place R foot into 2st position

8 Place L foot into 2st position

1 - 8 Repeat first 8 counts




7 Place R foot into natural parallel

8 Place L foot into natural parallel

Teaching Tips

Demonstrate rounding forward and curving sideways with as much lengthening in the neck as possible. Avoid crushing the chin to the chest or ears to the shoulder

The demonstrator in the introduction on the associated film of the exercise denotes the timing of the counts

The student’s use of spine and depth of pliés should be to the range of that child without affecting balance.

9

Notes on Style

In demi plié in 2nd position allow the arms to relax in front of the thighs or alternatively, allow the arms to rest on the thighs as you plié.

As per Grade 1 and throughout this syllabus the exercises should be performed with ease and continuation i.e. the movements should flow into each other unless there is a specified pause.

10

Centre Technique Exercise 2 – Foot Articulation and Tendu Music: La Bamba – Los Lobos and the Gypsy Kings

Counts Steps Arms Head


Introduction 8 counts

Wait 8 counts

1 - 2 Lift R heel, lower R heel

3 - 4 Lift R heel, lower R heel

5 - 6 Lift R heel, stretch toes slightly off floor

7 - 8 Lower R toes with heel lifted, lower heel

1 - 2 Tendu R leg front

3 - 4 Close to natural parallel



1 - 2 Demi plié

3 - 4 Straighten knees

5 - 6 Rise

7 - 8 Lower heels

11

1 - 8 Repeat first 8-counts to L

1 - 2 Tendu L leg front




1 - 2 Demi plié


5 - 6 Place R foot into 1st position

7 - 8 Place L foot into 1st position

1 - 8 Repeat first 8-counts to R


3 - 4 Close 1st position



1 - 2 Demi plié


5 - 6 Rise

7 - 8 Lower heels

12

1 - 8 Repeat first 8 counts to L in 1st position




7 - 8 Close to 1st position

1 - 2 Demi plié


5 - 6 Rise

7 - 8 Lower heels Lift arms through side of body to 2nd position

1 - 8 Repeat first 8 counts to R in 1st position

1 - 2 Tendu R leg side




1 - 2 Demi plié


5 - 6 Rise

13

7 - 8 Lower heels

1 - 8 Repeat first 8 counts to L in 1st position

1 - 2 Tendu L leg side


5 - 6 Tendu L leg side


1 - 2 Demi plié


5 - 6 Place R leg in natural parallel Lower R arm

7 - 8 Place L leg in natural parallel Lower L arm

Teaching Tips

Demonstrate foot articulation lifting from the floor only as high as the lengthening of the toes allows Do not flick the lower leg away. Instead, keep the tips of the toes pointing directly towards the floor Once the legs have been placed into 1st position the rotation of the legs is sustained throughout these

sections until the return to natural parallel. Note the complexity of the changes in the transitions and identify the pattern. The change in pace in the exercise from the foot articulation to the tendus and pliés aim to encourage

a strong understanding of centre which will be further required throughout this genre.

Notes on Style

Consider that 2nd position of the arms is lengthened through the elbows and palms more than in a classical 2nd position, however be sure that the elbows do not become stiff or locked.

14

Centre Technique Exercise 3 – Rond de Jambe á Terre Music: Your Song – Ellie Goulding




Wait 4 counts

1 - 2 Demi plié, tendu R leg front

3 - 4 Demi rond de jambe to side with gradual lengthening of supporting leg

5 Flex R foot

6 Stretch R foot

7 - 8 Close R leg to natural parallel

1 - 8 Repeat first 8-counts to L

1 Demi plié, tendu R leg front Arms lift to 1st position

2 - 3 Demi rond de jambe to side with gradual lengthening of supporting leg

Arms open to 2nd position

4 Close R leg to natural parallel Arms lower to sides of body

5 - 8 Repeat previous 4-counts to L

1 - 2 Demi plié with release of upper spine

Arms lift to 1st position Curve head with the spine and look to the floor

15

3 - 4 Straighten knees and recover spine

Arms lift to 5th position

5 - 6 Place R foot into natural 1st position

Lower R arm to side through 2nd position

7 - 8 Place L foot into natural 1st position

Lower L arm to side through 2nd position

9 - 10 Roll both shoulders back

1 - 24 Repeat first 24-counts in rotation

1 - 2 Demi plié with release of upper spine

Arms lift to 1st position

3 - 4 Straighten knees and recover spine

Arms lift to 5th position

5 - 6 Place R foot into natural parallel

Lower R arm to side through 2nd position

7 - 8 Place L foot into natural parallel

Lower L arm to side through 2nd position

9 - 10 Roll both shoulders back

Repeat the full exercise commencing with the L leg.

