Sharon Phelan
Table of Contents
Leaving Certificate Applied Sample Lesson Plans
Dance Appreciation
Resources
Task Ideas
References
Sharon Phelan
Sharon Phelan
To explore the spatial pathways and rhythms of Irish and Argentinean
Folk Dance.
- Participants will be introduced to a variety of different warm-up methods[Unit1-Introduction to Dance ]
- Using different folk dance rhythms, participants will learn and choreograph several movement pieces[Units 5 and 6- Introduction to Dance ]
- Participants will use personal and general space actions as they rise, sink, open, close, advance and retreat. They will also explore different spatial pathways-curved, linear and Zig Zag
[Units 2 and 3- Introduction to Dance]
- Through using perceptive, descriptive, analytical, interpretative and evaluative skills participants will appreciate a professional folk dance piece
[Unit 6 –Introduction to Dance and Unit 9-Elementary Dance Skill]
Note: While the units mentioned, are the areas mainly explored several aspects of other units
Are also introduced during this workshop [improvisation, music and percussion, stimuli]
- River Reel
- Arcady
- La Bamba
Sharon Phelan
ContentIntentionTeaching Points
Introduction
Task One
Waking/Skipping Raise pulse rate Keep to the rhythm loose shoulders
Use every part of the foot
As Above-Click fingers (x8)Change direction every
8 beats
Task TwoAs you walk, if someoneStudents get used to dancing Keep to 8 beats
crosses your path go within pairs-then breaking away
them for 8 beats. Then,
break away and join Students get to know each
someone elseother
Task ThreeThe SquareThe direction is taken from
A room orientation i.e. North
East Southis always front of the room.
South is always at the back.
North West
- Right Foot: As above
Walk North (x4)To experience Linear Turn sharply on 1
Walk East (x4)pathways
Walk South (x4)To use Reel RhythmUse ball of foot
Walk West (x4)
Breathe in (x4) out (x4)
Right leg leads
Sharon Phelan
ContentIntentionTeaching Points
Left Foot:As before As before
WestNorth Left Leg Leads
SouthEast
Combine right and
Left feet (16 beats)
2.
As above but on 4thTo define the rhythmLand on toes after the clap
beat jump and clap
3.
Right Foot Leading
Hop 1,2,3
[as above with left leg]
Using music, combine
1,2 and 3 to make a sequence
5.
This time the bodyBecause the body remainsremain looking north
remains facing northfacing north all the time
the steps have to change; to
move forwards, sidewards
backwards
sidewds
East SouthHop 1,2,3
Keep on toes
forwds backwdsShoulders back and relaxed
NorthWest
Sidewds
Sharon Phelan
ContentIntentionTeaching Points
Right Foot:
Hop 1, 2, 3 [x2]
Side step [right leg]
Hop1, 2, 3 [x2]
Side Step [left leg]
[As above with left foot]
Task Four
Brush Toe [x8]To mobilise the anklemaintain the reel
Circle Toe [x8]jointrhythm
Step in front / behind [x8]
Toe behind and lead with
The ankle [x8]
Task Five
The Swing
Body Position
Face Partner. Put your rightThe student learns the
hand on your partner’s leftswing in a safe and a
hip. Hold partner’s left hand controlled manner.
with your left hand.
Footwork
The right foot remains on theThe students learn the swing Hold your partner’s hip
ground-the left foot pivotsto the teacher’s instructions, and hand firmly.
around.To music and finally walking
and swinging with those they Look at your partner’s
meet. face
Listen to the rhythm
On your toes-left foot
Barely behind
Sharon Phelan
ContentIntentionTeaching Points
Development
Brief HistoryTo place the dance in its
cultural context.
The Pattern
1.
x x x xMaintain a straight line
Keep on your toes
Hold your partner’s
hands firmly
x x x x
Jump 2,3 [x2]-In together
Jump 2,3 [x2]-Out together
Jump 2,3 [x2]-In together
Jump 2,3 [x2]-Out together
2.Going right, each pair goes behind - Going
left each pair goes in
front.
The Side-step
x x x x
x x x x
Hop 2,3,4,5,6,7 Jump2, 3 [x4]
Sharon Phelan
ContentIntentionTeaching Points
3.
x x x x
AllCouples swing [ 16 beats ]
Swing on the spot
x x x x
4.
Repeat pattern [1] except Keep arms high to allow
that this time the four the travelling dancers
dancers going up the floormove underneath easily.
go under and onwards.
5.
Using the basic steps and Groups of four
Floor patterns introduced to
you during this dance – createReel rhythm
another dance phrase
Sharon Phelan
ContentIntentionTeaching Points
Brief HistoryTo place the dance in its cultural
Context- introduce traditional poems of the
Time-Gaeilge Modules
Introduction
Task One
A
B
Students click their fingers in timeStudents get used to theKeep time to the music
to the musicPolka style rhythm and
prepare to dance the Patsy
Hailey.
