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Finding Cheap Nike Air Jordan Shoes Posted by: 675
Date Posted: November 27, 2013, 2:19am
1 (100.00%)
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汝等小儿,可敢杀我? Posted by: 621
Date Posted: November 21, 2013, 9:06am
1 (100.00%)

Re: What is Pandora jewelry? Posted by: 621
Date Posted: November 20, 2013, 7:05am
1 (100.00%)

What is Pandora jewelry? Posted by: 593
Date Posted: November 13, 2013, 2:08am
1 (100.00%)
As its elegant and classic style, we all know the fact that pandora charms jewelry is marked as the most fashion jewelries on the planet. However, what is  pandora charms canada jewelry? Before this question you must know what is Pandora. Pandora is the first woman created by Zeus. But now a day, "Pandora" is has become a focused of jewelry revolution. While, Pandora Jewelry is a global jewelry brand founded in Denmark, which is a jewelry series which is named of Pandora. Wearing  pandora canada jewelry is an art, and now Pandora jewelry become the most beautiful and attractive fashion symbol.
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Re: Exploring the Possiblities! Posted by: 88
Date Posted: September 27, 2008, 4:37pm
1 (100.00%)
I am excited to be part of the TPL Possibilities conversation and as a teaching artist I am particularly intrigued with these new ways to broaden my reach as a member of the teaching arts work force.  The possibilities to reach new audiences via interacitivity seem endless!  

Karen Stone
Teaching Aritist

Re: Exploring the Possiblities! Posted by: Di Aldis
Date Posted: September 26, 2008, 6:58pm
1 (100.00%)
it's s exciting to see TPL expanding to all the arts and into all the galaxies (even Philly!)

Re: Exploring the Possiblities! Posted by: RAH
Date Posted: September 25, 2008, 2:04pm
1 (100.00%)
Warm greetings to all!

THE PERFORMANCE LAB(tm) has worked for many years with the New Jersey Department of Education. Together, we have produced scores of Interactive Residencies. This partnership has placed TPL at the very forefront of interactive experiments.

There could not be a more potent collaborator than the Philadelphia Museum of Art!!

The possibilities are - - - of course!! - - - endless.

I second Dale's welcome!!


Exploring the Possiblities! Posted by: dale schmid
Date Posted: September 25, 2008, 2:00pm
1 (100.00%)
Greetings and welcome to the TPL Possibilities thread.  

THE PERFORMANCE LAB(tm) is building a community of adventuresome artists
and arts professionals who will collaboratively create a network of interactive studios
across America for the exchange of innovative arts experiences.

Please feel free to use this space to imagine new creative possibilites for interactive exchange and uitlize TPL as a bridge to forge new partnerships.  

Just register and you can join this growing national and international dialogue among the teaching arts workforce.

Dale Schmid
Creative Advisor to TPL

  Re: response to technique Posted by: gloria mclean
Date Posted: May 9, 2007, 3:59am
1 (100.00%)
Thank you all for these comments. I am happy to hear that you DO feel a good result from the focus on centering in the pelvis. Any dance technique requires repeated effort. It  takes time to train the body, and training does make a difference.

Flexibility and fluidity are both goals of mine. Also rhythmicality. Just as the body uses the regular rhythm of the heart to pump the blood and maintain its cycles, we learn more easily by lining our movement to rhythm. THis is the wisdom of the nursery rhyme, the sing song - once you know it, you never forget it.

Fluidity helps us connect movements and stay well tuned. But of course, we also sometimes have a reason to "break the flow" or introduce other dynamics, other qualities of movement.
But the "free-flow" provides a healthy base.

Please say hello to Bill Evans for me!!! He is a great teacher, and yes, these ideas are a great compliment to his.

The important thing, technique-wise, to keep in mind, is that we just barely touched the tip of the iceberg in these classes. Keep going, dance every day if you can. It's only by doing it that you develop it.  (And it's okay to rest sometimes, too!)

Re: I OVERCURVE/UNDERCURVE Posted by: gloria mclean
Date Posted: May 9, 2007, 2:47am
1 (100.00%)
I am responding to the post by Dale Schmid - hi , Dale!

WHy and What of it?
Are there some specific examples within the Brockport lesson plan that you can point to that
made you raise these questions?

I mean, what specifically can we address to take in your very well stated and important commentary?

SUNY<-->IDDS(MN) Posted by: RAH
Date Posted: May 2, 2007, 11:06pm
1 (100.00%)

Proposed Interaction: May 3, 2007

Teaching and Lesson Authors: Students in the Arts for Children Program, S.U.N.Y. College at
Brockport; Brockport NY
Learners:  4th and 5th Graders from Inter District Downtown School, Minneapolis, MN; teacher
Linda Iserman; resident artist Diane Aldis

BIG IDEA: The Nature of Curves


PURPOSE: To foster interactive learning of McLean dance techniques and skills using curves

1.     Desired Understandings for Elementary Learners:

-     To learn from others about American dance history and how the body can move and be trained (technical skills)
-     To see and feel that bodily movement creates curved pathways in space
-     To sense that the core of the body can be primary to initiating and controlling movement
-     To understand that an exchange of ideas and learning can take place live across great distances through interactive technology

2.     Predictable Misunderstandings:

     Students may:

-     Display an inability to understand the full potential of interactivity.
-     Display an inability to focus on improving interpersonal and intrapersonal skills.
-     Experience spatial disorientation.
-     Experience incomplete cognitive perception of undercurve and overcurve pathways as demonstrated in pelvic (core) experiments.
-     Not experience full body integration of the pelvic pathway in movement phrases.

3.     Essential Questions:

-     How can you move making under and over curve pathways?
-     Where do we see curved pathways in the world around us?
-     Where in art can we find works that show curved pathways?
-     How can we improve learning using interactive exchanges?
-     Where can you learn more about Gloria McLean and Erick Hawkins?

LESSON TITLE:                      Overcurves and Undercurves


INTERCONNECTED DISCIPLINES:      Art, Science, Technology

TARGETED GRADE LEVEL(S):           4th and 5th

Knowledge of how to move safely using self control in personal and general space.

The student will

Perform basics of Hawkins/McLean dance technique with clear demonstration of undercurve and overcurve pathways initiated from the core of the body and repeated in patterns.

Define personal space by dancing with those in close proximity and in relationship to distant interactive participants by correctly performing the following dance/interactive vocabulary: in unison, pass through (hand off), call and respond, advance and retreat, together and away, follow the leader, mirror, touch the screen, and touch the camera.

Cooperatively work with others to refine a McLean dance phrase for performance accuracy.

Respond to movement experiences by using correct dance and interactive terminology.

Respond to observed dance through movement.



Practice and include overcurve and undercurve principles in personal and group compositions.

Identify movement principles in dance masterworks created by Gloria McLean and Erick Hawkins.

Transfer  dance principles to understandings in physics (dynamics of movement along curved pathways), biology (skeletal and muscular anatomy), visual art (curved designs applied through various media), and technology (applying the interactive process to other lessons in any subject area).