Teaching Tips

The shoulder roll on counts 9 and 10 should be omitted if alternate music is used Demonstrate the foot flexion and stretch without any weight on the toe when it’s placed; it is designed

to check that students have their weight correctly on their standing leg The length of the exercise is to develop muscular strength.

Notes on Style

Incorporate the neck and head with the release of the upper spine.

16

Centre Technique Exercise 4 – Tendu and Grande Battement Music: Ain’t No Mountain High Enough – Marvin Gaye & Tammi Terrell




Wait 6 counts

7 - 8 Prepare arms to 1st, open to 2nd position

1 Tendu R leg front

2 Lift to 45˚

3 Lower R leg

4 Close to natural parallel

5 - 6 Tendu L leg front, lift to 45˚

7 - 8 Lower L leg, close to natural parallel

1 - 8 Repeat first 8-counts taking tendu to side

1 - 8 Repeat first 8-counts taking tendu to back

1 - 2 Roll down through the spine maintaining neutral pelvic position

Lower arms to sides of body

17

3 - 4 Demi plié and deepen the tilt of the torso from the hips

5 - 6 Straighten knees and recover upper body to standing

7 Place R leg into 1st position Arms lift to 1st position

8 Place L leg into 1st position Arms open to 2nd position

1 - 8, 1 - 8, 1 - 8, 1 - 6

Repeat entire exercise in 1st position

7 - 8 Place R leg into natural parallel, place L leg into natural parallel

Teaching Tips

In support of this exercise, the following training exercises can be used:

o Grade 2 Ballet, Exercise 3

o Grade 2 Ballet Barre Exercise 6A

Notes on Style

When lifting the leg to the back, lift the foot only slightly off the floor to 25˚ in order to maintain proper

alignment of the body

The lifting of the leg should be executed more slowly than a jeté or battement in the classical ballet

syllabus. They should be executed with even counts between lifting and lowering, rather than the

quicker nature of a jeté or battement.

18

Centre Technique Exercise 5 Preparation for Turns Music: Music – Madonna




Wait 8 counts

1 Tendu R leg side Arms lift through sides of body to 2nd position

2 Demi rond de jambe to back

3 Bring R toe to inside of L ankle (low retiré)

Arms to 1st position

4 Lower R foot to natural parallel

Lower arms to sides of body

5 - 8 Repeat first 4 counts to L

+ Bend the knees slightly in preparation for count 1

1 Step back to rise on R leg with stretched knee

+ Step back to rise on L leg with stretched knee

2 Step forward with R leg to parallel soft knees

+ Step forward with L leg to parallel soft knees

19

3 + 4 + Repeat previous 2 counts Arms to high V, lower to sides

5 - 7 3 step turn to R (R, L, R)

+ Bring L toe to inside of R ankle (low retiré)

8 Lower L leg to natural parallel

1 - 16 Repeat whole exercise to L

Teaching Tips

The low retiré should be taught, where possible, without any weight on the toes The final 8 counts of the exercise (stepping back to rise) should be taught and executed with a gentle

sense of being off balance with the weight leaning forward.

Notes on Style

The students can focus the head and eyes wherever they choose for the 3-step turn.

20

Travelling Technique Exercise 1 – Travelling Music: Signed, Sealed, Delivered, I’m Yours – Stevie Wonder


Commence: Begin in USL corner facing USL in natural parallel

Relaxed at sides

Introduction

16 counts

Wait 12 counts

13 - 16 Plié, shunt (chassé) L leg forward, straightening both knees with weight on L leg

1 - 4 Walk backwards on diagonal toward DSR (R, L, R, L)

5 - 6 Slide R leg to 2nd position grand plié along diagonal facing DSL corner

Arms lift to 2nd position, palms forward

7 - 8 Transfer weight to R leg, straighten both knees, extend L leg to side

Curve body to R and arms follow the line of the tilt creating a diagonal line

Head turns R with focus looking past the R fingertips

1 + 2 Facing DSR corner, shift on a slight side direction travelling forward with 3 syncopated low walks (L, R, L)

Arms lower to sides Head on the back

3 + 4 Facing DSR corner, shift on a slight side direction travelling forward with 3 syncopated low walks (R, L, R)

5 Step backwards towards USL with L leg

21

6 Turning over R shoulder to face USR, step R leg to side

7 Step L leg across R leg turning over R shoulder to face USL corner

8 Hold

Repeat whole exercise if the studio space permits. The music will then be stopped and the students will demonstrate the full exercise from the USR corner commencing on the opposite side.

Teaching Tips

The exercise should have a natural flow and ease to the travelling.

