Curriculum Conceptual Overview Curriculum Title: Lindy Hop and a Teen Revolution Grade Level: 9-12
Subject/Topic Areas: Lindy Hop for Dance 1
Key Words: Charles Lindbergh, Swing Music, Jitterbug, Charleston, Harlem, Savoy Ballroom, Frank Manning, Herbert White, Balboa, Rock Step, Kick, Double Kick
Curricular Context Brief Summary of curricular context and goals that make this curriculum valid for a technology based classroom: The curriculum for dance students will be addressed in the class and home. There will be movement components, as well as group and partner work. Assessment will measure the students’ progress throughout and at the end of the unit. Students will gain insights on dance concepts, principles, and elements in regards to Lindy Hop dance for this curricular context.
Standard(s) Addressed: Development of Motor Skills and Technical Expertise 1.1 Demonstrate refined physical coordination when performing movement phrases (e.g., alignment, agility, balance, strength). 1.2 Memorize and perform works of dance, demonstrating technical accuracy and consistent artistic intent. 1.3 Perform in multiple dance genres (e.g., modern, ballet, jazz, tap, traditional/recreational). Comprehension and Analysis of Dance Elements 1.4 Demonstrate clarity of intent while applying kinesthetic principles for all dance elements. Development of Dance Vocabulary 1.5 Apply knowledge of dance vocabulary to distinguish how movement looks physically in space, time, and force/energy). Application of Choreographic Principles and Processes to Creating Dance 2.2 Identify and apply basic music elements (e.g., rhythm, meter, tempo, timbre) to construct and perform dances. Communication of Meaning in Dance 2.4 Perform original works that employ personal artistic intent and communicate effectively. 2.5 Perform works by various dance artists communicating the original intent of the work while employing personal artistic intent and interpretation. Development of Partner and Group Skills 2.6 Collaborate with peers in the development of choreography in groups (e.g., duets, trios, small ensembles). 2.7 Demonstrate originality in using partner or group relationships to define spatial patterns and the use of overall performing space. Development of Dance 3.1 Identify and perform folk/traditional, social, and theatrical dances with appropriate stylistic nuances. 3.2 Describe ways in which folk/traditional, social, and theatrical dances reflect their specific cultural context. History and Function of Dance 3.3 Explain how the works of dance by major choreographers communicate universal themes and sociopolitical issues in their historical/cultural contexts. Diversity of Dance 3.4 Explain how dancers from various cultures and historical periods reflect diversity and values (e.g., ethnicity, gender, body types, and religious intent). Description, Analysis, and Criticism of Dance 4.1 Describe how the qualities of a theatrical production contribute to the success of a dance performance (e.g., music, lighting, costuming, text, set design). 4.2 Apply criteria-based assessments appropriate to various dance forms (e.g., concert jazz, street, liturgical). 4.3 Defend personal preferences about dance styles and choreographic forms, using criteria-based assessment. Meaning and Impact of Dance 4.4 Research and identify dances from different historic periods or cultures and make connections between social change and artistic expression in dance.
Big Idea / Concept: Young people have the ability to shift and shape the future of the world. Enduring Understanding(s):
Young people (mainly teenagers) are the carriers to our next generation.
Teen agers lead a revolution of popular culture (music, dancing, fashion).
Dance and music can bring people together, especially in a time of segregation.
What Essential Question(s) will be considered:
How can teens affect society and the world we live in?
How important is diversity?
What would happen if adults ruled the likes of, music, dancing, and clothing of teens?
Appropriate technologies and tools: School Loop, Smart Phone, DVD/TV, Nearpod App, Social Media (Instagram, Facebook, Vine, Twitter, YouTube)
What key knowledge, skills, & dispositions will students acquire as a result of this curriculum? KNOWLEDGE = Content Content students will remember: Students will remember the steps of the lindy hop (East and West Coast Swing) and the history of how teenagers started a revolution of dance. SKILLS = Power verbs Students will be able to: Evaluate and perform with high technical accuracy the movement and concepts. SWBAT demonstrate their skills as in a real life jazz club in the 1930’s of Harlem, New York. DISPOSITIONS = attitude Building students’ beliefs and values toward: Being positive, optimistic, and productive as social dance partner. Build positive relationships with affective attitude to complete partner work and present a complete final product.
ASSESSMENT: What evidence is used to show that students understand? Formative: Movement Lessons, Ask & Answer Sessions, Elbow Pair Study Summative: Nearpod App data, End of Unit Assessment (Written & Movement), Journal writing and notes
Objectives from 6 Facets + Misconceptions: From the curriculum, students will be able to: EXPLAIN: Students will be able to express via Twitter daily what they have learned that day in class. APPLY: Students will be able to demonstrate the lindy hop technique, choreography, and social dance elements/skills with a high accuracy of rhythm and spunk with their partner. INTERPRET: Students will be able to see how the teenagers of the lindy hop era relate to them. EMPATHIZE: Students will be able to walk in the life of a lindy hop teenager in the 1930’s (costume/attire, social dance etiquette, club simulation). GAIN PERSPECTIVE: Students will be able to imagine and discuss the life a teenaged lindy hop lover and dancer in the 1930’s and 40’s of Harlem, New York. GAIN SELF KNOWLEDGE: Students will be able to determine and evaluate how teens of that time changed America and how they can continue to change ideas and minds for their future. OVERCOME THE NAÏVE VIEW OF: (Misconceptions)
We do not social dance like that anymore, we do not need to learn it.
Social dancing is lame and for old people.
Social dancing belongs in a ballroom and ballroom dancers are born and not made.
We have to listen to adults all the time and can have our voice heard.
I can never change the future, this is how it is and will always be.