I. Performing
1.     Body
     a.     Anatomy (1)
     b.     Body Organization (2)
2.     Movement Skills
     b.     Non-Locomotor/Axial Movement
     c.     Technical Skills (1)
3.     Elements of Dance
     a.      Space (2, 5, 6)
     b.      Time (3)
4.     Performing Values
     a.      Focus and Awareness (4)
     b.      Replication, Reflection, Refinement, Revision (1)

II. Creating
1.  Apply Choreographic Principles, Structures, and Processes
     c.      Constructive Cooperation (1)
2.   Create and Communicate Meaning
     a.    Communicate in Dance

III.  Responding
1.    Use Dance Terminology
      a.      Observing and performing dance
2.    Observation and Response Skills
      d.   Respond to observed dance through movement

IV.  Inter-connecting
3.     Connect Dance and Other Disciplines
      e.    Experience technology with dance.

INTELLIGENCES FOCI: Kinesthetic, verbal, visual/spatial, interpersonal, intrapersonal


1.     Students will demonstrate desired understandings through the following authentic performance tasks:

- performance of undercurve and overcurve pathways initiated from the core of the body
- dancing while demonstrating correct vocabulary and relationships with others at home and at a distant site
- creating and responding to observed dance through movement

2.     Understandings will be judged using the attached Dance Assessment Rubrics.

3.     Students will demonstrate further understanding through discussion responses while interconnected and afterward by posting to The Performance Lab Bulletin Board.


Materials and Resources-

Japanese art print of ocean waves: The Great Wave Off Kanagawa by Katsushika Hokusai
Aids for introduction- masks, signs
Human skeleton
Fish and dragon puppets

Teacher Preparation-

Identify a technology team to monitor interconnectivity during the session.
Appoint a camera person(s) for live camera shots and for documentation of the work.
Identify puppeteers.
Prepare attention device (if needed).
Coordinate logistical arrangements with learning site leaders.

Vocabulary Listing-

Dance Content Words:
Body parts- pelvis, core, hips
           Concepts: overcurve, undercurve, looping, scooping, arching, floating, waves,
pathways, smoothe flow, call and respond, chorus, rushing
Synonyms to reinforce dance concepts:
Overcurve:- arc, arch, rainbow, throw
Undercurve- scoop, swing
     Dance history: artists Gloria McLean and Erick Hawkins
Interconnectivity teaching words and directional cues: (These words enhance rapport and relational awareness between the teaching and learning sites.)
          Pass through (hand off)
Call and respond
As with partner dancing- advance and retreat, together and away, follow the
leader, mirror
Touch the screen or touch the camera
Unison or movement chorus
The Performance Lab

Safety Considerations:  
Emphasize and monitor safety when moving.


Anticipatory Set

A.     Cameras have a pre-set focus. NY camera focus is on the Japanese print The Great Wave Off Kanagawa by Katsushika Hokusai. The art print is of ocean waves.

B.     To establish a community of teachers and learners across distant studios, members of each class should sit in a U shaped formation on the floor. The open part of the U faces the interactive screen. Together, the two classes create a circular formation.

C.     When ready, introductions begin from the NY site. Introductions will be aided by signs, floating masks, puppets, and leaders (Leah and Professor McGhee).

D.     The first action (waving) will be introduced. Leah will guide variations in waving including changing size and speed.

E.     Students will be asked to stand and conduct several pass through (hand off) waves from NY to MN and back again. (This concept is similar to a stadium wave.) Variations in the pass through will involve the whole body or body core. Students will be introduced to the concepts of overcurve and undercurve through practice. Emphasis will be drawn to the shape of the movement pathway (arching or scooping). Students at both sites should work together to establish a smoothe flow.

F.     An attention device is established to quiet and still the action of the class. The action is a call and response that includes the cues: scoop, scoop, stamp, stamp, undercurve, zip. Any clever
device may be used here. This device will be used as needed through the lesson.

G.     Practice the call and response.

Body of the Lesson

Continued Development of Concepts and Vocabulary

A.     While standing and emphasizing the action of the pelvic core, both classes begin to experiment (improv) with the scooping action. See if you can make 3 or 4 scooping waves connected together. We can call these scooping waves undercurves. Your floating pathway may look like the waves you saw in the art work before we started the lesson. Let your scooping waves carry your body away from the group. Fill the whole studio space with your bodies. Go.

B.     Students practice the movement going away from the U formation.

C.     Students are directed to make waves carrying their bodies back to home position. This moving away and returning to home position will be repeated and the actions refined. Students will be asked to explore the general space drawing attention to safe movement practices. (Even the puppets may be seen scooping and looping.)

The Human Skeleton

D.     Students are shown a human skeleton and attention is given to identifying the pelvis, the center of the core and action.

Introduction to Gloria McLean

E.     Students are directed to a scooping and floating fish (puppet) by the name of Gloria McLean. Our puppet is named after the famous dancer from NY who taught our class how to dance overcurves and undercurves.

F.     Puppet Script-
Gloria: Look! Look! Weve found another way to scoop!
     [Erick the big fish swims by.]

Erick! Erick! Hey everybody. This is my teacher Erick Hawkins. When I was just a little fish in the big pond of dance, Erick helped me become a really good dancer! I learned to under curve, over curve, and loop!

Erick:     Scoop abundantly, my dear!
     [He swims away demonstrating the dance concepts and all the puppets follow.]

Dancing Together Yet Apart

G.     A NY leader is appointed to teach a movement phrase. (It is part of a movement phrase taught by Gloria McLean and the entire phrase can be viewed on the TPL web site.) It is introduced using mirror imaging. The demonstrator (Lauren) changes to follow the leader technique and faces her back to the group. Students in MN follow and repeat the demonstrated dance actions.

H.     Teachers in MN or NY may start and stop the dancers as needed. Emphasis is placed upon both class sites dancing together as mirrored reflections of each other.

I.      A NY leader or someone in MN may touch the screen to choose a partner to dance with. Several  dancer duets may be identified.

J.     The NY leader identifies the learned movement phrase as a movement chorus that will be used  in making a larger group dance.

Group Dance: Under the Sea
(Anne in NY will lead the dance making activity.)

K.     We are going to make a dance together. It will use the movement you have just learned and  other movements that are scooping, looping, and rushing (forward and backward or side to side). To make the short dance, well need to divide each class into 2 parts- an Under Water Dragon group and a Fish group. The performing groups are identified.

L.     Instructions for the dance continue. The order of our dance will be

#1- Well all move together repeating the Gloria sequence we learned. Go back and forth, back and forth. That is our chorus. Well repeat it again later.

#2- Dragons in NY will rush forward advancing on those in MN. Dragons in MN retreat by rushing backwards. Then Dragons in MN rush and advance on NY. NY Dragons retreat. Dragons lets try it!

M.     Groups practice. If you are not a Dragon then ride the waves in place by looping with the pelvis.

#3- Everyone should be back in their home position and now we repeat the chorus all together. The chorus is practiced in unison (mirrored).

#4 Fish in NY make loops while dodging and darting around others in the room. Fish in MN answer by doing the same in your space. Come to look at us up close to the camera. Go back home. If you are a Dragon, you are in place riding the waves by looping.

N.      Groups practice.
#5 The Chorus is repeated again. This is the end.

O.     Lets dance the whole thing but this time I wont talk. Make your loops very big and clear. Lets be totally together on the chorus parts. Show me a very good beginning.  Ready All dance in unison (mirrored).


P.     (Leah leads discussion.)     Lets sit down for a moment and recap. Who can tell me some of the action words we used today. [Allow responses to be generated.] Thats right!

We learned our dance movements from dancer Gloria McLean. You can meet the real Gloria, who is a very nice woman, not a fish. When we go off screen, Diane Aldis can give the information to you teacher to find Gloria and some of this kind of dance on The Performance Lab website. I hope you will write to us there.

Q.     Thanks for your good dancing today. Who can give me a hi-5? Come forward and try it with me. (Leah points to someone in MN. She tries the action. She repeats this with a couple more children.)

R.     This is our final goodbye. Can you mirror us? (All give a big slow wave.)

If Time Permits

Solicit feedback and ask essential questions to gain understanding of the dance and interactive experiences learned in this lesson.