Notes on Style

The term ‘head on the back’ is used to describe how the headline remains in its simplest alignment in

relation to the chest and shoulders, i.e. the head is not turning and instead remains more natural.

22

Travelling Technique Exercise 2 – Falls Music: Breakaway – Kelly Clarkson


Commence: Begin in USL corner facing DSR, in natural parallel

Introduction

16 counts

Wait 12 counts


1 Sway R on relaxed knees transferring full weight onto the R leg

R arm extends to a low diagonal side

Look to R fingertips

2 Sway L on relaxed knees L arm extends to a low diagonal side

Look to L fingertips

3 Sway R on relaxed knees R arm extends through side of body to high V

Look to R fingertips

4 Sway L on relaxed knees L arm extends through side of body to high V

Look to L fingertips

5 Step DSR on naturally turned out R leg, demi rond de jambe L leg from side to front

R arm lifts through side of body over head

6 Cross L leg over R, soften both knees and fold into the floor on the R side

Place R hand on floor

7 + Roll to face US, bring knees together tucked into body and transfer onto L side of pelvis

Hands on floor behind hips

23

8 Place R foot on floor DSR, keep L leg tucked under the body

1 Place R hand on floor

2 Place L foot on floor, knees soft

Place L hand on floor Full curve of the spine

3 - 4 Roll up through the body, straighten knees

Arms open through 2nd to 5th position

5 - 6 Arms cross overhead and lower through front of body ending with arms by sides

7 Rise heels

8 Lower heels

+ Tendu R leg to side

Repeat whole exercise if the studio space permits. The music will then be stopped and the students will demonstrate the full exercise from the USR corner commencing on the opposite side.

Teaching Tips

Allow the students to explore a sense of gravity in preparation for the roll, i.e. counts 5 and 6 can be quickened if this feels more natural.

Notes on Style

In the sway, be sure to transfer the weight sufficiently between the feet in order for the toes to lengthen.

24

Travelling Technique Exercise 3 – Petit Allegro Music: We Are Family – Sister Sledge


Commence: Begin in USL corner facing DSR in natural parallel

Introduction

16 counts

Wait 16 counts

1 - 4 4 jumps in parallel

5 - 8 4 jumps in 1st position

1 - 4 4 jumps in 1st position with each with a quarter turn

5 - 7 3 spring runs (R, L, R) with relaxed back leg traveling towards DSR

Swing naturally

8 Jump from one foot to two feet to natural parallel (assemblé)

Repeat whole exercise if the studio space permits. The music will then be stopped and students will demonstrate the whole exercise commencing from the opposite side.

Teaching Tips

This exercise should be taught, learnt and executed with varying levels of elevation. Students can be mindful of safe use of the feet; starting smaller and progressing to higher jumps and

springs where possible.

25

Travelling Technique Exercise 4 – Allegro Music: Firework – Katy Perry


Commence: Begin in USL corner facing DSR, 1st position

Introduction

16 counts

Wait 12 counts

13 - 16 Transfer weight to L leg, cross R leg behind L, onto a demi pointe with a slight relaxation of the knees

Swing arms together to R side of body, continue overhead and finish both arms to L side

1 - 2 Step R, hop, L leg slightly bent to back

Arms swing down and to the R

3 - 4 Step L, hop, R leg slightly bent to back

Arms swing down and to the L

5 - 6 Run (R, L)

7 - 8 Leap R leg landing in plié with L left back and L knee straight

Lift to an open 3rd position with L arm forward and R arm side

1 - 3 Run backwards (L, R, L )

4 Hop on L leg and touch R toe to side of the L knee (retiré)

5 - 6 Run forward (R, L)

7 - 8 Jump from one to two feet in natural parallel position DSL

Open 4th position Look over L fingertips

26

Repeat whole exercise to the L

Teaching Tips

A split line in the legs is not a requirement This exercise is aimed at allowing students to demonstrate buoyancy in movement and elevation as

well as balance When teaching the leap in counts 7 & 8 in the initial phrase the students may place their back leg to the

floor on count 8 if they have not found their balance. Note that they will then be required to step onto this leg at the beginning of the next phrase.

Notes on Style

The placement of the toe to the side of the knee is similar to that in Exercise 5: Preparation for Turns The jump from one foot to two feet (assemble) should include a soft brush of the floor and should travel

on the diagonal of direction.

