1

s

Time to Move

Spring 2007

Age: 6-8 These programmes are available to order (for UK schools only) on pre-recorded CDs from: BBC Schools’ Broadcast Recordings Tel: 08701 272 272 Monday to Friday 0800 to 1800 Or visit www.bbc.co.uk/schoolradio/howtoorder.shtml for more information Audio on demand. These programmes are also available as audio on demand from the School Radio website for 7 days following the original date of transmission. Refer to programme titles below to find out when programmes are available as audio on demand.

www.bbc.co.uk/schoolradio

© This publication contains only BBC copyright material: its contents may be copied or reproduced for use in schools and colleges without further

permission.

2

Time to Move

Spring 2007 These programmes are available as audio on demand from the School Radio website. Refer to dates below to find out when each one is available. Introduction 3 How Loon outsmarted Winter 5

1. Old Man Winter 6

AOD 10/01/2007

2. Spring's here 8

AOD 17/01/2007

Rhythms of Spring 12

3. Wake up! 12

AOD 24/01/2007

4. Everyone's busy 15

AOD 31/01/2007

5. Spring celebration 17

AOD 07/02/2007

British Folk Dance 20

6. Clap and tap 20

AOD 21/02/2007

7. All at sea 22

AOD 28/02/2007

8. Hold on 25

AOD 07/03/2007

9. The snowball 27

AOD 14/03/2007

10. Ceilidh 30

AOD 21/03/2007

3

Introduction:

Using Time to Move: Time to Move needs plenty of space. The hall or a cleared and swept classroom or similar large space is ideal. Use the best equipment that the school has to offer for playback. Check that the loudspeaker is facing the children to ensure the best possible listening environment. Make sure the children dance in gym shoes or bare feet. Bare feet give a good sense of contact with the floor, if your floor is safe. The children should be in PE kit to allow easy movement and to ensure that they do not become too hot. Encourage the children to listen carefully right from the start – not just to the presenter but also to the music. Teaching points: Some tips to help you get the best out of these programmes…

• Always encourage careful listening • Reinforce the importance of safety – e.g. awareness of others to avoid

collisions, spacing, sensible landings (with the whole foot, flexing as it comes down and knees bending).

• Help the children to observe each other’s movement in a positive light and to learn from their observations.

• Give the children a sense of your own enthusiasm. Using these programmes from CD: These programmes are available to UK schools on pre-recorded CDs (at cost price). It’s simple to mediate the use of the programmes by pausing the CD as directed during the programmes and when you wish to do so yourself. To do this always use the ‘pause’ button and not the ‘stop’ button (because the ‘stop’ button will return the CD to the very beginning). When you’re ready to resume either press ‘play’ or press ‘pause’ again to cancel it (individual CD players vary). Time to Move and the National Curriculum: Dance makes a distinctive contribution to the education of all pupils, in that it uses the most fundamental mode of human expression – movement. Through its use of non-verbal communication, pupils are able to participate in a way that differs from any other area of learning. It provides aesthetic and cultural education, opportunities for personal expression, and it also introduces students to a wealth of traditional, social and theatrical forms. In a broad and balanced curriculum, this important area of human experience should not be neglected. (Dance in the School Curriculum, a paper by the National Dance Teacher’s Association and others)

4

Dance is acknowledged as a vital ingredient of a child’s education in the National Curriculum. The Expressive Arts documents for Scotland and Northern Ireland encourage teachers to develop dance as part of the Arts and PE curriculum. There is an emphasis on performance and clear indications that dance should be taught in both a creative and a cultural context. The children should be taught to:

• develop control, coordination, balance, poise and elevation in the basic actions of travelling, jumping, turning, gesture and stillness

• perform movements or patterns, including some from existing dance traditions

• explore moods and feelings and to develop their response to music through dances, by using rhythmic responses and contrasts of speed, shape, direction and travel.

Using these Teacher’s Notes: These Teacher’s Notes include a detailed content grid for each programme. The content grids include the following information:

• Lesson content. This is the description of the movement sequence. • Teaching points. This is intended to offer advice on how to get the class

to get the best out of the content. • Evaluation. This is usually a series of questions indicating what to look

for to assess the level of the children’s contribution. Feedback: Feedback is vital to the series and is always welcome. Please visit the ‘Contact us’ page of the School Radio website at: www.bbc.co.uk/schoolradio/contact.shtml Or you can write to us at: Time to Move Room 340 Henry Wood House 3 & 6 Langham Place London W1A 1AA We look forward to hearing from you.

5

Unit 1: How Loon outsmarted Winter

Introduction: The two programmes in this unit are based on the traditional Native North American folk tale ‘How Loon outsmarted Winter’ from a version (retold by Linda Raczek) of a story known among Chippewa, Seneca and Iroquois tribal groups. The wisdom and humour of their nature stories reflects a respect for wild creatures because ‘whatever happens to the beasts also happens to man’. The Loon, or Great Northern Diver, is a beautiful, sleek waterbird (similar to a Cormorant or Grebe), with a pointed bill and dark wing-feathers, chequered with white spots. In the Great Lakes, between USA and Canada, there are often about 20,000 loons.