Interactive Lesson: Overcurves and Undercurves
Dance Assessment Rubrics
(Based on NDEO Standards for Learning and Teaching Dance in the Arts- Quick Reference Charts)
Fourth & Fifth Grade

I. Performing: Execute original or existing dance movement or works of art using elements and skills of dance.

Improvement     Meets
Standard     Outstanding
1. Body
a. Anatomy:
(1) Demonstrate isolated and coordinated dance movement for the pelvic core               
b. Body Organization
(2) Body Patterning: Demonstrate movement initiated from the core                
2.  Movement Skills
b. Non-Locomotor/Axial Movement: Demonstrate and identify non-locomotor/axial movements: swing (scoop)               
d. Technical Skills
(1) Articulation of movement: Demonstrate ability to move with clarity of motion.               
3. Elements of Dance
a. Space:
(2) Pathways: curved                
(5) Personal Space: Define one's personal space in relation to the personal space of other dancers.               
(6) Relationships: Dance in a defined spatial relationship to others using dance (and technology) vocabulary.               
b. Time
(3) Patterns: Repeat a rhythmic pattern of movement.               
4.  Performing Values
a. Focus and Awareness:
(4) Dance with awareness of movement relationships:  proximity; interconnectedness between dancers.               
b.  Replication, Reflection, Refinement, Revision:
(1) Repeat movement, dance phrases, and patterns for performance accuracy.               


II. Creating: Express ideas, experiences, feelings and images in original and artistic choreography.

II. CREATING     Needs
Improvement     Meets
Standard     Outstanding
1.  Apply Choreographic Principles, Structures, and Processes
d. Constructive Cooperation:
(1) Demonstrate the ability to work cooperatively with a partner or group of dancers.               
2.  Create & Communicate Meaning
a. Communicate in Dance: Improvise and perform dance movement based on concepts               

III. Responding: Demonstrate critical and analytical thinking skills in the artistic response to dance

Improvement     Meets
Standard     Outstanding
1.  Use Dance Terminology (movement vocabulary, verbal vocabulary, dance notation, the elements of dance)
a. Observe or perform dance and identify movements using dance terminology.               
2. Observation and Response Skills
e. Respond to an observed dance through movement.               

IV. Inter-Connecting: Relate and transfer ideas, meanings, and experiences from other disciplines and areas of knowledge to dance and movement experiences; relate and transfer dance and movement experiences to other disciplines and areas of knowledge.
Improvement     Meets
Standard     Outstanding
3.  Connect Dance and Other Disciplines
e. Experience the use of technology with dance.

Re: I OVERCURVE/UNDERCURVE Posted by: dale schmid
Date Posted: May 1, 2007, 10:29pm
1 (100.00%)
Dear BW   

I applaud the age appropriateness of activities you've chosen for your lesson and embrace your desire for cross-content integration with science content.  That being said, I have a few questions for you to ponder as you continue to develop your ideas and eventually incorporate them into classroom practice; specifically with regard to enduring understandings, essential questions, and evidence of learning.

Teaching for enduring understandings (Understanding by Design) differs from an activities-based approach to instruction by focusing on big ideas.  Your lesson would be greatly enhanced by such an approach.  

When considering "enduring understandings," one must ask what are the transferable ideas you wish to communicate to students through a lesson or unit?  What "big ideas", concepts or understandings do you desire for your students as a result of engaging with the content of the lesson that are significant and transferfable? This approach to curriculum is fundamentally different than starting from a set of activities and forging them into understandings or simply mapping an activity to a standard  (Exposure does not necessarily equate to learning).  In other words, you need to determine what the "moral of the story" is in order to know if the activities embedded in your lesson will lead students to specific insights/connections about the content. Keep in mind, understandings are not necessarily facts, but inferences that can be drawn from facts.  

Essential questions also focus on big ideas.  They are the like the "metaphysical question of the day".  They are at the heart of the subject and are important to argue about.  Essential questions do not necessarily lead to one right answer. They do not provoke list-making, nor call for the "teacherly" answer. Instead they set up in-depth, multiple perspectives of inquiry that "provide organizing purpose for meaningful and connected learning".  

The goal is to aspire to higher levels of cognition in a Bloomian sense.  (In your lesson, terms like describe and identify are very low in terms of cognitive demand and at times difficult to differentiate degrees of mastery of content through assessment.  Yet your performance activity calls for  analysis and  synthesis through the act of creation).  Your lesson would be strengthed by objectives that more closey align to the performance task.  

As for the "A" word - assessment - what evidence of learning will lead you to understanding individual student capabilities embedded in your performance task?  Are their predictable mis-understandings that you will have to un-teach?  What does success look like?  To know this, you will need to establish what observable criteria shows evidence of content mastery...and destinguishes among levels of mastery.  

In other words; if on a four-point scale a "1" is the highest possible score and a "4" reflects the lowest level of content mastery or skill, how does a "1" differ from a "4?"  What types of formative evaluations will give you insight into student's grasp of the essential concepts inherent in your enduring understandings as you progress through the lesson?  Are there points at which you could pause for reflection and feedback?  How would you flesh out evidence of learning. . . ? What are the key indicators of demonstrated mastery unearthed through discussion, observation and performance?  

Finally, since we have added the complexity of learning through interactive exchange technology during the DANA project, are there any changes or modifications to instruction that you foresee necessary to teach this lesson interactively using the technology of "interactive exchange?"  

I'm cognizant of the fact that at the opening of my commentary that I said I had a few questions for you to ponder, and it seems the list has grown to be considerable . . . so I leave you with this:  I hope I have provoked you into thinking more deeply about how to cause "genuine and relevant inquiry into big ideas and core content" and invite you to direct any questions you may now have to me as you continue your exploration into means of getting students to get at "Why?" and "What of it?"  

V PUPPETS Posted by: RAH
Date Posted: April 30, 2007, 2:58pm
1 (100.00%)

THEME/CONCEPT/BIG IDEA: Learning movements through puppets and applying these movements to a theatre performance

1.     What specific understandings are desired?
2.     What misunderstandings are predictable?
3.     List of essential questions: What provocative questions will foster inquiry, understanding, and transfer of learning?

LESSON TITLE: Make a Move with Puppets!


TARGETED GRADE LEVEL(S): 4th and 5th graders

-     Locomotor movements
-     Some prior experience with puppets (for opening activity)
-     Some experience with creating and performing group skits

1.     The student will identify under/overcurves, tasseling, and contracting movement in others (puppets)
2.     The student will demonstrate under/overcurves, tasseling, and contracting in their own movement
3.     The student will applying one or more of these movements (under/overcure, contraction, and/or tasseling) to a theatre performance

1.     The student will apply these movements to future theatre or dance exercises and performances
2.     The student will have a better understanding  

1.     Content Standard #1: Script writing by the creation of improvisations and scripted scenes based on personal experience and heritage, imagination, literature, and history
2.     Content Standard #2: Acting by developing basic acting skills to portray characters who interact in improvised and scripted scenes
3.     Content Standard #6: Comparing and incorporating art forms by analyzing methods of presentation and audience response for theatre, dramatic media (such as film, television, and electronic media), and other art forms
4.     Content Standard #7: Analyzing, evaluating, and constructing meanings from improvised and scripted scenes and from theatre, film, television, and electronic media productions

1.     Content Standard #1: Students will create and perform theatre pieces as well as improvisational drama. They will understand and use the basic elements of theatre in their characterizations, improvisations, and play writing. Students will engage in individual and group theatrical and theatre-related tasks, and will describe the various roles and means of creating, performing, and producing theatre.
2.     Content Standard #3: Students will reflect on, interpret, and evaluate works of art, using the language of art criticism. Students will analyze the visual characteristics of the natural and built environment and explain the social, cultural, psychological, and environmental dimensions of the visual arts. Students will compare the ways in which a variety of ideas, themes, and concepts are expressed through the visual arts with the ways they are expressed in other disciplines.