27

Dance

Dance A – The Ugly Duckling Music: Palladio for String Orchestra – Karl Jenkins


Commence: Begin CS sitting on the floor facing USL, ankles crossed with R ankle on top, knees slightly bent

Arms are overhead with bent elbows, fingers touching the back of the neck

Head forwards

Introduction

8 counts

Hold

1 - 2 Uncross R foot to natural parallel

3 - 4 Adjust L foot to natural parallel

5 - 6 Circle R shoulder and elbow backwards, twist torso to R and recover

7 - 8 Circle L shoulder and elbow backwards, twist torso to L and recover

1 - 2 Release hands, slightly extend R arm palm facing up, circle R shoulder and elbow backwards, twist torso to R and recover

Look to R hand

3 - 4 Slightly extend L arm palm facing up, circle L shoulder and elbow backwards, twist torso to L and recover

Look to L hand

5 Lean towards the R side Place R hand on floor

28

6 Continue turning towards the R, place the L foot on the floor

Place L hand on floor

7 Adjust R foot to end in low lunge, R knee on floor

Both hands on floor

8 Lift head to look DSC

1 - 2 Straighten knees and come to standing

Place fingertips on shoulders with elbows out to sides, circle R shoulder and elbow backwards, twist to R and recover

3 - 4 The torso turns to the DSR and the R leg moves forward into a wide parallel

Repeat L

5 - 6 Relax knees count 6 Repeat R

7 + 8 Turn to face USR, chassé side (R, L, R) to USL corner

1 Half turn, step L to face DSL Arms drop to sides

+ 2 R toe touches L knee, small hop on L leg

Arms cross at elbows in front of body, R arm on top of L

3 - 4 Bend L leg and lower to the floor, tucking R foot under hips


5 - 6 Roll onto L hip, cross R leg over L and place R foot on floor

Place L hand on floor by hips

7 Putting weight through R foot, come up to standing in a parallel lunge facing DSR with R leg forward and L leg back with bend of the knee and heel lifted from floor

Lift arms to shoulder height, bend elbows and touch fingers to back of shoulders, elbows forward

29

8 Turn head L to look DSL

1 Step side DSL with L leg, R foot flexed with R heel touching L knee

Drop arms to sides Look to L hand

2 Hop L leg L arm reaches side on a low diagonal, fingers spread

3 Travelling side along diagonal to DSL corner, cross R leg in front of L

4 Step side L leg to uncross legs

5 + - 8 + Pivot turn to the R with use of natural turned out completing one full rotation with a natural spiral into the direction of the turn

Arms lift in front of body with R arm slightly above the L with both palms facing out

Follows natural spiral of the spine

1 – 8 + Repeat previous 8-counts to the R

As above As above

1 Face DSR and traveling to USR corner step R, L foot flexed with L heel touching side of R knee

L fingertips touch top of L shoulder, R arm loose at side of body

USR

2 Hop on R leg

3 - 4 Step L crossing L leg in front of R leg, step side R leg to uncross legs

5 Quarter turn over L shoulder to face DSL travelling to USL corner, step L, R foot flexed with R heel touching side of L knee

R fingers touch top of R shoulder, L arm loose at side of body

USL

6 Hop on L leg and simultaneously stretch R leg to parallel side

30

7 - 8 Step R, crossing R leg in front of L leg, step side L leg to uncross legs

1 Slide R leg side towards SR and transfer weight R

Arms open to 2nd position

2 Turning towards R shoulder to complete a full turn, tuck L knee towards chest, spring from R leg and tuck R leg into chest with stretched feet landing on L leg (cannon ball jump)

Arms wrap around torso, crossing at the elbows

3 Step out to SR on R leg Arms travel over the head to the starting position of the dance

4 Pivot on R leg to face USL corner in small parallel lunge with R leg forward

5 - 7 Wag tail from side to side and slowly bend the knees to lower into crouched position

Fingers touch the top of shoulders

Focus slowly lowers to floor

8 Hold

1 - 2 Twist to R and recover, slowly straighten knees

Circle R shoulder and elbow backwards

Look R

3 - 4 Twist to L and recover, slowly straighten the knees

Circle L shoulder and elbow backwards

Look L

5 - 6 Open R leg side to small parallel side lunge R, twist upper body R

Extend R arm and circle arm backwards to recover at side of body

Follow R hand

7 - 8 Open L leg side to small parallel lunge L, twist upper body R

Extend L arm and circle arm backwards to recover at side of body

Follow L hand

31

1 - 2 Transfer weight to R leg keeping L leg back turn over R shoulder 180˚ to face DSR corner

Both arms relax at sides of body

3 - 4 Place L leg on floor behind body into a small forward parallel lunge with R leg front

5 - 6 Slightly straighten both knees bringing weight to R leg, bend both knees dropping the weight back into the L leg whilst placing it farther behind

Arms slowly lift through 2nd position, slightly bent with fingertips down and elbows lifting

