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High School Dance - Tap II New Class Ideas

TEKS StrandExpectations
Foundations – Perception:
The student develops an awareness of the body's movement using sensory information while dancing.
Tap II builds on the basic technical facility and kinesthetic body awareness attained in Tap I. Students reinforce and refine development of body awareness, technical facility, spatial expressiveness, and personal creativity through one or multiple genres.
Creative Expression – Artistic Process:
The student develops knowledge and skills of dance elements, choreographic processes and forms in a variety of dance genres and styles.
Tempo, dance sequence patterns, and transitions are important areas of experimentation. Students create and choreograph simple dances according to teacher guidelines (which may be determined by concepts such as style inversion and retrogression).
Creative Expression – Performance:
The student develops knowledge and execution of technical dance skills and a variety of dance genres and styles through performing.
Students practice maintaining focus, energy, and dynamics over the course of a performance. They work individually, in pairs, and in small ensembles, developing timing and rhythmic acuity. Stage placements used in the studio allow students to address the issue of audience perspective.
Their skills, movements, and sequences are more complex, and their sequences are longer, memorized, and executed with greater technical skill and emotional expression. Tap II focuses on the physical conditioning of the dancer, emphasizing the importance of agility (which enables precise arm and leg extensions), strength, and endurance.
Historical and Cultural Relevance:
The student demonstrates an understanding of cultural, historical, and artistic diversity.
Tap II explores the development of different techniques/styles of Tap and the cultural and historical environments in which they exist. Students learn to identify and describe Tap according to stylistic characteristics and to locate them within their cultural contexts while choreographing short phrases to show their understanding of various historical periods and social contexts. They examine the roles of Tap in media such as film, video, and musical theatre. They study theoretical approaches to Tap and learn to make connections among the history, theory, and practice of Tap through the use of technology.
Critical Evaluation and Response:
The student makes informed personal judgements about dance and the meaning and role of dance in society
Assessment remains a daily, integral part of class work in Tap II. Students identify particularly challenging areas of their training and devise ways to strengthen their performances in these areas. Dance students focus on learning self-assessment skills and seek peer evaluation to foster awareness and communication of their ideas and work. Portfolios including media such as videos, journals, and written evaluations may be compiled to aid in assessing progress. Attending community dance performances assists students in establishing personal performance goals and in developing criteria for evaluating dance performances. Vocational and avocational opportunities for dancers may be taken into account when formulating curricula and student assessment criteria.
Example

Mr. Romano expands the students understanding of AB manipulation in choreography through a video presentation in Tap.

Each student will create one tap combination, using prior knowledge, to be A and a different combination will be B. All students will perform their specific movement with critique from students and Mr. Romano.

Partnering up in groups of two, student 1 will use their A movement, while student 2 will use their B movement. Continue to join in another partner group to expand the choreographic motif so student A's 16 count phrase is now A and student B's 16 count phrase is now B.

Perform the combinations and discuss the adjustments needed to transition, weight change, timing and direction.

Differentiation Strategies for Students with Special Needs
 
©Copyright 2015, Center for Educator Development in Fine Arts (CEDFA). This chart is developed by the Center for Educator Development in Fine Arts (CEDFA) as a resource for Texas teachers. All rights reserved.
Center for Educator Development in Fine Arts (CEDFA)
9233 Partridge Circle
Austin, TX 78758
Phone: 512-491-8087
©Copyright 2015; Center for Educator Development in Fine Arts all rights reserved.