1.     Linguistic (Puppets speaking directions)
2.     Musical (drumbeat)
3.     Spatial (moving through and using space around room)
4.     Bodily (working on body movements)
5.     Interpersonal (beginning activities and movement choices made individually)
6.     Interpersonal (work in groups to create a performance and perform)


Performance Tasks:
1.     Through what authentic performance tasks will students demonstrate the desired understandings?
a.     Students will demonstrate that they can identify curves, tasseling and contracting by participating in the discussion of the puppet show and how each movement was used
b.     Students will demonstrate an understanding of how to use curves, tasseling, and contracting in their own movements by participating in the three beginning exercises led by the puppets and the final performance
c.     Students will show that they are capable of applying curves, tasseling, and contracting to a performance of their own through their final group performances
2.     By what criteria will performances of understandings be judged?
a. A rubric will be used to measure performance

Other Evidence:
1.     Through what other evidence will students demonstrate achievement of desired results?
a.     Student engagement
b.     Ability to be free and comfortable with movement

2.     How will students reflect upon and self-assess their learning?
a.     The culminating class discussion
b.     A journal entry on the class period, how the movements felt, what it was like learning from the puppets, etc.


Materials and Resources:
a.     Three puppets
b.     Drum
c.     Cards with prepared performance situations on them

Teacher Preparation:
a.     Clear the room so that students have plenty of space to move
b.     Make the situation cards
c.     Practice moving the puppets in appropriate ways
d.     Create and practice the puppet show

Vocabulary Listing:
a.     Curve an arching, bending, or curling shape or movement
b.     Undercurve curving downward
c.     Overcurve curving upward
d.     Tassel loosely hanging
e.     Contraction becoming smaller or pressed together, decreasing in size

Safety Considerations:
a.     Remind students about their personal space
b.     Be sure that students move their head in a careful and controlled manner so they do not hurt their necks     


1.     Anticipatory Set
Have you ever seen a puppet show or used a puppet yourself?  
Can you move around the room the way you think a puppet might move?

2.     Body of lesson
a.     Introduce the three puppets that will be used in the lesson: Curvy Claire, Carl Contractor, and Tasseling Tara
b.     As each puppet is being introduced a working definition that goes along with their name will be introduced as well.
c.     Next, Curvy Claire will lead an undercurve/overcurve exercise with the group: Can you move like me? Can you curve your pelvis over and under? Your arms? Head? Can you make over/under curves while walking, jumping, tiptoeing around the space?
d.     Following this exercise Carl Contractor will lead a contracting/expanding activity: Can you move like me? Can you make yourself as big as you can, not contract to make yourself as small as you can.  Can you tighten your stomach to make the rest of you curve inwards?  Now move around the space to a drumbeat.  When the drum stops, contract into a shape.
e.     Now, Tasseling Tara will lead a mini exercise on tasseling: Can you move like me? Can you let you arms tassel at your sides as you twist, jump, skip? Can you make you legs tassel as well?  Move around the room and allow your limbs to move freely and tassel.  
f.     After the beginning exercises are completed, students will gather to watch a short puppet show put on by their three puppet guests.  During the show they should watch for good examples of how the puppets use tasseling, curving, and contracting
g.     A discussion will then be held about the movement choices that the puppets made
h.     As a final exercise students will split into groups of four or five and be given a topic (A fight with a friend, getting a new pet, being punished for not doing a chore, etc.)
i.     Each student will take on one of the puppets movement characteristics and, with in their groups come up with a skit around their assigned topic.
j.     As students are practicing the instructor will circulate the room to observe, give suggestions, and help out
k. After practicing their skits, each group will perform for the rest of the          class

3.     Conclusion
l. The class period will end in a discussion about the performances, what they observed, what they liked, and what worked/didnt work

1.     Students could make their own puppets and play with puppet movement as opposed to their own
2.     Students could learn further material through puppets (science, histoty, etc.)
3.     Students could create puppet shows relating to learned material in various subject areas

1.     Science
a.     Contract/expand ice, air, etc.
b.     Curves where can they be found in nature?
2.     Arts
a.     Curves/tassels lines
b.     Contract/expand size of shapes
3.     Dance
a.     movement  

Rubric for Make a Movement with Puppets!

The student will identify under/overcurves,                     1   2   3   4   5
tasseling, and contracting movement in
others (puppets)

The student will demonstrate under/                         1   2   3   4   5
overcurves, tasseling, and contracting
in their own movement

The student will applying one or more                     1   2   3   4   5
of these movements (under/overcure,
contraction, and/or tasseling) to a theatre

Date Posted: April 30, 2007, 2:54pm
1 (100.00%)


1.     Students should have knowledge of the shape of a curve.  They should also have been exposed to the locomotor movements and the elements of dance.  They should know about music and how to count, as well.
2.     Predictable misunderstandings include confusing symbols and meanings.  Some could also have trouble with counting music and moving at the same time.
3.     Essential Questions:  Where do you see undercurves and overcurves in your everyday life?  Can you draw both of them in the air with your hand?  How can you put them into your whole body?

Listen to Your Dance

Disciplines Addressed:  Dance, Music

3rd 4th Grade

Necessary Prior Knowledge:  Be familiar with the Language of Dance and know how to count

Lesson Objectives:  The students will demonstrate weight shift and will express it through undercurves and overcurves in time.

Future Objectives:  Students will recognize where undercurves and overcurves exist in other disciplines, such as art, literature, math, etc.

National Standards Addressed:  
     1. Identifying and demonstrating movement elements and skills in performing dance.
     2. Understanding choreographic processes.
     7. Making connections between dance and other disciplines.

State Standards Addressed:
     Identify and demonstrate movement elements and skills (such as bend, twist, slide, skip, hop)
     Demonstrate ways of moving in relation to people, objects, and environments in set dance forms
     Create and perform simple dances based on their own movement ideas
     Express to others their understanding of specific dance performances, using appropriate language to describe what they have seen and heard

Intelligences Foci:       Kinesthetic students will be dancing around the room
Musical students will be listening to music and for the timing
Interpersonal students will be working with their classmates to
make up a dance
Logical students will need to dance and move in time with the
               Visual students will see the shape of movements like
undercurves and overcurves.

Assessment Evidence

Performance Tasks:
The final performance with their partners and their classmates analysis will show that they understand the concept.  If they display all three elements in their dances (undercurves/overcurves, dancing with the time and weight shift) we will know the students understand the concept fully.

Advance Organizer:

     Materials and Resources: music in time.  Song options in time to use:    Kelly Clarkson Breakaway, Silent Night, O Holy Night, Lifehouse You and Me, Edwin McCain Ill Be.
Teacher Preparation:  previewing music selections, rearranging room, bringing extra sneakers incase student forgot.

     Vocabulary Listing: under curve, over curve, waltz, weight shift

     Safety Considerations: Make sure there is enough room so no students will bump into each other or something else.

Details of Instructional Activity:

1.     Anticipatory Set: We will have already been studying about music and how to count music in 4/4 time.  Students will know how to clap the beat of music and be able to keep it in their head.  We have also been studying dance and the basic locomotor movements.