Head turns to look DS

7 - 8 Repeat previous 2 counts and chest (upper spine) lifts to a slight high release

Bring arms into high V slightly behind the body

Follows line of the spine to a high position

1 Step R to DSR on naturally turned out leg

Head continues to look DS

2 Hop R leg with L leg straight and to the back

Arms lower through 2nd position pushing palms towards the ground

3 Step L traveling DSR

4 Brush R leg front, jump and land two feet together in natural parallel (assemble)

Arms lift through 2nd position to high V

Lift eyeline to high diagonal

5 - 8 Repeat previous 4 counts travelling to DSL corner

1 - 6 Run in a small circle clockwise over R shoulder to finish facing DSR

Round R arm in front of body with palm facing out and push with the heel of the hand whilst running

Head looks over R shoulder

7 - 8 Step to wide parallel lunge with R leg forward

Lift arms through 2nd position to high V with arms slightly behind the body

Head looks DS

32

1 - 32 The final part of the dance should be created by the students, and tasks to achieve this are outlined in Strand B: Creative strand

Teaching Tips

Remember to start by working on the tasks from the Creative and Wider Learning strands to help develop characterisation and build the set dances in manageable sections.

Notes on Style

The dance should be performed with an understanding of the narrative through projection of the emotions; of not being welcomed or not having a sense of belonging initially

There is then the transformation in the dance when the full 'wings' are unfurled followed by the creative ending choreographed by the student.

33

Dance

Dance B – Forces Music: Fall – Daft Punk


Commence: Begin in USR corner facing DSL, natural parallel

Introduction 16 Counts

Wait 4 counts

5 + Lift R heel, lower Lift R arm to low side diagonal, palm facing down

6 + Lift R heel, lower Lift R arm through 2nd position to below shoulder, palm facing down

7 + Rise, lower Hold

8 + Rise, lower

9 - 12 Repeat previous 4 counts Continue to lift R arm to slightly above R shoulder on high diagonal

13 - 16 Repeat previous 4 counts Continue to lift R arm to overhead

1 - 3 3 run forward (R, L, R) with each run lowering into a deeper plié

Slice R arm in front of body and bend the arms to 90˚ with fingers spread and swing arms in opposition of runs

4 Hold the position of the final run forward in a parallel lunge with back L knee bent

34

5 - 8 Stretch back knee, deepen plié on R leg and incline upper body into high diagonal with flat back

Extend arms over head with heels of hands pushing forward

1 - 2 Step back L, tendu R leg front Externally rotate arms and pull elbows into sides of body with 90˚ bend and fists clenched

3 - 4 Step back R, tendu L leg front Continue to pull elbows into side of body

5 - 7 Run (L, R, L) towards USL Bend the arms to 90˚ with fingers spread and swing arms in opposition of runs

8 Brush R leg front, jump turning over L shoulder and land facing DSR corner with feet together in natural parallel

R arm stretches and circle back, up overhead and slices in front of body

1 - 3 Run forward on diagonal to DSR (L, R, L) with each run lowering deeper into plié

Bend arms to 90˚ angle with fingers spread and swing arms in opposition of the runs

4 Jump and turn towards R shoulder to face USL keeping the legs in the positioning from the previous runs to end with the R leg in front

5 - 8 Straighten back knee, deepen plié on R leg and incline upper body into high diagonal with flat back

Extend arms over head with heels of hands pressing forward

1 - 2 Step back L, tendu R leg front Rotate arms under and pull elbows into sides of body with 90˚ bend and fists clenched

35

3 - 4 Step back R, tendu L leg front Continue to pull elbows into side of body

5 Step side on L leg towards USR corner and twist upper body L

Begin to reach the R arm towards the floor near the L foot

6 Tuck R knee under and lower to R hip


7 Roll from R hip to L hip towards USR, cross R leg over L, place R foot on floor and come up to standing

Place both hands on floor behind hips to help facilitate roll

8 Stand up to face DSC and bring both feet together to natural parallel

Relax arms at sides of body

1 - 4 Step side onto L leg with straight knee and lift R leg side slightly off the floor with straight leg and flexed foot

Slowly lean to L while finding a short balance

Reach L arm on low diagonal and slowly lifts to just below the shoulder with fingers spread and palm facing forward

Look over L shoulder

+ Step R leg in front of L

5 - 8 & Repeat previous 4 counts on same side

Reach L arm to high diagonal


1 - 4 Step L and pivot in a turned out position, turning over L shoulder with L leg in front, rising on ball of R foot and lowering in plié on L foot