6

Programme 1: Old Man Winter Old Man Winter marches, step-by-step, from the far North, freezing the ground hard. Birds flee South. Loon bobs and shivers on the pond. Her friend Mallard huddles among the cat-tail reeds with a broken wing. As the pond freezes over, Loon can’t call for help (she has no voice in winter). So she makes a hole and dives for fish for her wounded friend. Angry Old Man Winter blows cold breath to freeze over the opening but Loon can just about peck her way out. Loon and Mallard huddle in a small wigwam and make a tiny fire, to keep warm from Old Man Winter’s icicles. They pretend it’s hot and sweaty, and open the door. Old Man Winter goes back to his lodge of ice and snow. The birds curl up and wonder ‘What’s next..?’ Programme summary: WARM UP The children begin with shivering and shaking movements, using fingers, toes, arms, legs and whole body. They explore high and low levels, and travel freely - like birds flying - to a space of their own. OLD MAN WINTER Slow, plodding steps, with shaking arms and legs. Turning on the spot and sinking to the ground (snow flumes). LOON IN WINTER Moving head and upper body in birdlike movements. Miming a ‘silent’ call. WOUNDED MALLARD Use of restricted space, huddled at low level. Use of minimal gestures and asymmetry. PADDLE, FREEZE, DIVE! In pairs, creating an action-reaction sequence (Loon and Old Man Winter). IN THE WIGWAM The class divides into two groups. The birds work at low level, mending holes, making a fire, wiping their brows and opening the wigwam door. The Old Man Winters use hands to make icicles, jump back from heat, then march back to the icy lodge. COOL DOWN Recap of story elements. Curling up at low level. What’s next? Movement focus: Body: Co-ordination and holding shapes. Moving fingers, toes, arms, legs and whole body. Action: Travelling, slow steps, jumping and turning. Movement close to the floor. Dynamics: Birdlike movement qualities. Contrasts in speed and flow. Space: Awareness of pathways, levels, confined space and asymmetry. Relationships: Unison and group work. Action and reaction.

7

Programme structure Programme 1

LESSON CONTENT

TEACHING POINTS EVALUATION

Warm up It’s cold winter! Shiver and shake fingers and arms (pond and forest trees), then legs, toes and whole body.

Begin with small, delicate movements, which then become more shivery and shaky.

Are they shivering quickly?

Close to the floor, lay hands flat (frozen leaves) and spiky fingers (twigs) in patterns.

Use hands and fingers at low level.

Do their hands and fingers suggest frozen leaves and twigs?

Travel smoothly, like migrating birds flying, but keeping arms close to body. Change pathways to avoid bumping.

Move freely around the room, making sure not to bump into anyone.

Are they moving safely with awareness of others, and with light, flying quality?

Old Man Winter Travel with sustained, plodding steps - a slow march with shivering, shaking arms (holding an imaginary tall walking stick) and cold, wobbly legs.

Make big, slow steps and shaking arms and legs.

Do they keep time with the music?

Stop with music-cue in frozen position.

Hold ‘freeze’ positions as still as possible.

Are their shapes stiff and spiky?

Turning, spinning and whirling, snowy movements - not too fast!

On the spot, explore high, middle and low levels.

Do they turn with control?

Loon in winter Travel using short, quick footsteps (like webbed feet paddling along). Head and upper body should ‘bob up and down’ gently.

Move just a small distance (feet ‘paddling’). Focus on shoulders and elbows as ‘shivering wings’.

Look for good examples of birdlike movement. Select children to demonstrate.

Chin and neck mime Loon trying to call across the water (she is silent in winter). Then hands mime stroking and cradling gestures, looking after her friend Mallard.

Reach chin forward and extend neck, first to one side, then the other.

Wounded Mallard Sitting or kneeling in own space, huddle down small and low, like a hungry duck with wounded wing.

Encourage relaxed, lopsided movements.

Do the children use movement qualities which suggest injury, fear and hunger?

Paddle, freeze, dive! In pairs - The Loons perform swimming actions to paddle, dive and catch fish; then the Old Man Winters’ face and hands blow cold breath angrily from one side, to freeze the pond over.

Listen and respond to the music’s changes between busy bird-actions and angry winter wind.

Do the pairs work together to communicate the drama in the story idea?

8

Next the Loons, as if underwater, pull and yank at a cat-tail reed, using pointed hands like a sharp bill above their nose. The Old Man Winters repeat blowing actions from the other side.

Choose pairs to demonstrate.

Using pointed hands again, the Loons peck upwards to make a hole in the ice, while the Old Man Winters run out of breath.

In the wigwam The birds do actions for mending holes in the wigwam, then building and stirring a fire. The Old Man Winters march slowly around, peeking in to the wigwam and using fingers to form freezing icicles.

Organise the class into two groups - half the class make a circle of Old Man Winters, while the other half are Loons and Mallards spread evenly inside the circle.

Do they exaggerate the movements and use clear gestures?

The birds then pretend to wipe their brows with their forearms (wings) and move hands apart to open the wigwam door. The Old Man Winters jump back in alarm, then march back to their icy lodge.

The two groups can then swap over and repeat these wigwam sequences.

Cool down Perform some brief highlights from the story so far, but gradually reducing energy and breathing slowly. Settle down as Loon or Mallard, curled up at low level. Will the cold wind blow away their wigwam?

Listen and respond to the contrasts and changes in the music, as it gets slower and quieter. Change movement qualities to fit.

Are the children really concentrating on the changes? Are they breathing deeply at the end?

Programme 2: Spring’s here! Next night, Loon gathers nuts, berries and wild rice from the cold, icy marsh and invites Old Man Winter to visit their wigwam. She cooks on their fire and Mallard serves Old Man Winter a steaming bowl of rice. Loon adds more wood to the fire. While Old Man Winter eats greedily, his face begins to melt, he then shrinks to the size of a bird, and loses his voice. But Loon has now found hers again and says ‘Spring must be here!’ As flowers begin to bloom, Old Man Winter jumps and hops North from snowpatch to snowpatch and we hear Loon’s crazy laugh echoing across the pond, through the forest.