2.     Body of the Lesson:
     While students are seated at their desks, do a quick review of how to count in 4/4 time and how to clap the beat in 4/4 time.
     Introduce the concept of time:  explain how there are only 3 quarter notes in a measure and show the hand motions of how to conduct in time.
     Use the white board or chalk board to show different arrangements of notes in time.  Use ikonic symbols to represent notes so the children can understand it better if they are unfamiliar with traditional symbols of eighth, quarter, half, dotted half, and whole notes.  Introduce the traditional symbols afterwards if children show comprehension.
     Clear out the room and have students stand in their own personal space.
     Use a drum to keep the tempo, accenting on the 1 (downbeat).  Let the students move around the room in time and play with the rhythms.
     Play the 1st music selection and see if the students can find the 123 rhythm and count it out loud.  Have them try to clap the rhythm, too.
     Let the students move around the room and dance to the time on their own.
     Show students a simple waltz, which is a dance performed in time.
     Break down the waltz and teach it to them.
o     Step out to the right with your right foot. (1)
o     Step front with your left foot and put all your weight on it. (2)
o     Step back on your right foot. (3)
o     (Repeat on other side) Step out to the left with your left foot. (1)
o     Step front with your right foot and put all your weight on that foot. (2)
o     Step back on your left foot. (3)
     Use the 1, 2, 3 method to indicate each movement and count while students do the waltz they can hear how the dance goes in time.
     Let the students practice this for a few minutes on their own.
     Ask the students what they noticed about the waltz and some qualities it had.  What did their feet do?  Did their arms do anything?  Was it light or heavy?
     Introduce weight shift, if no student has already brought it up.  Explain the concept of weight shift and keeping your weight transfer from one side to the other.  Show how the waltz is a dance full of weight shift.
     Have students experiment with movements that show weight shift that travel around the room (walking, running, leaping, and almost all locomotor movement).  Do this for a few minutes.
     Ask the students what they notice about weight shift.  How does their body move?  Can they go high?  Can they stay low?  Can they go high to low or low to high?  Does their body make any curves when they practice weight shift?
     Introduce the concept of undercurves and overcurves.
o     Undercurve:  When your body moves, you make a curve that starts high, gets low and then high again.  This curve feels heavy and low.
o     Overcurve:  When your body moves, you make a curve that starts low, gets high and then low again.  This curve is very light and sometimes you can jump in the air with it.
     Have drawing of the arcs of undercurves and overcurves to help describe.
     Ask students to show a move that they think might have a curve in it.
     Have the students spread out and improvise with these movements and feel the undercurves and overcurves.
     Tell students to pick one undercurve movements and one overcurve movement to make a dance to.  Then have them pick a partner to work with so they should now have 4 movements all together.  They also need to include some other weight shifting between their curves.  Tell them they will be making up these dances in time, too.
     Ask students if they want to use music for their dances, the drum beat, or if they want to try and count it on their own for their dance.
     Let them practicing their compositions to the music, if they choose, and tell them to make sure their counting 1, 2, 3, just like they did when they danced the waltz.
     After a few minutes, tell them to end their dance in their favorite shape.
     Have all the students sit in the front for the room and let the pairs perform their dances for their classmates.
     After all the performances, have the students take their seats.

3.     Conclusion: Ask the students what thy saw in all their classmates dances.  What made them unique?  What was the same? What was different? What is different about dancing in time than in 4/4 time?  What did you like about undercurves and over curves?  

Ideas for Further Development and/or Interdisciplinary Connections:
     Turn this into a journal entry of why they liked it or didnt like it.
     Have them draw a picture of what they think their dances looked like.

Date Posted: April 30, 2007, 2:53pm
1 (100.00%)
II: The Colors of Contraction

     The act of contracting a specific muscle, groups of muscles or the body in general has often been a difficult and frustrating concept for new dancers. Often we find dance teachers attempting the guide students into feeling the sensation, a sensation which if the dancer does not have significant experience with dance movement can be confusing, misleading and frustrating. The lesson strives to help students to foster a better picture of what a contraction feels like by utilizing several other artistic disciplines. Furthermore, the idea of a contraction and what kinesthetic experiences surround a contraction can be helpful therapy into an investigation of a students social, cultural and/or emotional understanding of an issue that he or she may be facing.

Disciplines Addressed
     Dance, Visual Art, Creative Writing and Music

Targeted Grade Levels

Necessary Prior Knowledge For Learner
     General Understanding of Dance, Music, Visual Art and Poetic Elements with a focus in the following preferred:
-     Visual ArtColor (i.e. mixing, complementary/primary, analysis of how color is applied, landscape painting, abstract vs. real)
-     MusicModes (i.e. major versus minor, doctrine of Musical Affections)
-     PoeticMetaphor, Simile, Imagery (i.e. basic imagery-driven poetic concepts, how to write a poem)
-     DanceShapes, Simple Phrasing, Expression (i.e. can create a movement phrase with structured suggestion that utilizes basic dance elements)

Lesson Objectives
The student will express a personal or communal problem by composing a small movement phrase that demonstrates the correct efforts and technique of a contraction.
The student will investigate the feeling in a contraction by creating a series of artistic snapshots including a painting of the sky, a small musical composition and a short poem to gain a better understanding of contraction.

Future Objectives
     The student will be able to express and work through difficult social, emotional and physical situations by utilizing the arts to help gain self-understanding and reflection.

National Standards Addressed:
     Strengths: Several standards addressed from a variety of disciplines. Each discipline, Visual Art, Music, Dance (and what should be a discipline Creative Writing) address the creative standards, an often missed component.  
     Possible Standards Concerns: Although you can not address (nor should you) all standards in the lesson, this lesson has potential to be too focused on creativity and relies on one-to-one teachable moments to address technical concerns for each student. If given more time, the lesson could be broken down further to give more time for exploration of each given technique.

State Standards Addressed: (see NYS standards)

Intelligences Foci: Interpersonal, Intrapersonal (Both individual and group work utilized) Linguistic (Writing), Kinesthetic (Dancing), Visual (Visual Art), Musical (Music), Natural (Sky & Weather)  

Assessment Evidence:
     By performing a self-constructed movement phrase utilizing the proper-technique of a contraction; assessment can be fostered. A copy of the complete assessment scale is attached. As shown on the attached sheet, careful consideration has been taken to allow multiple ways for students to gain credit and contribute.

Advance Organizer:

     Materials and Resources
          High-pound Paper (at least 3 per student), Acrylic Paints, Brushes, Palettes, and Paint Cleaning supplies, Pencils, Waterproof Black Markers (Size 1-2), Several Small Hand Instruments (can be homemade), A piano or keyboard (if possible).

     Teacher Preparation
          Requesting or Signing out an open space such as a gymnasium, dance studio or ballroom is strongly recommended. Be sure to have a solid grasp on information mentioned in the Prior Knowledge section above as well as the techniques and movement information needed to perform a contraction.

     Vocabulary Listing
          Contraction to be drawn into together, to make smaller
          Release to free from anything that restrains

     Safety Considerations
          Review guidelines for proper-dance etiquette and behavior when working in a studio. Also, very IMPORTANT. Because this lesson strives to help students discuss and communicate difficult issues, it is important to discuss with students how each of us has different challenges and problems and that we are all equally undergoing issues. In other words, explain that we are to be encouraging and kind to one another. Furthermore, collaboration with school counselors or the school psychologist would be a welcoming consideration. (Most school psychologists would generally welcome the opportunity).

Details of Instructional Activity

     Sometimes when Im not very happy and things just are not going my way, my stomach turns into knots and it feels like the whole world is collapsing in on me, like someone has just sucked all the air and umph right out of me; Have any of you ever felt like that before? [Wait for Response] So Im not alone in that feeling huh? Well in dance sometimes we perform a contraction which feels very similar to that same feeling. And today were going to explore those feelings.