Flip the palm down and slowly lower the arm through side of body


5 - 7 Run in small circle over L shoulder and continue running towards SR

Swing arms naturally

36

8 Step L and jump and land on L leg while kicking both legs in the air

Arms thrash in any direction from shoulders

+ Land in wide position with legs facing DSR

1 - 3 Turn to face SR in wide parallel lunge with R leg forward

Touch palms together with bent arms, hands in front of eyes

Rub hands together to create friction

Look to hands

4 + Flip arms so R palm is on top of L palm with elbows down, separate hands slightly to hold an invisible energy ball

Look to hands

5 - 8 Keeping palms facing each other, circle R palm anti-clockwise and circle L palm clockwise

Look to hands

1 - 2 Pivot body and legs to lunge SL Change orientation of arms to the L hand is on top and R hand on bottom with palms facing each other

Look to hands

3 - 4 Step R leg forward to stand in wide parallel 2nd position facing DSL

Rotate the arms so the elbows are out to the sides with fingertips facing up and lift above shoulders still holding the imaginary energy ball

Look to hands

5 - 6 Bend R knee keeping L leg straight

Lower energy ball slightly and shift to R side of body

Look to hands

7 Bend L knee and straighten R leg Lower energy ball to shoulder height and shift to L side of body

Look to hands

37

8 Bend R knee and straighten L leg Lower energy ball slightly and shift to R side of body

1 - 32 The final part of the dance should be created by the students. Tasks to achieve this are outlined in Strand B: Creative Strand

Teaching Tips

Remember to start by working on the tasks from the Creative and Wider Learning strands to help develop characterisation and build the set dances in manageable sections

All movements from the dance have been covered throughout the technical exercises and aim to develop these creatively.

Notes on Style

The dance should mainly be performed with a strong dynamic as suggested by the music. This strong dynamic should be interspersed by the moments of balance and focus as suggested by the set choreography.

38

Training Exercises

Training Exercise 1 – Warm Ups and Cool Downs These training exercises are outlined at Grade 1 and should continue to be used with the suggested extensions to create an enjoyable learning environment whilst developing social interaction. Note that the training exercises 2-4 should also be revisited.

A) Counted Gallops

Student holds hands in a circle, weight on L leg, R foot stretched out. 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, and gallop to the L x 2, Skip (R, L, R, L). 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 utilise 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 assign numbers to the movements 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 as a cool down. These movements should include slower dynamics.

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 (and recover)

Top Tips: Ask the students to suggest a trigger word and a corresponding action to develop this movement game. Remind them that all the actions should be performed in silence or this can get rowdy.

39

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.

Mark off a large area in the studio.

One or two students start as ‘crabs’ - in a cross-legged 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.

40

Training Exercises

Training Exercise 2 – Mobilisation of Joints and Lengthening of Soft Tissue


Commence: Natural parallel

Introduction

8 counts

Body scan to check alignment

1 - 2 Turn to R and return C

3 - 4 Lift to high and return C

5 - 6 Turn to L and return C

7 - 8 Drop to low and return C

1 - 8 Repeat head sequence to L first

1 - 8 Fingertips to R shoulder and 2 x circles of the shoulder backwards

1 - 8 Finger tips to R shoulder and 2 x circles of the shoulder forwards

1 - 16 Repeat shoulder rolls on the L

1 - 8 Drop hands to sides, 4 x circles of R arm backwards

1 - 8 4 x circles of R arm forwards

1 - 16 Repeat arm circles with L

41

1 - 4 Step into a natural 2nd position Arms lift into 2nd position

1 - 4 Side stretch to the L and stretch the R side

R arm lifts over the head to follow line of the stretch

5 - 8 Tilt from the hips to stretch the torso over to the L leg

Arms fall towards the floor or may hold leg

1 - 4 Stretch forward between the legs

Arms fall towards the floor

5 - 8 Stretch over to the R leg Arms fall towards the floor or may hold leg

1 - 4 Side stretch to the R and stretch the L side

L arm lifts over the head to follow line of the stretch

5 - 8 Recover spine back to centre L arm lowers to 2nd and the R arm lifts to 2nd position

1 - 24 Repeat stretching sequence starting on the opposite side. On the final 4 counts move feet back into natural parallel

1 - 8 Lift R knee towards mid-torso height

Hold knee

1 - 8 Lift R ankle behind the hips Hold ankle

1 - 8 Place R leg back into a long lunge

Place hand lightly on knee

1 - 8 Rotate 90˚ into side lunge Place hands onto floor

1 - 4 Rotate back to the front and curl up through the spine

1 - 36 Repeat from lifting of the knee with L leg

42

Training Exercises

Training Exercise 3 – Floor Work & Use of Spine


Commence: Sitting cross-legged on the floor, with an elongated spine, R leg crossed on top