Task Two
Students walk across the floor diagonally
in pairs-every 8 beats
Task Three
When hopping keep on
Walk-4 beats Hop 1,2,3 - [x2]your toes
Allow your arms and shoulders to relax and to move gently in harmony with the rest of your body
Sharon Phelan
ContentIntentionTeaching Points
Task Four
Walk –[x8] Swing - [x8]
The Pattern
1.
Move on the diagonal
Maintain a straight line
Dance in couplesAandB
BA - female
Hop [Left toe], tip [ right toe ]
Bang [Left foot – in front] x2
Hop [left toe], tip [right toe]
ABang [left toe] hop [right toe]
Bang [left toe] x1
B - Male
B
Hop [right toe], tip [left toe]
Bang [right foot – in front] x2
Hop [right toe], tip [left toe]
ABang [right toe] hop [left toe]
Bang [right toe] x1
Sharon Phelan
ContentIntentionTeaching Points
Maintain the straight line/diagonal
As above, except it’s in the opposite
Direction
A - Female
AHop [right toe], tip [left toe]
Bang [right foot-in front]…
B- Male
BHop [left toe], tip [right toe]
Bang [left foot – in front]…
3. A
B
AFemale / Male Hop [right / left toe] tip [left / right toe]
BBang [right / left foot – in front] hop
A[right / left toe] bang [left / right toe] x8
BJump highwhen you hop
AIt is on the same spot
B
4.
All four couples dance in a circle
abHop1,2,3 [x16 ]
Support your partner’ back
Dance on your toes
ababHold partners arm rigid
All 4 couples move in a circle but
but remain equidistant from each
abother.
ContentIntentionTeaching Points
5.
All four couples dance in a circle again.
However, this time they interrupt moving around
to stamp their feet in towards the centre
and back out again.
abStamp in towards the centre [x2]
[ X2]Stamp out [x2]
Hop 1,2,3 [x4]
ab ab
ab
6.
Repeat sequence 3 again
7.
All four couples dance in a united wheel – 32 beats
Support each other’s backs and shoulders
b a
abKeep in time
b aPivot on your left foot
a b
b a b
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14.
ContentIntentionTeaching Points
1.
A B
X YAB swop places with
XY [and vice versa ]
then return home
Jump 2,3 [x8] Be at the opposite side at the 4th/5th jump 2.3
2.
The Side-step
Each person travels around the
parameters of the square-people
going right go in front
AB
Maintain the square
X Y
{Hop 2,3,4,5,6,7 jump2, 3 [x2]} x4
3.
The Chain
ABEach dancer moves towards
their opposite partner first
Maintain the square
People on the left [X B] catch their
XYopposite partners’ left hand as they pass them and vice versa
Jump 2,3 [x16]
Sharon Phelan
ContentIntentionTeaching Points
4.
The Swing
A BEach couple swings each other
for 16 beats
X Y
Remain on the same spot
5.
[As before in 3]
A B
X YAB swop places with
XY [and vice versa]
then return home
Jump 2,3 [x8]
Be at the opposite side
the 4th/5th jump 2.3
Stamp your feet on the
final beat.
Sharon Phelan
ContentIntentionTeaching Points
1.
ABCMaintain straight lines
If possible two males occupy
the two central positions [B/ X ]
XX X
Hop 1,2,3 [x2]- in together
Hop 1,2,3 [x2] – out together
Hop 1,2,3 [x2]- in together
Hop 1,2,3 [x2] – out together
2.
ABCX and C dance first
They dance around each other
holding each other’s hands and
then dance into the opposite
position
XXX
Hop 1,2,3 [x8]
ABXAs above except now A and Z
change position
Keep on your toes
CYZ
Sharon Phelan
17.
ContentIntentionTeaching Points
3.
ZBXZ and X / C and A change places-
they dance under the arms of the male
Dance on your toes
CYA
Keep your arms high
Hop 1,2,3 [x8]
4.
XB ZThe usual teaching points
covering the swing
AY C
X and B / A and Z / Y and C all
Swing [16 beats]
Sharon Phelan
ContentIntentionTeaching Points
Conclusion
Task One
In groups of 4, 6 or 8 use some ofThe students learn to choreographFormations
the formations found in The Siege their own sequences while usingSquare
Of Ennis, The Four-hand Reel, The their own folk dance vocabulary.Line
Patsy Hailey and the Three-hand Circular
Reel. Combine these with basic stepsChain
found in all four dances to create
your own figure dance.
Basic Steps
Jump 2,3
Hop 2,3
Sevens
Wheel
Task Two
Each group performs for eachThe students appreciate each other’s
other. work.
Task Three
The students complete the lesson As a complete release the students
With an Argentinean Folk Danceexperience a simple dance from
another culture-to the music of La Bamba
Sharon Phelan
ContentIntentionTeaching Points
11.
X X X X– Group B
Shoulders back
Head back
X X X X – Group ASwing your arms
March forwards/backwards [x8]
March backwards/fowards [x8]
March forwards/backwards [x8]
March backwards/forwards [x8]
And vice-versa for the four
dancers in front-Group A
2.