9

Programme summary: WARM UP Brief recap of story so far, with shivering, shaking, plodding and ‘freezing’ (Old Man Winter), bird-movements, wigwam-mending and fire-building (Loon and Mallard) and turning on the spot (snow swirl). THE COLD MARSH Travelling on legs and feet - Loon slips and slides on the icy marsh. Use of hands and arms - Loon collects nuts, berries and wild rice with beak and wings. MEAL IN THE WIGWAM The class divides into groups of three, to create a dramatic sequence: Old Man Winter peers into the wigwam, to join the birds. Mallard serves him rice with ‘good’ wing. Loon builds fire and adds wood. (They then swap roles and repeat the sequence). OLD MAN WINTER WARMS UP Hands and face - eating greedily. Face and upper body - melting actions, leading with one hand. Whole body - use of confined space at low level. SPRING’S HERE! On the spot, on tiptoe - reaching elbows up high (Loon stretching wings and calling). Arms and hands curling and uncurling (flowers blooming). In groups of 3-4 - arch structure (ice lodge) sinking and melting. Travelling at low level (Old Man Winter’s tiny runs, jumps and hops). COOL DOWN Whole body relax, including legs, toes, arms (‘wings’) and fingers (‘feathers’). Sitting on floor, cross-legged - hand and finger movements (pond ripples and forest leaves uncurling). Movement focus: Body: Moving individual body parts, including face, hands and fingers. Action: Travelling, stretching, reaching, turning, growing. Dynamics: Birdlike movement qualities. Contrasts in speed and flow. Space: Awareness of levels, direction of movement and confined space. Relationships: Working in groups of 3-4. Taking turns and co-operation.

10

Programme structure: Programme 2

LESSON CONTENT

TEACHING POINTS EVALUATION

Warm up Recap shivering, shaking, plodding and ‘freezing’.

Try moving in different directions, without bumping into each other.

Are the children using imagination to improve contrast between movements?

Develop light, graceful bird-like movements and actions - ‘bobbing’ up and down, diving underwater, pecking.

Take time to practise different qualities of movement.

Are some of their movements based on observation of birds?

Turning, spinning, whirling snow - not too fast!

On the spot, explore high, middle and low levels.

Are they turning with control?

The cold marsh Travel with gliding steps (one foot at a time moving just above the ground) and sliding gently, as Loon struggles on the icy marsh.

Try different lengths of step - move carefully and cautiously.

Can you see good examples of bird-like movement or posture?

Extend head (‘beak’) and arms (‘wings’) as if collecting wild nuts, frozen berries and rice.

Meal in the wigwam In groups of 3 - Old Man Winter (1) smells cooking, lifts wigwam door and walks in. Mallard (2) mimes serving him a bowl of rice with her good wing. Loon (3) builds up a fire and flaps wings to make it hotter.

Organise children into groups of 3. They can then swap over and repeat the sequence (twice if you like). Concentrate and co-operate, reacting to each other to dramatise the sequence.

Is there good variety in action and levels? Are they aware of each others’ pathways?

Old Man Winter warms up! The children exaggerate face-movements (munching and chewing) and hand actions (greedy feeding).

Co-ordinate hand and face movements, in timing and positioning.

Do they look really greedy?

Then these movements slow down, the face muscles become loose, and turn to melting. Upper body leans over, led by one hand, and whole body gradually sinks to the floor.

Sink in slow motion, and then crouch down very low (as if the size of a bird!).

Do the melting and sinking actions happen gradually and slowly?

11

Spring’s here! On tiptoe, stretch elbows high, as Loon stretches wings and calls out loud.

Use chin and neck movements from side to side (as last time). As elbows stretch high, shoulders can shake (like wing-feathers).

Do they stretch elbows really high?

Perform hand and arm actions for plants rising and blooming through snow patches.

One arm (held horizontal) can represent snowy ground, the other (curling upwards) flowers rising.

Do they show a good variety of hand shapes and movements?

In groups of 3-4, raise arms high to make Old Man Winter’s ice-lodge, which then sinks low to the ground. Still keeping low, run, jump and hop to own space, as tiny Old Man Winter fleeing North.

Co-operate in groups to make an arch-structure, which gradually melts, lower and lower. Then imagine ‘snowpatches’ to run, jump and hop between - be careful not to bump into each other.

Do they work co-operatively, then move with awareness of each others’ space?

Cool down Children reach arms out wide, as Mallard, feeling much better, stretching ‘wings’. Relax whole body, legs, toes, arms (‘wings’) and fingers (‘feathers’).

Encourage a posture which is alert but relaxed.

Are they aware of whole body, from head (beak) to toe?

In sitting position, flicker and uncurl hands and fingers, shifting their position often, to imitate water ripples and leaves opening.

Co-ordinate finger and hand movements at chest and eye-level.

Do they use changing hand-positions?

Still sitting, repeat elbow (‘wing’) stretch, with Loon’s last, laughing call, then end with gentle finger flickering, as above.

Final stretch and relax. After stretching, are they able to make just the tiniest finger movements?

12

Unit 2: Rhythms of Spring

The three programmes in this unit explore various springtime themes including changes in the weather, animals coming out of hibernation, nest building and new life. The unit develops some of the seasonal themes from programmes 1 and 2 and introduces aspects – such as rhythm, working in pairs and small groups, listening and responding to musical phrasing – to prepare children for the final folkdance unit (programmes 6-10). Programme 3: Wake up! Programme summary: WARM UP: SPRING THAW Pupils start in still, frozen shapes, then travel with small, heavy steps and stiff, tense bodies. With the music, the movements gradually become more relaxed and free. ANIMALS COMING OUT OF HIBERNATION Bats. Carefully unfolding and stretching out imaginary wings. Then travelling through the spaces with smooth, controlled swooping movements; stretching high and low. Hedgehogs. Uncurling from tight, crouched low, ball shape to standing position. Then travelling with small, quick scurrying steps, stopping suddenly every now and then with music cue to curl up quickly into tight ball shape. Half the class performs the bat movements while the other half performs the hedgehog movements. Swap groups and repeat. SEEDS AND BULBS. Focus on springtime activity under the ground – seeds and bulbs sprouting shoots. Pupils start in small, crouched low, curled up shape, then slowly stretch out arms and legs using different levels and directions to explore the space around them. Travel to a new space and repeat. PEOPLE OUTSIDE. Pupils pull on imaginary wellies or boots for a springtime garden clear up – gathering up rubbish in the wheelbarrow, digging the heavy earth, and reaching high to trim the hedges. COOL DOWN Stretch and relax. Movement focus: Body: Contrasting inwards and outwards body focus Action: Using contrasting qualities of movement Dynamics: Listening and responding to music cues Space: Using different levels and directions Relationships: Moving in groups

13

Programme structure Programme 3

LESSON CONTENT TEACHING POINTS EVALUATION

Warm-up: Spring thaw Pupils start in still, frozen shapes, then travel with small, heavy steps and stiff, tense bodies. With the music, the movements gradually become more relaxed and free.