Hands placed lightly to the sides

Introduction

1 - 8

Breathe and feel the continuous lengthening of the spine

Follows natural line of the spine throughout

1 - 4 Curve the upper spine forward

5 - 8 Recover

1 - 4 Curve the upper spine to R side

5 - 8 Recover

1 - 4 Curve the upper spine forward

5 - 8 Recover

1 - 4 Curve the upper spine to L side

5 - 8 Recover

1 - 4 Spiral through the spine to the R

Place L hand onto L thigh and reach the R hand along floor

5 - 8 Recover Hands return to sides

43

1 - 8 Repeat spiral to the L

1 - 16 Repeat spirals to R & L

Stretch both the legs forward and give them a shake/wiggle and then replace them to have the other leg on top in the cross-legged position and repeat the exercise.

44

Training Exercises

Training Exercise 4 – Falls


Commence: Natural parallel

Introduction

1 - 8

1 - 4 Walk (this may be on a diagonal or horizontal across the studio) (R, L, R, L)

Gentle swing of the arms

5 - 8 Step DSR on naturally turned out R leg, demi rond de jambe L leg from side to front

R arm lifts through side of body over head

1 - 2 Cross L leg over R, soften both knees and fold into the floor on the R side


3 - 4 Roll onto sitting bones to face US, bring knees together tucked into body and transfer onto L side of pelvis

Hands on floor behind hips

5 Place R foot on floor DSR, keep L leg tucked under

6 - 8 Place L foot on floor, knees soft and curl up through the spine


Repeat whole exercise on other side

45

Strand B: Creative Strand

The following information relates to the Creative Strand of the Grade 2 syllabus. The content is not directly

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

presentation necessary to achieve the highest grades.

The Creative Strand is divided into two sections:

A: Improvisation/Movement Generation

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 characterisation and personality which

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

recording.

Teaching Tips

At Grades 2 and 3, Set Dances A and B will introduce students to a greater range of complexities in genres of

music as indicative of professional contemporary dances. Additionally, the final 32 counts will be

choreographed by students as the end sequence for the set dances incorporating the bow. This will support

the ethos of creativity in the dance studio. As in Grade 1 these dances will have a narrative to enable them to

be fully accessible to this age 7-12 whilst additionally fulfilling the Learning Outcomes of mainstream education

at Key Stage 2. Key Stage 2 is the legal term for the four years maintained in England and Wales normally

known as Years 3- 6 where pupils are aged 7-11. The term is applied differently in Northern Ireland P5-P7

aged 8-11 years.

Depending on the age of your students you will be covering subject matter that they are currently covering in

mainstream education or you will be deepening their knowledge and understanding of the subjects that have

already been covered i.e. Year 7+.

Set Dance A covers the Learning Outcomes required in mainstream education and offers a cross-curriculum

learning opportunity of Literature and PSHE. Set Dance B will cover PSHE and Science. PSHE should aim to

develop skills and attributes such as resilience, self-esteem, risk-management, team working and critical

thinking in the context of learning. PSHE education contributes to schools' statutory duties as outlined in

the Education Act 2002 and the Academies Act 2010 to provide a balanced and broad curriculum and is

essential to Ofsted judgements in relation to personal development, behaviour, welfare and safeguarding.

http://www.legislation.gov.uk/ukpga/2002/32/contents

http://www.legislation.gov.uk/ukpga/2010/32/contents

46

A: Improvisation/Movement Generation

Task 1 (Preparation for Set Dance A): The Ugly Duckling – An Emotional Understanding of the Narrative

1) Identity 8 moments in the dance to describe and/or draw the movement and associated feelings? Provide a worksheet (see Appendix A) to complete this for the 8 chosen moments

Ask students to reorder the moments to create a new piece of dance. This could be achieved as a solo

or a duet and could also lead to a peer-teaching task e.g. each student could create 16 counts and

then peer-teach this in duets so that they have phrase 1 and phrase 2 to complete 32 counts.

2) Faster, Slower, Stillness

Once the phrase has been completed ask students to relook at the timings of their chosen movements

and ask them to apply the terms faster, slower, stillness to their finished dance

Students may have to further edit the dance to ensure that they still have 32 counts.

Task 2 (Preparation for Set Dance B): Forces 1) How many scientific forces can you identity from the movement in the dance?

Provide a worksheet (see Appendix B) to complete this for at least 6 scientific forces.

2) Ask students to use these 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 as described for Set Dance A.

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, students should be able to choreograph the last 32 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 students choosing

their last 8 counts.

47

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:

A) How and why are narratives used in dance?

1) A facilitated discussion to create a diagnostic assessment of what dance works the students know in any

genre that are based on literature (either a story, a fairy or folk tale).