1)     Start by having the students stand up beside their desk. Perform a contraction of the core. Use the words, as if everything was being pulled into your belly but all the air was sucked-out.

2)     Have students perform it as a group several times. Offer general corrections to the group if necessary.

3)     Ask the students if they know how to contract any other part of their body. What would it look like? What kinds of shapes or feelings might be seen? Give a few moments for exploration. Ask a few children to demonstrate their contraction for the class.

4)     Have the children sit down. As you are passing out visual art materials ask the students what it felt like to go through the contraction. Be sure to encourage any student who might use imagery or metaphors to expand and share with the class their experience.

5)     Tell the children, Remember when we were talking about Warm and Cool colors and how it sometimes made you feel certain ways? [Wait for ResponseReview material if necessary] Well sometimes when I feel sad I like to look at the sky. I like to see all the colors and it helps me think things out. What colors do you think the sky would be if it were a contraction? Shhh dont tell me.

6)     Before we begin I want you to close your eyes and think about a time when you were going through a difficult time. Maybe you felt like your whole body was in a contraction. Maybe you still feel that way sometimes. Think about what makes you feel that way. What pictures come to your mind when you feel all contracted and twisted up? Do you smell anything? Taste anything? Hear anything? What is the weather like outside? What did your body or brain want to do? [Slowly bring students out of recalled experience exercise]

7)     Have students start by folding one piece of paper (creasing it along the width). Unfold the paper. On top of one side write the word, contraction and along the other the word, release.

8)     Tell the students, Using your prior knowledge of mixing colors and landscape painting, paint a sky of contraction. Remember, Im looking for your creativity in colors and the shapes and layout you create in the sky. You can add things below the sky, but Im only grading you on the sky itself. Later youll need to tell me why you choose your specific color and sky layout.

9)     When the student is finished and while the painting is drying on their desk, have the students take out another sheet of paper and write a paragraph, story, and/or few sentences about why they choose the colors, designs and layout that they choose, be sure to say, Points will be awarded to students who can connect their own personal thoughts about the times in their life when life was tough to their painting. Remember there is no right or wrong answer as long as you are clear in your explanation of the choices you made.[Encourage Poetic Elements Use as bonus points]

10)     Repeat steps 1-9 using the concept of a release of contraction.

11)     Tell the students to close their eyes and go back to their places of contraction This time have them focus on the sounds that they hear. Are they happy noises, sad sounds, soft whispers, loud gongs? Ask them what they think a contraction would sound like?

12)     Briefly review major and minor modes, time signatures, beat and rhythm. Perform a class vote on which mode a contraction would likely be and which one a release would be. Ask if there are any exceptions.

13)     Using the keyboard, piano, and other instruments, make several noises, chords or sounds and have the students vote on whether the sound would be a contraction sound or a release sound. Discuss.

14)     Have the students split up into groups. Pass out instruments. (each group should have several instrument choices). Instruct the group that they must create a musical composition that contains at least 2 contractions and 2 releases and can be no more than 16 counts long. They can use whatever instruments they like (including their voices, hands and feet) as they as they show at least 2 contractions and 2 releases. Remind the students that points will be awarded based on their clear representation of a contraction and release as well as creativity and teamwork.

15)     Give ample time to work through and practice. When each group is ready, take turns performing the new compositions for each other.

16)     Have students individually take out a sheet of paper and write a few sentences about how the music connected to their own life of contractions and releases. Be sure to encourage poetic elements and remind students that there is no right or wrong answer as long as they can show the relationship between a part or whole section of the music they created and their own lives.

17)     Collect the reflections and check to see if students are on track. Teachers should be looking for the students ability to create enough sensory material and reflection that he or she would be able to write a larger reflection paper that combines both reflections.

18)     Have the students write a reflection paper combining both of their old mini-reflections into one larger work. This paper must not only discuss the problems that the student is facing is his or her contracted state, but it must also give possible solutions as to how the student might overcome the problem. It is at this point that the school counselor could be meeting with each student as writing-mentors to not only coach proper grammatical skills but to help students with facing and working through the contraction Have the students turn in a completed rough draft at the end of the session.

19)     Be sure to allow for new ideas and student exploration. The purpose of the larger work is to help the student synthesize the mini-works into a larger more holistic picture of the problem they are facing.  


20)     Have the students circle the 3 most important images (usually supported by nouns) in their reflections. What strikes them as being critical points in their reflection stories. Re-write these 3 words on a separate sheet of paper. Put away the rough drafts.

21)     Head to the ballroom, studio or gymnasium. Revisit the concept of shape-making in dance. Ask students to represent each of the words in a shape. Remember to ask for variety and refresh their memory on levels and angular versus curved shapes.

22)     Have several students demonstrate their shape and discuss why they choose to perform it in a particular way.

23)     Have the students perform the shapes in order by adding any transitional elements and movements that they like. Show and discuss several of the phrases. Review transitions in performance if necessary.  

24)     Split up into teams of 4. Each team is going to be asked to create a dance that contains the following.

a)     16 counts (Common Time)
b)     At least 2 correct executions of contractions and releases
c)     At least 1 shape from each students words

25)     Be sure to explain that bonus credit will be given to groups that utilize smooth transitions, creative shapes and phrases, teamwork and a dedication to performing the dance. When ready, each group performs.

Use the rough draft as a concluding block to tie everything together. Students should take the rough draft, revise it, adding reflection from their dance-projects. Allow for students to continue to meet with the school counselors or psychologists if necessary.

Ideas for Further Development
     Although obvious points of further development can be seen in several different artistic disciplines (i.e. what about whats under the sky in the painting, melody lines in the music and versed poetry in the writing) the most interesting further developmental issue I find with the work is the concept of working side-by-side with a school psychologist to utilize art to not only learn, but help students understand this difficult and challenging world.

Interdisciplinary Connections:
     Connections to other artistic disciplines have already been clearly noted (i.e. see sections of work). However, with a little extra exploration (and a desire to take the lesson into the public school realm, weather, clouds, the sky, the planets and the Earth would be good connective lessons.
     In particular this lesson strongly emphasizes the relationship between imagery derived from kinesthetic, visual and auditory means and transferred into linguistic intelligence responsesand vice-versa.

Name ____________________________________       Date ___________________

Movement Phrase
_______ (25 points) Group clearly showed at least 2 contractions and releases

_______ (10 points) Group clearly utilized at least 1 shape from every student.

_______ (05 points)  Group executed phrase in 16 counts as required

_______ (BONUS 10 points) Groups utilized creative team-building attitudes

TOTAL POINTS ____   /   _____

Music Phrase
_______ (5 points) Group clearly showed at least 2 contractions and 2 releases

_______ (5 points) Group executed phrase in 16 counts as required

_______ (BONUS 5 points) Groups utilized creative team-building attitudes

TOTAL POINTS _____   /   _____

Visual Art
_______ (5 points) Student utilized and mixed a creative an innovating color

_______ (5 points) Evidence of inclusion of the elements of art is seen in skys layout

_______ (BONUS 5 points) Student went above and beyond given instruction

TOTAL POINTS _____   /   _____

_______ (5 points) Visual Art Mini-Reflection clearly shows relationship to project

_______ (5 points) Music Mini-Reflection clearly shows relationship to project

_______ (5 points) Reflections utilize proper English Language Skills

_______ (10 points) Rough Draft complete and meets given requirements

_______ (15 points) Final Draft complete and meets given requirements

TOTAL POINTS _____   / _____


Date Posted: April 30, 2007, 2:52pm
1 (100.00%)
Lesson Plan
IAC 491

Theme/Concept/Big Idea: Under curve and over curves
1)     children should be able to find under curves and over curves in nature
2)     one possible misunderstanding may be the terminology of under curve and over curve
3)     List of Essential Questions:
a.     What is an arch? (Discuss)
b.     Where can you find archs in nature?
c.     Can you make an arch with your body?