Encourage a variety of still, frozen shapes on different levels. Pupils should focus on tensing then gradually relaxing their muscles as the sequence progresses.

Is the gradual transition from tense to relaxed easy to see? Talk about how this affects the quality of their movements.

Animals coming out of hibernation. Bats Carefully unfolding and stretching out imaginary wings. Travelling through the spaces with smooth, swooping movements; stretching and bending high and low. Hedgehogs Uncurling from tight, crouched low, ball shape to standing position. Travelling with small, quick scurrying steps, stopping suddenly now and then with music cue, to crouch low and curl up quickly again into tight ball shape. Half the class performs the bat movements while the other half performs the hedgehog movements. Swap groups and repeat.

Look for smooth, controlled stretches. Encourage expressive swooping movements with strong outwards focus. Pupils should develop the bats flying movements away from simple mime into a controlled travelling sequence using different levels and pathways. Look for smooth, gradual uncurling of spine and limbs to stand up. Encourage small, quick, precise steps with inwards focus. Pupils should stop and curl up quickly with the music cue. Bat and hedgehog groups move one after the other with the music. Pupils should remain still and watch the others carefully when it’s not their turn to move.

Do pupils use the space well – travelling carefully around the stationary group and using different levels? There should be a strong contrast between the slow, controlled uncurling and small, quick travelling steps. Was there a quick, jerky feel to the hedgehog travelling sequence? Was there a clear contrast between the outwards focus of bat sequence and the inwards focus of the hedgehog sequence?

14

Seeds and bulbs. The focus is on springtime activity under the ground – seeds and bulbs sprouting shoots. Pupils start in small, crouched low, curled up shape. Then slowly stretch out arms and legs using different levels and directions to explore the space around them. Travel to a new space and repeat.

Encourage pupils to imagine they are carefully reaching out to explore a dark space around them – like a seed underground. The sequence needs a heavy, slow-motion feel. Use arms and legs to reach out and explore the space using different levels and directions. Exploring movements should be smooth and continuous.

Do pupils create a range of interesting body shapes and positions using different levels and directions? Are their movements slow, controlled and continuous? Can pupils move sensibly to a new space to repeat the exploring movements?

People outside. Pupils pull on imaginary wellies or boots for a springtime garden clear up – gathering up dead leaves in the wheelbarrow, digging the heavy earth, and reaching high to trim and clip the hedges.

Encourage large scooping and sweeping actions to gather dead leaves; strong, powerful digging actions; and light, careful, high stretches to snip the hedges. Pupils could develop a sequence moving from one level to another. Look for smooth links and effective transitions. They could use turns, jumps, stretches or travelling steps.

Do pupils develop the gardening actions away from simple mime to create a sequence using contrasting levels and movement qualities? Can pupils link the different actions smoothly, using interesting transitions?

Cool down Stretch and relax.

Focus on smooth, controlled stretches; tensing and relaxing muscles.

Pupils should feel relaxed and ready to return to the classroom.

15

Programme 4: Everyone’s busy! Programme summary: WARM UP Spring showers. Pupils clap, tap and stamp to different raindrop rhythms. BIRDS RETURNING AND BUILDING NESTS Moving together in small group flocks of 4 – 6; travelling through the spaces with smooth, sustained, graceful movements using different levels and pathways. Weaving tightly in and out, then finishing in own linked group nest shape. PLANTS AND TREES Paired mirroring sequence – slow, controlled stretching, pushing and opening-out movements as plants emerge through the earth and the leaves on trees unfold. Light, happy jogging steps to meet new partner and repeat mirroring sequence. EVERYONE OUTSIDE! Different people outside enjoying the spring. Pupils put on different pairs of imaginary shoes – wellies, trainers, smart shoes – to explore different walking rhythms and gestures as they travel through the spaces. COOL DOWN Lie down and relax – focus on smooth, controlled breathing. Movement focus: Body: Clapping, tapping and stamping to a rhythm Action: Contrasting controlled and free movements. Combining travelling steps and gestures Dynamics: Listening and moving to a phrase of music Space: Travelling together in small groups Relationships: Paired mirroring

Programme structure Programme 4

LESSON CONTENT TEACHING POINTS EVALUATION

Warm-up: Spring showers Pupils clap, tap and stamp to different raindrop rhythms.

Encourage pupils to listen carefully to the different rhythms, then try clapping, tapping and stamping them out.

Can children listen well and follow the rhythms accurately?

16

Birds returning and building nests Moving together in small group flocks of 4 – 6; travelling through the spaces with smooth, sustained, graceful movements using different levels and pathways. Weaving tightly in and out, then finishing in own linked group nest shape.

Teachers! You might want to select a confident child from each group to lead the movements. The rest of the group needs to watch and copy their leader’s movements closely. The members of each group weave around one another before linking together to form own group nest shape.

Do pupils concentrate and work together to move as a group? Is the sequence smooth, graceful and continuous? Do the groups use the space well – exploring different levels, directions and pathways? Can they weave tightly in and out without bumping, then link together smoothly?

Plants and trees Paired mirroring sequence – slow, controlled stretching, pushing and opening out movements as plants emerge through the earth and the leaves on trees unfold. Light, happy jogging steps to meet new partner and repeat mirroring sequence.

