Lesson Plan

Subject: GCSE Dance, Action and Space

Objectives: To understand action and space in creating a motif.

Date: Thursday 13th November 2014

Venue: LPAC Studio 3

 

Episode

Subject Matter

(Specific Tasks)

Objectives Style Logistics Time Comments
1 Warm Up To warm up students efficiently in order to prevent injury and to ensure safe practice. A: Cued Response

Encourage students to spread out to minimise risk of injury.

 

Music will accompany the warm up; a docking station will be required for the use of an IPod.

10 minutes Ensure students do not start the warm up to vigorously, ease students gradually into the action by allowing the blood to circulate to warm up the muscles. Remind them to breathe continuously whilst moving.
2 Teach students a short motif outlining the use of action. To gain an understanding of what action is and how it is used in a motif.

A: Cued Response

 

B:Practice

Ensure each student knows the material and understands action before moving onto the next task.

Hand outs will be given defining action.

15 minutes Ensure movement is being done correctly and safely. Encourage students to speak up if they are confused or find the movement unclear.
3 Introduce space with a semi-improvised structure from the already taught action motif. To develop the use of space efficiently by developing the given motif.

B: Practice

 

E:Inclusion

 

I:Individual Program-Learner’s Design

Be careful when using space to be spatially aware of others. A hand out will be given outlining the different aspects of space. 10 minutes Encourage self-conscious students to be more confident in working independently.
4 Cool-down To ensure students cool down effectively to prevent injury out of class. A: Cued Response

Encourage students to spread out so that there is no risk for injury.

Music will accompany the cool down.

5 minutes

 

Summary of Required Skill Set for Career Pathway and Action Plan

In five years time I would like to have my own company specialising in Latin American and Ballroom Dance. Within this company I will offer a range of technique classes for all ages and abilities. In addition to this I would like to offer social classes allowing anyone to come along and practices, as well as private lessons for couples wanting to learn a wedding dance, and specialised courses such as Rock ‘n’ Roll. I would also like to free lance in secondary schools teaching dance, especially GCSE. In order to achieve this there are a number of skills and qualifications I need to acquire, these are listed below.

Key Training:

  • To become a qualified teacher with the ISTD in Latin American and Ballroom dance, there are two main routes to chose between, either the ISTD route or the ISTD regulated route. The route better suited to my needs would be the ISTD route, as I am already a student teacher within an ISTD school.
  • In order to teach in secondary schools I will complete a School Direct training programme. Throughout this I will work as an unqualified teacher as I train. This route leads to Qualified Teacher Status and some to a PGCE as well. However, some schools require three years experience prior to starting.
  • To ensure a place on a School Direct Training Programme I will look for placements within schools whilst continuing my degree. I will also need to pass a Professional Skills Test.

In order to achieve either of these goals there are a few general skills and traits I need to posses:

  • Commitment
  • Passion
  • Enthusiasm
  • Creativity
  • Communication/ People skills
  • Organisation skills
  • Knowledge of context
  • Good practice in teaching
  • Skills as a dancer and choreographer
  • Ability to evaluate
  • Professionalism

CV

Mobile: 07710405176

E-mail: georgina.staley@gmail.com

Address: Flat A12

Hayes Wharf

Holmes Road

Lincoln

LN1 1RF

Georgina Staley

 

I am currently studying Dance at the University of Lincoln. I am seeking employment to develop my existing skills and to gain experience in a working environment.  I am hard working, reliable and have good communication skills.                      

 

Employment

2012- Present

Dance In Time

Assistant/Trainee Teacher

Duties include;

  • Taking payments on admission and paying room hire
  • Teaching and demonstrating both one on one and in groups

This role improved my confidence in communicating with adults, and money handling skills.

 

March 2012- October 2014

McDonalds

Crew member

Duties included;

  • Serving customers and operating tills
  • Providing information and answering customer questions
  • Cleaning and restocking of the store

This role gave me a greater understanding of customer service and helped improve my team working skills. I often had to learn new tasks quickly and the fast paced environment taught me to be flexible.

 

August 2008 – September 2012

Derby Extreme Cheer Academy

Assistant Teacher – voluntary work experience

Duties included;

  • Teaching children of various ages
  • Communicating with parents on any queries they may have

This role developed my communication skills with people of different ages. It also helped me develop teaching styles appropriate to different age groups.

 

June 2009 (1 week)

Sinfin Community School

Classroom assistant / receptionist – work experience

Duties included;

  • Answering phones and posting mail
  • Communicating with students and public
  • Keeping the office organised and paperwork filed

This role taught me to work efficiently to achieve set targets to a high standard. I gained skills in organizing groups of people and communicating with the general public.

 

June 2009/2010 (1 week)

Dance Tek

Back stage show assistant – work experience

Duties included;

  • Organising groups of children
  • Assisting public

This role developed my skills in working under pressure and to a schedule. It also helped learn to communicate with different groups simultaneously.