Lesson Title: Under Curves and Over Curves in Nature
Disciplines Addressed: Theatre and Science
Targeted Grade Levels: Kindergarten through First Grade
Necessary Prior Knowledge for Learner: What an arch is.

Lesson Objectives:
     The student will describe different under curves and over curves found in nature.
     The student will perform under curves and over curves with their bodies.
     The student will identify the differences in under curves and over curves.

Future Objectives:
     The student will be able to take the knowledge gained from this lesson and apply it to future lessons on science and shapes in nature.

National Standards for Disciplines Addressed:

Script Writing by Planning and Recording Improvisations Based on Personal Experience and Heritage, Imagination, Literature And History.  - Students collaborate to select interrelated characters, environments, and situations for classroom dramatizations -Students improvise dialogue to tell stories, and formalize improvisations by writing or recording the dialogue
Acting by Assuming Roles and Interacting in Improvisations - Students imagine and clearly describe characters, their relationships, and their environments  - Students use variations of locomotor and nonlocomotor movement and vocal pitch, tempo, and tone for different characters  - Students assume roles that exhibit concentration and contribute to the action of classroom dramatizations based on personal experience and heritage, imagination, literature, and history

State Standards for Disciplines Addressed:
Create and perform theatre pieces as well as improvisational drama. They will understand and use the basic elements of theatre in their characterizations, improvisations, and play writing. Students will engage in individual and group theatrical and theatre-related tasks, and will describe the various roles and means of creating, performing, and producing theatre.

Intelligences Foci:
1)     Kinesthetic
2)     Verbal
3)     Interpersonal

Assessment Evidence:

Performance Tasks:
     The students will perform a creative drama exercise where they create a story using under curves and over curves that are found in nature.  The students will create under curves and over curves with their bodies.  
Rubric for Grading     
Assessment     1     2     3     4
Children use their bodies to create under curves and over curves.                    
The students work collaboratively to create a creative dramatic work.                    
The students will discuss the performances and what changes different groups could have made.                    

Other Evidence:
     The students will demonstrate the desired results by discussion, observations, and performance.
     The students will reflect upon their performances through discussion and journaling.

Advance Lesson Organizer:

Materials and Resources:  The teacher will need to prepare a box of miscelanious probs for the students to use throughout their performance.

Teacher Preparation: Rearrange the room to create a lot of space for performance.

Vocabulary Listing:
     Under Curve
     Over Curve

Safety Considerations:
     Students will follow the designated class rules
     Including respecting personal space and thinking creatively

Details of Instructional Activity:
Anticipatory Set:
     Students begin the lesson with a movement warm-up activity.
-     Students do the ant exercise and work as a team to find food for the colony.
-     Students will then discuss the vocabulary words

Body of the Lesson:
A)     Have students gather in a circle and ask them to come up with different arches that they can see in nature. Eg: rainbows, the path a whale moves through the water, the way a snake moves, the branches on trees, bowls, etc.
B)     Next have students separate into two or three groups depending on the size of the class (should be roughly 5 or 6 people per group).
C)     Then have the students create an improvisational skit using the different arches they found in nature (10 minutes)
D)     After 10 minutes have the students reconvene in a big group and discuss what they came up with.  Discuss possible changes and ways to make their performance better (5 minutes)
E)     The students will then get back into their groups and practice their performances for 10 minutes.

A)     The students will perform their skits for each other.
B)     After the performances have the students gather in a circle and discuss under curves and over curves and how they appeared in each performance.
C)     What ways did you move your bodies to create the under curves and over curves?
D)     Discuss what the students can do next time to make their skits even better and more creative!!

Ideas for Further Development:
     After this lesson talk more about nature and what shapes and objects appear in our environment?  How can you find the shapes and colors?

Interdisciplinary Connections:
     The learner will learn about shapes and nature, connecting to science and math.  Also, the movement connects to dance.

Re: What questions would you like to ask Gloria or the Posted by: RAH
Date Posted: April 30, 2007, 3:25am
1 (100.00%)
Dear kpasunybrockport,

We have already taken TPL to an international public at the Monaco Dance Forum back in 2003, I think. We have talked with a lot of folks in France and Germany about exchanges   and the Arab world is ripe for exchanges, too. The cultural exchange is as important as the artistic medium, as I am sure you understand.

"Sharing." Yes.

I really believe that the future is international exchanges, as you intimate.  On the TPL website, go to WHAT'S HAPPENING and check out the .pdf of TPL World Bridge not funded, this time 'round but a lovely idea.  You inspired me, so I put up a listing of some current ideas we are working on. Click on NEAT PROJECTS.

Perhaps you will be our first interactive coach!!!! (Or your classroom, the first test site!)

Australia is very advanced in media   we have done some looking there, and our efforts may result in a project.

For the moment, 'though, we want to do better what we do now.  Next year, we hope to do a wonderful project with The Alvin Ailey Company AILEY: 3 Generations, it's called. Three great dancers from different decades (!) will teach Horton Technique   and then we will end by dancing together an Ailey masterwork, coached by the great dance artist,  Dudley Williams.

So, you see, we have a lot to do right here.

Of course,  all of this must be underwritten/funded.  And that takes time and energy.

The TPL  Model will "catch on," I am convinced. I may not see that time but it's on the road!!

Thanks for the question!


Re: What questions would you like to ask Gloria or the Posted by: kspasunybrockport
Date Posted: April 30, 2007, 12:36am
1 (100.00%)
I think this interacive exchange has been a great way to connect and share with others.
My questions:
Do you think this will catch on in schools nationwide?
Would you consider going international like England or Australia?

Re: Identify  phrases or ideas in Gloria's movement th Posted by: kspasunybrockport
Date Posted: April 30, 2007, 12:27am
1 (100.00%)
I liked the idea of overcurve and undercurve.  I used this in my lesson plan to make connections in nature.  I felt that if the instructor took their students on a nature walk, that the students would be flooded with the notion of undercurve and overcurve right outside their own window.  Flowers are full of curves, a babbling brook flow with ripples of various curves, the curves found in the branches of trees, or the rings of a tree's age on the stump makes many rounded curves, rainbows, the list goes on.  Obviously, this idea of undercurve and overcurve would be a wonderful way to introduce a great science lesson!  I think using undercurve and overcurve as a flow of movement through dance would be a memorable way to get the idea stuck in the students brains!

Re: Identify  phrases or ideas in Gloria's movement th Posted by: gloria mclean
Date Posted: April 29, 2007, 9:15pm
1 (100.00%)
Both of you, these are great ideas. Any on of these ideas could carry a class for a long time.

Re: Identify  phrases or ideas in Gloria's movement th Posted by: catssuny
Date Posted: April 25, 2007, 11:54pm
1 (100.00%)
Those are all great ideas Jim!  In the lesson plan that I completed for Diane's class recently I connected puppets to some of Gloria's key concepts and movement ideas.  I used three puppets (Contracting Carl, Curvy Claire, and Tasseling Tara) to teach children about contracting, overcurves/undercurves, and tasseling and to inspire them to put the movements in their own bodies.  Then, the children considered how these movements might be used in developing characters in theatre productions.  History could connect to these ideas as well -- history of puppets and importance to culture as well as how Gloria and Erick Hawkins have used these types of movements in modern dance history.  