Partners need to watch one another closely and move together at the same time. Look for effort and body tension with the stretching, pushing and opening out movements. Encourage a clear contrast as pupils perform their light, happy jogging steps. Following the music cue, pupils move to the nearest person to repeat the mirroring sequence.

Do partners mirror one another’s actions accurately? Is there a clear contrast between slow opening-out and light, travelling steps? Do pupils listen and move with the music? Can pupils find a new partner quickly and easily to keep the sequence moving smoothly?

Everyone outside! Pupils put on different pairs of imaginary shoes – wellies, trainers, smart shoes – to explore different walking rhythms and gestures as they travel through the spaces.

Pupils need to listen carefully and move with the different rhythms. Encourage pupils to select appropriate gestures for the different walking rhythms – strong digging action, cool thumbs up pose, polite wave etc. The phrasing of the music should help pupils to predict when they need to travel and when they need to stop and perform each gesture.

Can pupils follow the different walking rhythms accurately? Do pupils use their own ideas to perform appropriate and effective gestures? Did pupils use the musical phrasing to predict the timing of the sequence?

Cool down Lie down and relax – focus on smooth, controlled breathing.

Pupils lie down in a space of their own and relax their muscles. Focus on smooth, controlled breathing – in through the nose and out through the mouth.

Pupils should feel calm, relaxed and ready to return to the classroom.

17

Programme 5: Spring celebration Programme Summary: WARM UP Spring showers and sunshine. Pupils step through the spaces to different raindrop rhythms, stopping every now and then to repeat a large arm opening gesture to show the sunshine. ANIMALS (BATS AND HEDGEHOGS) Recap sequence from programme 3. BIRDS RETURNING AND BUILDING NESTS. Recap sequence from programme 4. PLANTS AND TREES Recap sequence from programme 4. CELEBRATION CIRCLE DANCE In groups of about 10. Clapping, tapping and stamping with the rhythm of the music. Skipping round in group circle; one way then the other. COOL DOWN Paired mirroring sequence – slow, gentle version of mirroring movements practised in sequence 2. Movement focus: Body: Moving to a phrase of music Action: Combining sequences to create a dance Dynamics: Following a rhythm Space: Moving together in groups Relationships: Performance

How to perform the Circle Dance

18

Programme structure Programme 5

LESSON CONTENT TEACHING POINTS EVALUATION

Warm-up: Spring showers and sunshine Pupils step through the spaces to different raindrop rhythms, stopping every now and then to repeat a large arm opening gesture to show the sunshine.

Pupils need to listen carefully to the music and move with the raindrop rhythms. Look for large arm opening gesture – starting with both arms straight above head, then stretching slowly out to the sides, and finally down towards the floor.

Can pupils follow the rhythm accurately? Do pupils use the space well – even when concentrating on stepping to a set rhythm? Do pupils use all the music for the arm opening gesture?

Animals (bats and hedgehogs) Recap sequence from programme 3. Bats Carefully unfolding and stretching out imaginary wings. Travelling through the spaces with smooth, swooping movements, stretching and bending high and low. Hedgehogs Uncurling from tight, crouched low, ball shape to standing position. Travelling with small, quick scurrying steps, stopping suddenly now and then to crouch low and curl into tight ball shape. Half the class performs the bat movements while the other half performs the hedgehog movements.

Look for smooth, controlled stretches. Encourage expressive swooping with strong outwards focus, using different levels and pathways. Look for smooth, gradual uncurling of spine and limbs to stand up. Encourage small, quick, precise steps with inwards focus. Pupils should stop and curl up quickly with the music cue. Bat and hedgehog groups move one after the other with the music. Pupils should remain still and watch the others carefully when it’s not their turn to move.

Do pupils use the space well – travelling carefully around the stationary group and using different levels? There should be a strong contrast between slow, controlled uncurling and small, quick travelling steps. Was there a quick, jerky feel to the hedgehog travelling sequence? Was there a clear contrast between outwards focus of bat sequence and the inwards focus of hedgehog sequence?

19

Birds Recap sequence from programme 4. Moving together in small group flocks of 4 – 6; travelling through the spaces with smooth, sustained, graceful movements using different levels and pathways. Weaving tightly in and out, then finishing in own linked group nest shape.

Teachers! You might want to select a confident child from each group to lead the movements. The rest of the group needs to watch and copy their leader’s movements closely. Weave around one another before linking together to form group nest shape.

Do pupils concentrate and work together to move as a group? Is the sequence smooth, graceful and continuous? Do the groups use the space well – using different levels and directions to travel along chosen pathways? Can they weave tightly in and out without bumping, then link together smoothly?

Plants and trees Recap sequence from programme 4. Paired mirroring sequence – slow, controlled stretching, pushing and opening out movements as plants emerge through the earth and the leaves on trees unfold. Light, happy jogging steps to meet new partner and repeat mirroring sequence.

Partners need to watch one another closely and move together at the same time. Look for effort and body tension with the stretching, pushing and opening out movements. Encourage a clear contrast as pupils perform their light, happy jogging steps. Following the music cue, pupils move to the nearest person to repeat the mirroring sequence.

Do partners mirror one another’s actions accurately? Is there a clear contrast between opening-out and light travelling steps? Do pupils listen and move with the music? Can pupils find a new partner quickly and easily to keep the sequence moving smoothly?

Celebration circle dance In group circles of about 10. Clapping, tapping and stamping with the rhythm of the music. Skipping round in group circle; one way then the other.

Pupils need to listen carefully to the rhythm of the music. Pupils turn to face the direction they are skipping in. Skipping steps should be light and happy. Pupils need to concentrate and work together to keep their round group circle shape.

Can pupils listen and move to the rhythm of the music? Do pupils use the phrasing of the music to predict what movement comes next? Can group members remember and perform the dance steps accurately? Does the sequence have a light, happy feel?