 

Education

September 2013 – present

University of Lincoln

BA (Hons) Dance

 

September 2012 – May 2013

University of Lincoln

BA (Hons) International Tourism Management

 

September 2011- June 2012

Derby College

A-level Business (C), Psychology (C), Sociology (B)

 

September 2010 – June 2011

Bilborough College

AS Level Business (C), Maths (U), Psychology (C), Sociology (B)

 

October 2006-July 2010

Heanor Gate Science College

11 GCSE’s (Grade A-C)

Biology (B), Chemistry (A), Physics (B), English Literature (C), English Language (A), Maths (A), Religious Studies (B), Sociology (A), Psychology (A), Dance (C), Drama (C)

 

Additional Skills

  • Computer literate: regular PC and Internet user, literate in Windows 7
  • Driving: Holder of a full driving license

 

Activities and Interests

  • I take part in extracurricular modern and tap dance classes at the University of Lincoln; in doing so I have met a number of new people and hope to become a qualified teacher with the ISTD
  • I also love visiting new places and experiencing new things, taking every opportunity to see somewhere new

 

References

Justin Hunt

Tutor at University of Lincoln

University of Lincoln

Brayford Pool

Lincoln

LN6 7TS

01522 882000

Ext. 7661

 

Zak Boyfield

Manager at McDonalds

Triton Road Roundabout

Rope Walk

Green Lane

Lincoln

Lincolnshire

LN6 7DQ

01522 545330 Continue reading “CV”

Discussion

“In students’ eyes an important component of successful learning is perceiving the teacher as both ally and authority” (Brookfield, 2006, 67).

 

How and why does this relate to the roles of the practising practitioner, teacher and artist?   Draw from the readings set and in the weekly breakdown and bibliography to support your response.

 

In the roles of the practising practitioner, teacher and artist (referred to as practitioner throughout) it is important to become both an ally and authority to your students in order to achieve successful learning.  An ally is a person who is seen to help another and cooperate with them.  Whereas, an authority is seen as someone who has the power to give orders and enforce obedience.  Attaining these characteristics can be achieved and portrayed in a variety of ways, which will be discussed throughout this paper in reference to a number of sources, including a chapter by Brookfield and Diane Amans, An Introduction to Community Dance.

In becoming an ally the practitioner needs to gain authenticity.  One way of doing this is to be open and honest with students in order to gain their trust.  Students want to see that the practitioner has passion, enthusiasm, frailties and emotions.  These characteristics may be seen through the four main indicators of authenticity; congruence, full disclosure, responsiveness and personhood (Brookfield, 2006).  In gaining authenticity with students the practitioner also needs to show they acknowledge and consider the students individual interests, this can be done in a number of ways such as giving regular feedback and support.  This lends itself to maintenance orientated leadership, where the focus is on the emotional life of the group (Amans, 2008).  Here the practitioner is ensuring that all students are happy with the activities they are participating in.  Together this becomes an important component of successful learning as it encourages students to be more open with the practitioner allowing them to ask questions about what they are learning and to ask for help in areas they may be struggling.  Additionally these characteristics make the practitioner more approachable.

The relationships built through becoming an ally with students will also allow the practitioner to hold the group (Amans, 2008).  By holding the group the practitioner can ensure each student is an active participant and are fully engaged in the task at hand, minimising challenging behaviour.  This also makes the session much more enjoyable for students as they will feel they can be expressive and not restricted by regimental learning.  Moreover becoming an ally with students allows the practitioner to connect with students to encourage individual engagement (Amans, 2008); this is particularly useful in dealing with new students or children that struggle with fitting in with the larger group, as it will help them feel like they’re not alone.

To be perceived as an authority figure the practitioner needs to gain credibility with their students.  As with authenticity it is suggested there are four main indicators to credibility; expertise, experience, rationale and conviction (Brookfield, 2006).  These indicators imply the practitioner has a breadth of knowledge, depth of insight, sophistication of understanding and a length of experience exceeding the students (Brookfield, 2006); lending itself to task orientated leadership.  Task orientated leadership is where there is a focus on achievement of goals, seeking and giving information and successfully completing activities (Amans, 2008), giving the practitioner authority as they clearly state what needs to be completed during the session.  This also gives the practitioner authority as their greater range of knowledge and experience becomes visible to students, allowing them to be seen as the better suited leader.  Having credibility also suggests to the students that the practitioner has something of importance or value to offer which will benefit them during their learning if they are cooperative and active within lessons.  If the students recognize this, it may make them more inclined to pay attention in the class and focus on the tasks at hand as they will feel it’s a good use of their time.