Re: What questions would you like to ask Gloria or the Posted by: RAH
Date Posted: April 13, 2007, 8:20pm
1 (100.00%)
Dear Kelly,

1. Difference of opinion: yes, of course, but that is the thrilling thing about interacting with others they do not necessarily think the way we do!!

I am a little taken aback by the question. Why would there NOT be differences of opinion?  The purpose of the Interactive Exchange is not to impose one set of ideas on another population but to "exchange" to have a give-and-take.

2. Now, you have experienced only a kind of "one-way" interactivity: the expert dancer came and taught you.  In fact, often our very best exchanges have to do with peer-to-peer coaching in that case, everybody learns from everybody else. And it is one big classroom no difference from near to far!

So YES to collaboration. On the TPL website, there is the ghost of a major project on scriptwriting; I think you get to it by clicking on the frog on the home page.  I say "ghost" because some creep hacked the national server and all of the BRILLIANT exchanges that led to the collabortaive scripts were erased!!!!

Another such project had to do with IMMIGRATION featuring wonderful acting work/improv by HS students.  Click on  (I think) TPL & DRAMA. Those clips are streaming, so you could get an idea of what drama over space might be like. Thse scenes were all improvised interactively in one session in an afternoon. Kudos to the kids and to Kathleen Gaffney of ArtsGenesis, I may say.

BUT YES!!! Collaborate! That is what the idea of partnership is about. All those names on the "WHO WE ARE" pages are collaborators, and true partners.

3. RED TAPE: you and your pastners MUST COMMUNICATE!!! The DANA project has been plagued by communication problems with University partners; this has occasionally proved troublesome in past, but less unwieldy than this time and less so when we have dealt with secondary and elementary schools.  

Please, as an introduction to the "red tape" issues which, I admit, can appear daunting consult the "HOW WE DO IT" pages.  They give you lots of pointers.  And, I or Dale or Diane Aldis or any of our other partners (should you spot someone you think could help you) will I am sure be willing to talk about any problems or concerns you may have.

The single most important thing, however, in becoming a good interactive coach/mentor is to JUST DO IT!!!! It looks as if our coaching session on the 20th is off but if you feel strongly about wanting to learn more, I'd talk with Ms. McGhee. She can guide you.

Re: What questions would you like to ask Gloria or the Posted by: kmarsuny
Date Posted: April 13, 2007, 2:05pm
1 (100.00%)
My questions are more about the formalities of using this technology in the classrooms.  

Have you ever encounter a difference of opinion between you and the instructor of the class you are interacting with?

Do you think this technology should only be used to bring in specialists or is there value in connecting classes to have a collaborative project?

What, if any, is the "red-tape" situations we should look out for when trying to incorporate this technology into classes?  ie: Budget justifications, tech support etc.

Thank you,

Re: What questions would you like to ask Gloria/TPL? Posted by: gloria mclean
Date Posted: April 12, 2007, 6:22pm
1 (100.00%)
About music:

OF COURSE, you want to dance to music!
However, we chose not to involve music in the interactive sessions because there is so much to deal with already, in the movement, the technology, the communication factors.

To really work with music, one has to acknowledge it as a full partner, and not only as "background" to the movement. This is a whole investigation unto itself, and asks us to consider what specific music goes with what specific dance/movement.

Of course, there is also the simple pleasure of playing music you love, and dancing to it, creating to it and with it.  The more you do this, the more you will begin to perceive the many issues that come up: rhythm  - does the rhythm of the music go with, support, or conflict with a movement you may have created? Does the mood match? Or perhaps it's interesting to juxtapose two very different qualities in the music and dance.  

In the learning process, it's usually helpful to have music that supports the dancing you are doing, but that relationship can be understood in many ways.

A couple of examples:
The excerpt from "Classic Kite Tails" - the music is lyrical and flowing and lets the dance ride on it in an exuberant way, so we always ended up singing the music and we danced.

By contrast, one the the mask dances, "Black Lake," (the photo of Erick with the mask and black papers in hand) has a very abstract timbral score by Lucia Dlugoszewski, Erick's long time collaborator and wife. We would be dancing with the masks, and just waiting for the cymbal crash to come on a certain beat, and the papers to be rattled, and then a crash in the strings of the piano.  A very different experience!

Re: What questions would you like to ask Gloria or the Posted by: gloria mclean
Date Posted: April 12, 2007, 6:07pm
1 (100.00%)

Yes to everything! Yes to all of your creative ways of using the ancient technique of the mask. The answer is: Try it.  You will find out what works simply by doing it and seeing how you like the result, the effect; seeing how to make the images come alive, and how the children also respond to what you do and ask them to do.

I think it's a marvelous idea.

I wanted to do a little more choreography in our class so you would have the experience of working in the mask and moving in many ways. But you are onto it.

I emphasized the "formality" of putting on the mask to bring out the notion of transformation, which is the essence of wearing a mask, or as you say, a fuller costume that changes the performer from his/her "natural" self to some other kind of creature.


What questions would you like to ask Gloria or the Posted by: James501
Date Posted: April 5, 2007, 7:43pm
1 (100.00%)
What questions would you like to ask Gloria or the TPL Team?

I would like to know if besides masks being incorporated into dance by placing them on the dancers face, could you also do it with body wear?

How would that look to the audience?

I think it would be excellent to have the dancer move slowly as the other dancer tries to place the mask on the other dancers face and then eventually completes the task.  

What do you think of the idea?

Identify  phrases or ideas in Gloria's movement th Posted by: James501
Date Posted: April 5, 2007, 7:37pm
1 (100.00%)
Identify  phrases or ideas in Gloria's movement that connect to other areas of learning. What are they?

Today I connected the mask and movements to drama/theatre.  You could incorporate both drama and dance using the masks. You can take this one step further and connect it to history and learn how masks are used in rituals and dances in other cultures.  

The pelvis, ribcage, head could be connected to science by learning the structure of the body before engaging in the movement.

The overcurve and undercurve could be connected to the study of oceans and how the movements can be similar.

Re: Children and Creativity Posted by: RAH
Date Posted: April 2, 2007, 7:07pm
1 (100.00%)
Now, if we could just expunge the words "distance learning" from our vocabulary, the negative impressions we hold might vanish.

Why "distant?" Can we change this?

"Distance learning" refers quite specifically to a failed experiment from the mid-60s in Dade County, Florida.  It replicated exactly the situation Amanda sketches. Grades plummeted.

Same re-evaluation needed for "videoconferencing." Leave it to the CEOs!

And even egad!!! "TV!" Any ideas for viewer-initiated change?

Re: What questions would you like to ask Gloria/TPL? Posted by: RAH
Date Posted: April 2, 2007, 7:01pm
1 (100.00%)
Amanda & Jim

I loved the moment when Gloria HUMMED the theme for "Classic Kite-Tails!"  Seen in tandem with the excerpt from performance is a trip.  

Check out the GLORIA III page.  Some very nice stuff and a lovely comment from Hawkins himself. Gloria tells me it is very like him.

I think I'll follow up on Amada's suggestions myself!



Re: What questions would you like to ask Gloria/TPL? Posted by: amanda11
Date Posted: April 2, 2007, 4:42pm
1 (100.00%)

I did a research project on Erick Hawkins, and I learned that he often used his voice to accompany class rather than music.  Another interesting fact is that Hawkins never used recorded music for performances or classes.  Hawkins and his company would perform in silence when live musical accompaniment was not available. Here are two books I would recommend if you want to learn more about Erick Hawkins.

The Body Is a Clear Place and Other Statements on Dance by Erick Hawkins
The Erick Hawkins Modern Dance Technique by Renata Celichowska

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