Cool down Paired mirroring sequence – slow, gentle version of mirroring movements practised in Plants and Trees sequence.

Partners need to watch each other closely and move together at the same time. Partners’ movements should be slow, smooth and continuous.

Can partners follow each other’s movements accurately? Do partners use all the space around them – using different levels and directions?

20

Unit 3: British Folk Dance - A Taste of Tradition

Each programme in this unit introduces elements of traditional dances from around The British Isles - rhythm and pattern, steps and step-patterns, co-ordinating steps with gestures, partner-work and different holds - and helps children to explore these creatively. The different dance ideas in programmes 6 to 9 encourage children to solve-problems and develop team-working skills, as they improve their performance, make dances and evaluate their own and others’ achievements. These dances are celebrated in the ceilidh in programme 10. Programme 6: Clap and Tap. This programme explores rhythm and pattern using body percussion and steps. The children develop a short partner dance in two sections (binary form). Programme summary: WARM UP Pattern of claps, taps and stamps on the spot linked by walking, skipping then galloping to a new space each time. CLAP AND TAP Children explore different sounds made by hands and feet then work in pairs to select some to make a pattern. STEP IN TIME In pairs children explore and select two different types of step to make a new pattern. COMBINATION Children perform each pattern, deciding on the order. COOL DOWN Bending and stretching: whole body actions. Movement focus: Body: using hands and feet to make percussive sounds Action: patterns of gestures and steps Dynamics: keeping a pulse, developing rhythmic awareness. Space: personal and general space, floor patterns Relationships: unison and partner work Word bank: (steps & step patterns) Walk, march, skip, gallop, stomp, step-close, step-kick, hop-scotch

21

Programme structure Programme 6

LESSON CONTENT TEACHING POINTS EVALUATION

Warm up A repeated pattern of claps, taps and stamps on the spot with walking, skipping or galloping to a new space each time.

Feet apart. Clap high then bend knees to tap thighs. 3 taps with each foot, transfer weight on count 4.

Can the children keep time with the music? Can they remember and repeat the pattern?

Clap and tap Explore different body percussion sounds made by hands (clicking, clapping, tapping on different parts of the body). Then by stamping feet and tapping heels and toes on the floor.

Model some ideas for them! Help pupils keep the pulse.

Can they show contrast between strong and light actions?

In pairs, children select own ideas to make a short pattern of clicks, taps, claps and/or stamps.

Children remain on the spot. They can use contact by patting each others’ hands.

Do they work co-operatively to make a sequence?

They refine and perform the pattern Encourage a suitable number of each action i.e. 4 or 8

Are they able to repeat the pattern?

Step in time In same pairs children explore and select different steps to match the music.

Remind them of the warm up steps. Add march, stomp, step-close

They make a pattern using two different types of step.

Use at least 2 different directions – forwards, backwards, sideways, around. No need to travel far.

Choose good examples to demonstrate – look for neat, clear floor patterns.

Combination Children decide on the order and perform each pattern

Facing or side by side? Do they meet, part, pass by…?

Look for variety in relationships

Cool down Whole body actions of bending and stretching to end the session calmly

Everyone in a good space.

Do they extend fully when stretching?

22

Programme 7: All at sea The dance ideas in this programme are based on the Hornpipe. The dance was common in many parts of The British Isles and did not originate at sea. Its name comes from the simple whistle or flute type instrument (a horn pipe) which often accompanied the dance. The solo step dance later became popular with seafaring men, who added arm gestures to copy working actions. In this programme the children learn and perform a set sequence of actions which they then develop with a partner before adding their own ideas. Programme summary: WARM UP The children perform a pattern of claps, taps and stamps on the spot, then skip or gallop to meet a partner and repeat the pattern. SAILORS’ HORNPIPE The children learn a set sequence of gestures combined with steps: climbing the rigging; looking out to sea; skipping in a figure of eight; hauling up the anchor. PARTNER DANCE The children develop the set sequence in pairs. ALL HANDS ON DECK In pairs the children make a short sequence using their own working actions. SAILORS’ HORNPIPE The children perform the set dance which accelerates in speed. COOL DOWN Stretches on the floor - whole body actions. Movement focus: Body: hands and feet (mostly) Action: whole body gestures – stretch and twist; gestures co-ordinated with steps and weight transference Dynamics: strong and direct qualities, rhythmic pattern, acceleration in tempo Space: different directions (up and down, side to side, forwards and backwards) and pathways Relationships: unison, mirroring, opposites, action and reaction, leading and following

23

Set steps: Climb the rigging: a downward pulling action with alternate arms, hands clenched, skip or march on the spot, lifting same knee as arm Land ahoy: feet apart, look to right – shade eyes with right hand, bend right knee; repeat to the left with left hand Figure of 8: fold arms with elbows lifted and skip in a figure of 8 (or circle) pattern, ideally keep facing the same way Heave-ho: right foot in front, lean forwards, pull an imaginary anchor towards you with one hand in front of the other and rock to back foot, then repeat the action Word bank of working actions: Climb the rigging; Look out to sea; Figure of 8; Weigh anchor; Scrub the deck; Mop the deck; Salute the captain; Mend the sails; Steer the ship; Wind the rope; Balance on the spars (beams); Cook the stew; Land ahoy!; Heave ho!

Programme structure Programme 7

LESSON CONTENT TEACHING POINTS

EVALUATION

Warm up Pattern of claps, taps and stamps on spot. Skip to a new space, face a partner and repeat pattern. Gallop to a new partner and repeat.

Practise several times. Encourage children to work co-operatively.

Can the children remember the pattern? Do they work willingly with other pupils?

Sailors’ hornpipe Children learn two hornpipe actions: climb the rigging and land ahoy. They practise each and then perform a sequence combining them (8 climbing actions and 4 looking actions).

Make sure children are spread out. If skipping on spot is difficult children can march with high knees. Feet wide apart for land ahoy.