Choreographers often make use of fairy and folk tales as a stimulus. Many companies/choreographers have

used the same story and sometimes musical scores to create very different versions of a story e.g.;

Giselle

The Royal Ballet: https://www.youtube.com/watch?v=ynbDOO6qoeo

Akram Khan for English National Ballet: https://www.youtube.com/watch?v=zfSL2xOoYzc

Swan Lake

The Royal Ballet: https://www.youtube.com/watch?v=1QAetb-uAhQ

Matthew Bourne: https://www.youtube.com/watch?v=FvZO-UYsehs

2) Put the students into groups and looking at the different versions ask:

a) what similarities they notice

b) what differences they notice

c) which version do they prefer and why?

You may wish to prepare and provide workshops for students to complete with given headers e.g. gender roles,

costume, music, movement etc.

3) Create a mood board that includes images to support students’ learning where you write down their

https://www.youtube.com/watch?v=ynbDOO6qoeo

https://www.youtube.com/watch?v=zfSL2xOoYzc

https://www.youtube.com/watch?v=1QAetb-uAhQ

https://www.youtube.com/watch?v=FvZO-UYsehs

48

comments and they can then pin these to the board.

4) View Northern Ballet’s Ugly Ducking: https://www.youtube.com/watch?v=CTpejJa7cd8

Discussion points:

How does this dance differ from the Set Dance A you have learnt? What do you prefer about the ballet version? What do you prefer about the version in your syllabus?

B) Dance and Science

Discussion points;

Push/Pull Speed Direction Shape Balanced force Stationary Friction Moment Turning effect – pivot Effort – see-saw Deformation Stretching Compression

Choose a few of these (3-4) to cover in each session. What movements can they create based on these words.

This will also link to movements that have been included in Set Dance B that have been generated from these terms. Some of the terms will lead naturally to duets and group work e.g. a see-saw as a duet and stretching and compression as a group.

Useful Resources:

BBC Bitesize: https://www.bbc.com/bitesize/topics/znmmn39

https://www.youtube.com/watch?v=CTpejJa7cd8

https://www.bbc.com/bitesize/topics/znmmn39

49

Credits

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

Project Co-ordinator: Sam Le Bihan (bbodance Head of Teaching Qualifications and Level 3 Dance)

Educational Advisor: Libby Costello (bbodance Regulatory and Quality Assurance Advisor)

Dr. Carol Martin

Editorial Team: Kate Vandivier (bbodance Teaching Qualifications & Student Course Administrator)

Debbie Pellett (bbodance Operations Manager)

Vicki Rice (bbodance Examinations and Awards Manager)

Video Tutor: Ben Warbis assisted by bbodance Level 3 students

A Special Thank You:

The codification and use of language that has been used throughout the Level 1 syllabi has taken some considerable discussion and I wish to thank Ben Warbis and Kate Vandivier for their professional opinion on how to make this accessible to teachers and students whilst preparing students for the language that is in current use in professional contemporary dance training and companies.

Sam Le Bihan

50

Appendix A

Task 1 (Preparation for Set Dance A): The Ugly Duckling – An Emotional Understanding of the Narrative

Use words or draw a picture to show the movement

Use words or draw a picture to show the feelings

1 1

2 2

3 3

4 4

51

5 5

6 6

7 7

8 8

52

Appendix B

Task 2 (Preparation for Set Dance B): Forces

Use words or draw a picture to show the movement

Use words or draw a picture to identify the scientific force

1 1

2 2

3 3

4 4

53

5 5

6 6

54

Appendix C – Additional Resources

The International Association for Dance Medicine & Science (IADMS) promotes medical, scientific and educational activities aimed at enhancing the treatment and training of dancers with the ultimate goal of improving dancers’ health, well-being and performance.

The following Resource Papers can be found on: https://www.iadms.org/page/186 at no charge.

Bone Health and Female Dancers: Physical and Nutritional Guidelines The Challenge of the Adolescent Dancer Dance Fitness Dance pedagogy: Myth versus reality First Aid for Dancers The Importance of a Good Warm-Up: Are you warm enough to start dancing? Nutrition (2016 updated version) Perfectionism Stretching for Dancers Turnout for Dancers: Hip Anatomy and Factors Affecting Turnout Turnout for Dancers: Supplemental Training

IADMS encourages dissemination of the Resource Papers.

IADMS owns the copyright for these Resource Papers unless otherwise noted. The PDF versions may be reproduced in hard (paper) copy for educational purposes, providing acknowledgement is given to the International Association for Dance Medicine & Science.

https://www.iadms.org/page/186

contemporary syllabus grade 2 - bbodance

Documents