Taking the role of authority would particularly benefit the practitioner in certain situations, such as when an injury occurs or when something unexpected happens, as it would allow the practitioner to keep the class calm and get the situation resolved quickly and efficiently without further problems.  This could even be useful in a minor situation such as a student entering class with chewing gum; if the practitioner has the role of authority the student should remove it without any further issues.  Having authority also helps when co-leaders or support workers are present in the session.  It will allow the practitioner to give a clear understanding of individual roles, stopping the helpers hindering the student’s personal growth and self expression (Amans, 2008).

Last of all, a student’s age may influence the balance of authority and ally in successful learning.  This is because some age groups require a lesser amount of authority to follow tasks.  For example, older students tend to be less troublesome so will need less authority to keep the class focused.  However, as people get older they may lose status in society so may require more of an ally to encourage them to participate fully.  It is said “when dancers become old and lose control over their bodies, their bodies lead and their minds follow” (Nakajima, 2011), becoming more of an ally with the older student will support this and allow them to explore further possibilities.  This may be similar for disabled dancers, as they may lack the confidence to participate fully; becoming more of an ally will allow them to interact more within the session.  Greenland states that “human beings are essentially playful, physical beings who need to live in their whole bodies” (2000), this is especially so for young children.  Young children are a lot more physically active than other age groups, they may get carried away in play and exploring the boundaries of their bodies. This can occasionally get out of hand so being an authority means the students can be kept under control to prevent injuries.

To conclude, it is essential for the practitioner to be perceived as both an ally and authority.  It allows them to combine sensitivity to the needs of the students, awareness of their own needs and the ability to respond in the moment (Amans, 2008).  It also allows for a good mix of task and maintenance oriented leadership, meaning the students can both learn efficiently and enjoy participating in the session.  Age also needs to be considered when deciding the balance between ally and authority.  Finding the right balance will lead to successful learning as students will enjoy the session becoming active members of the group, along with minimising disruptive incidents allowing more time for learning.

 

Bibliography

Amans, D. (2008) An Introduction to Community Dance Practice, Hampshire: Palgrave Macmillan.

Brookfield, S. D. (2006) What Students Value in Teachers. In: Stephen Brookfield (ed.) The skillful teacher: on technique, trust, and responsiveness in the classroom. 2nd Edition. San Francisco: Jossey-Bass, 67-78.

Greenland, P. (2000) Hopping Home Backwards, Body Intelligence and movement Play. Leeds: A JABADAO Publication.

Kuppers, P. (2000) Accessible Education: aesthetics, bodies and disability. Research in Dance Education. Dec2000, 1(2) 119-131.

Nakajima, N. (2011) De-aging Dancerism? The aging body in contemporary and community dance. Performance Research. Sep2011, 16(3) 100-104.

Bibliography

Amans, Diane. (2008) An Introduction to Community Dance Practice, Hampshire: Palgrave Macmillan.

Arts Council England () Arts Council England: Arts Jobs. [Online] Available from http://www.artsjobs.org.uk/index.php?id=27 [Accessed November 2014].

ArtsNK (2014) artsNK – Experience Great Art. [Online] North Kesteven District: ArtsNK. Available from http://www.artsnk.org/ [Accessed 8 October 2014].

Bartlett, K. & Stenton, C. (2009) Definitions, Core Values and a Code of Conduct for Community Dance. Animated The Community Dance Magazine, Winter. 35-38.

Brookfield, S. D. (2006) What Students Value in Teachers. In: Stephen Brookfield (ed.) The skillful teacher: on technique, trust, and responsiveness in the classroom. 2nd Edition. San Francisco: Jossey-Bass, 67-78.

Cheesman, S. (2011)Facilitating dance making from a teacher’s perspective within a community integrated dance class. Research in Dance Education. Apr2011, 12(1) 29-40.

Foundation for Community Dance (2014) People Dancing, the foundation for community dance: Jobs. [Online] Available from http://www.communitydance.org.uk/jobs.html [Accessed November 2014].

Greenland, P. (2000) Hopping Home Backwards, Body Intelligence and Movement Play. Leeds: A JABADAO Publication.

Kuppers, P. (2000) Accessible Education: aesthetics, bodies and disability. Research in Dance Education. Dec2000, 1(2) 119-131.

Lerman, L. (1984) Teaching Dance to Senior Adults. USA: Charles Thomas. 139-148.

Nakajima, N. (2011) De-ageing Dancercism? The Ageing Body in Contemporary and Community Dance. Performance Research. Sep2011, 16(3) 100-104.

The Stage Media Company Limited (2014) The Stage Jobs. [Online] Available from http://www.thestage.co.uk/recruitment/ [Accessed November 2014].

Transported (2014) Transported. [Online] Word Press. Available from http://www.transportedart.com/ [Accessed 8 October 2014].

UCAS (2014) UCAS Teacher Training. [Online] Gloucestershire: UCAS. Available from http://www.ucas.com/how-it-all-works/teacher-training# [Accessed December 2014].