Are they able to co-ordinate gestures with steps and weight transference? Do they show awareness of the timing?

Children learn 2 more actions: figure of eight and heave-ho. They practise and combine these (8 skips and 4 heave-ho’s).

Walk the pattern first, If skipping in figure of 8 is too hard, children can skip or march in a small circle.

Can they show a clear floor pattern? Do they perform with appropriate tension?

Children practise and perform all 4 hornpipe actions.

They may need more time to refine the sequence. The pattern is 8, 4, 8, 4.

Does their performance show improvement?

Partner dance In pairs children practise and develop the hornpipe dance to include mirroring, opposites, follow-the-leader and/or action & reaction.

Model some ideas using two children. Decide on positions: facing, side by side, one behind the other.

Can they make choices and work co-operatively?

24

All hands on deck Explore other working actions e.g. scrubbing or mopping the deck, steering the ship, mending sails, winding rope, balancing on beams, cooking, saluting.

Ask children for ideas. Model some actions for the children. Encourage bold, clear, rhythmic actions.

Can they keep time with the music and perform the actions clearly?

In pairs select two actions and make a pattern.

Children can develop these by using different levels and directions or adding steps and turns.

Do they show good sense of style and musical awareness?

Sailors’ hornpipe Children perform class chorus in unison several times - it gets faster each time!

Make sure they are well-spaced. Half the class could perform the sequence at a time while the others clap on the beat.

Can they remember the sequence and perform it with confidence? Are they able to get faster without losing clarity?

Cool down More whole body stretches and curls (on the floor) for a calm ending.

Everyone in a good space.

Do they show good tension and extension?

‘Climb the rigging’ ‘Land ahoy!’

25

Programme 8: Hold on! This programme introduces children to a variety of traditional partner “holds” for turning and travelling, as well as encouraging them to develop and use their own ideas. Traditional dance links: Dorset Ring Dance, The Gay Gordons, The Snowball, Lucky Seven Programme summary: WARM UP Children walk, skip and gallop in and out of spaces. On meeting a different partner each time they turn each other using suggested ‘holds’. DIFFERENT HOLDS In pairs children explore a range of suitable holds for turning each other and then for travelling together. DEVISING A PARTNER SEQUENCE In pairs children make a pattern of travelling and turning using a different hold for each type of action. FOURSOME Pairs join together to show then teach each other their sequences, to make a new dance for four. COOL DOWN Bend, stretch and twist Movement focus: Body: contact with a partner using hands, elbow & shoulders. Action: travel and turn Dynamics: light and bouncy quality Space: on the spot and travelling, directions, floor patterns Relationships: partner work (side by side, facing, follow the leader) and group work Some folk dance ‘hands and holds’ (see diagrams on page 27): Cross-hand hold: Hold hands right in right and left in left. The right hands should be above the left. Inside hands: The nearest hand to your partner. Promenade hold: Partners cross hands (see above) but stand side by side. Butterfly hold: Partners stand side by side. The dancer on the left puts their right arm across their partner’s shoulders to hold right hands above the right shoulder. They hold left hands at waist level.

26

Programme structure Programme 8

LESSON CONTENT TEACHING POINTS EVALUATION

Warm up Walk, skip and gallop in and out of spaces. On signal turn a partner using different ‘holds’.

Encourage children to dance with a range of partners. Holds include: elbows linked, both hands, hands crossed & hands on shoulders

Do the children show good awareness of space and each other?

Different holds In pairs children explore different holds for turning together and turning each other.

Use hands, elbows, shoulders. Children can make up their own holds, providing they are safe.

Do they work co-operatively? Do they show control and co-ordination?

In same pairs children explore different holds for travelling side by side, facing each other and one behind the other.

See above. Established holds include: ‘butterfly’ and ‘promenade’.

Are they able to follow instructions and solve movement problems?

Devising a partner sequence In pairs children travel for 8 counts and return for 8 counts with contact. Then turn one way for 8 counts and reverse for 8 counts.

If there is an uneven number, children can work as a 3. They can use any type of step. Encourage a clear “hold” for each action.

Are they able to select appropriate movements and work together?

They practise and refine the sequence.

Encourage a clear floor pattern.

Do they show good spatial awareness?

Foursome Pairs join together to show, then teach each other their sequences to make a new dance.

Allow time for evaluation. Model this with one group. Children should decide on the order and work out a clear link between sequences.

Are they able to appraise each other’s achievements? Do they show good problem-solving and teamwork skills?

Cool down Bend, stretch and twist to finish.

Ensure they are well spaced.

27

Cross-hand hold Promenade hold Butterfly hold Programme 9: The Snowball In this programme the children learn a longways dance for six which includes different actions or ‘figures’ for two, then four then six dancers – this accumulation in number is why it is called ‘The Snowball’. They then have an opportunity to devise their own Snowball dance. As with most longways dances there is a change of ‘top’ couple each time the dance repeats. The dance is a simplified version of one devised by Anne Welch for five couples. Programme summary: WARM UP A partner activity which comprises a pattern of claps and taps, followed by a do-si-do before travelling off to meet a different partner to repeat the pattern. FIGURES In pairs the children practise the figures of the dance: right and left elbow swing, right and left hand turn; right and left do-si-do. THE SET DANCE In groups of six the children learn and practise ‘The Snowball’. GROUP DECISION The groups adapt the figures to create a new Snowball dance. SHARING Each group joins with another to show and evaluate their achievements COOL DOWN Children select their own stretches for a calm ending.

28

Movement focus: Body: body percussion with hands and feet; contact with hands; right and left orientation Action: travel and turn Dynamics: light and bouncy quality; rhythm Space: directions and pathways Relationships: meet, part and pass a partner; working in fours, sixes; unison. ‘The Snowball’ – dance notation: A longways dance for three couples. The top couple is the first couple, the next is second and the last is third. Bars 1 – 4 First couple right elbow swing Bars 5 – 8 First couple left elbow swing Bars 9 – 12 First and second couples dance a right-hand star Bars 13 – 16 First and second couples dance a left-hand star Bars 17 – 20 All three couples perform a right shoulder do-si-do Bars 21 – 24 All three couples perform a left shoulder do-si-do Bars 25 – 28 Third couple cast out and form an arch Bars 29 – 32 Couples dance through to take up new positions. Word bank: Arch; Cast; Do-si-do; Figure; Star; Swing; Top;

Programme structure Programme 9

PROGRAMME CONTENT

TEACHING POINTS EVALUATION

Warm up Pattern of claps & taps facing a partner, swing to the left and right linking elbows then travel to a new partner.

Children need to find and face a partner before they begin.

Can the children recall the pattern from previous Sessions?

Figures With a partner practise the elbow swing, then right and left hand stars. Learn to do-si-do.

Pupils should always return to their starting position after swinging/turning. Use selected pupils to model each figure if this helps.

Are they showing improvement in phrasing and right/left orientation?

The set dance Pairs join together to make groups of 6 (the dance could also be adapted for 4 or 8 dancers). Learn the simple version of ‘The Snowball’.

The groups stand in 2 lines of 3, facing their partners. Orientate the groups so the ‘top’ couple is nearest the music.

Ask the pupils why they think the dance is called ‘The Snowball’.

Slowly walk through the complete dance then perform at the correct speed several times.

Make sure each couple has a turn at the ‘top’.

Can they remember the order?

29

Group decision Each group can now change or adapt the figures. They should use the same structure and timing, keeping the casting and arch.

They can change the order of figures, or replace them. Remind them of: stars, circles, swinging, do-si-do, travel as a line.

Can they recall the different figures they have learned?

Sharing Groups pair up to show each other their ideas

Allow time for this or for each group to perform. Remind them what to look for.

Are the children able to evaluate each other’s achievements in relation to the task set?

Cool down Children choose their own stretches for a calm ending.

Ensure they are well spaced for this activity.

Do they select appropriate stretches?

30

Programme 10: Ceilidh A ceilidh (pronounced kaylee) is a folk dance event or barn dance where the emphasis is on having fun. Often it is an opportunity for individuals and groups to sing their favourite folk songs or play tunes as well. When the children have practised and polished their dances you could invite another class to share the fun by watching some dances and learning some (such as The Sailor’s Hornpipe and The Snowball) taught by your pupils. Programme summary: WARM UP Skip to find a partner, perform clap and tap pattern followed by right and left swings. Repeat several times with new partners. CLAP AND TAP In pairs the children practise the body percussion pattern from programme 6. The class performs in two halves. ALL AT SEA The class practises The Sailor’s Hornpipe in two halves (as call and response). HOLD ON The children practise their group dances (foursomes) of travel and turn, using different holds. THE SNOWBALL In groups of six the children practise the set dance. CEILIDH Perform all the dances in the above order Movement focus: Body: hands and feet; contact using hands and arms Action: patterns of gestures and steps, separately and in co-ordination; travel and turn Dynamics: light and bouncy; keeping a pulse; rhythmic awareness; strong and direct qualities; acceleration in speed Space: pathways and directions Relationships: partner and group work, unison, call and response

31

Programme structure Programme 10

LESSON CONTENT TEACHING POINTS EVALUATION

Warm up Skip to find a partner. Clap & tap pattern then right and left elbow swings. Repeat with a new partner.

The children should be familiar and confident with this sequence by now.

How well do the children know this sequence? Do they show good timing and phrasing?

Clap and tap Practise body percussion rhythm pattern with a partner (from programme 1).

If the children have forgotten this, they could make a new pattern of taps, claps, clicks and/or stamps.

Can they work co-operatively to refine this sequence?

Half the class performs at a time – others clap the beat.

Divide the class into two halves.

Can they identify good peer performances?

All at sea Practise The Sailors’ Hornpipe (class dance) from programme 7.

Class can remain in two halves to perform the dance as ‘call and response’ i.e. group A performs the 1st motif, then claps as group B performs it and so on

Has their precision improved? Can they remain ‘in role’ when they are not dancing?

Hold on Practise group dances from programme 3 – travel and turn using different holds.

The children may need help remembering this dance (some may need to make a new simple version). Make sure all groups have space.

Can they work as a team, without fuss, to recreate this dance?

The Snowball In sixes practise the set dance.

Arrange the groups in space – all in the same direction, with top couples nearest the music.

Have their performance skills improved?

Ceilidh Perform the dances in order.

Can they evaluate their own performance and say which dance was their favourite to perform?

32

Folk dance glossary: Arch (two-handed). Face partner, take both hands in front and lift arms to form an arch

shape

Cast (single). Peel away from partner , travel round in a tight curve in opposite directions followed by other dancers in the same line

Ceildh Pronounced "kaylee" is a folk dance event or barn dance where the emphasis is on having fun. Individuals and groups also contribute songs and tunes

Do-si-do (from the French dos a dos – ‘back to back’)

Face partner, walk 3 or 4 steps to pass right shoulders, step sideways to right, step backwards passing left shoulders to return to place. Keep facing the same way!

Gallop A bouncy, sideways step

Hornpipe A tune in 4/4 time, with the emphasis on beats 1 and 3. It should make you want to dance a fairly slow step-hop

Jig A tune in 6/8 time, with a skipping feel

Longways A dance in two lines, with partners dancing on opposite sides

Reel A tune in 2/4 or 4/4 time, with a marching or running feel

Star (often in groups of 4, ie two couples)

Hold right hands across in a star shape and move around clockwise. Then turn and return, holding left hands

Swing Two dancers link arms or hold hands to turn round (often clockwise, then anti-clockwise, fitting two rotations into 8 counts)

Top In a longways dance, the end nearest the music.