X X X X
X X X X
Walk 3 steps to the right-3 beats
Turn on your right toe-
slap your left hand on your thigh— 1 beat
Throw your right arm above
your head and tour head back
Sharon Phelan
ContentIntentionTeaching Points
Walk 3 steps to the left -3 beatsThe style of the dance is
flamboyant
Turn on your left toe-
slap your right hand on your thigh— 1 beat
throw your left arm above
your head and your head back
As before except that this time the movement
Is to the left
These two movements[going to the right
and to the left] are repeated four times.
3.
x x x x
x x x x
Hop[left toe] 4 steps to the rightListen to the rhythm
Hop[right toe] 4 steps to the left
Hop[left toe] 4 steps to the rightmove your hips in harmony
Hop[lright toe] 4 steps to the leftwith the music
Make a circular motion with your right hand
Keep your lrft hand on your left hip
Repeat the same movement except
This time you move to the left
These two movements[going to the right
and to the left] are repeated four times.
4.
Hop1, 2,3,4,5,6,7,8 – Curl your arms and handsLook downwards-at
downwards as you hopyour hands
Repeat the movement twice
Sharon Phelan
ContentIntentionTeaching Points
11.
X X X X– Group B
March forwards / backwards
Shoulders back
Head back
Swing your arms
X X X X – Group A
March forwards/backwards [x8]
March backwards/forwards [x8]
March forwards/backwards [x8]
March backwards/forwards [x8]
And vice-versa for the four
dancers in front-Group A
Sharon Phelan
Sharon Phelan
- PerceptionAsks the person to actively notice and pay attention
- DescriptionAsks the person to give substance to their perception
- AnalysisAsks the person to examine relationships, characteristics,
amounts…
- InterpretationEncourages speculative [tentative] thinking
5. EvaluationEnters into preferences, opinion, and subjective layers of
response
Before embarking on a dance appreciation exercise, the class should always explore the background of the performing company:
Siamsa Tire is the national folk theatre of Ireland. Broadly speaking, it is a theatrical representation of Irish folk culture. Based in Tralee, Co. Kerry, it also has two training centres – one in Finuge, near Listowel in North Kerry and one in Carraig near Dingle. Pupils complete a three-year course in traditional Irish dance, music, singing and mime. During springtime each year a show opens especially geared towards school pupils in the theatre in Tralee.
One show, Ding Dong Dedero, examines the life of Jerry Molyneaux a famed North Kerry dancing master. It explores his life and the legacy of dance that he left behind. The curtain opens with a prophet, who forecasts fame for the new–born blacksmith’s son [Jerry Molyneaux]. Later in the first act, dancing spirits emerge from the fires in the forge to perform a ritualistic dance around Molyneaux and he awakens into manhood.
In the second act, the ringing of a mass bell interrupts the men’s pagan ritualistic dance. The cast drift off stage holding rosary beads but the priest is not seen. As the chant of the rosary grows louder, Jerry Molyneaux dances to the rhythm of the rosary on the anvil. There is a suggestion that for this man his dance is his prayer and the anvil his alter. These scenes are reflective of the pagan influence already mentioned with reference to the Celts.
In An Damhsoir –the dancer, a piece devoted to the memory of Jack Lyons, [one of Molyneaux’s finer pupils], the dancers perform in Molyneaux’s unique style. It is a style often described as earthy, as the dancer performs close to the ground. [Molyneaux was said to write on the floor with his feet.] These steps are currently in Siamsa tire’s archives because Jack Lyons agreed to have them videotaped in 1983. Then he could only dance with the aid of a chair. The stage reflects this. Five dancers either sit or stand with the support of chairs.
Sharon Phelan
25.
Dance Appreciation Exercise
- Can you name the dance form, the choreographic structure, the accompaniment, and the type of stimulus employed by the performers?
[Description]
3. Examine the use of space and the relationship between the performers. [Analysis]
- Investigate the use of lighting, sound and costume? [Analysis]
5. Were there original movements used that you had never seen before? [Analysis]
6. Why does the choreographer use periods of silence? [Interpretation]
Sharon Phelan
26.
Sharon Phelan
27.
The following titles are only suggestions; there are plenty of artists to choose from:
Michael O Suilleabhain Oilean-Island
Gaiseadh / Flowing
The Dolphin’s Way
Electric Reels
River Reel
Sean O RiadaMise Eire
A Place Among the Stones – Davy Spillane
Arcady
The Beginning-An Introduction to Irish Dance
Celtic Dream
Siamsa
The following titles are only suggestions; there are plenty of authors to choose from:
Auty, John. Harrison, Kate. Dance Ideas for Teachers, Students and Children.London:Hodder and Staunton
Breannach, Breandan, Folk Music and Dances of Ireland, Mercier: Cork
Brennan, Helen. The Story of Irish Dance. Brandon Press:Ireland
Gough Marion. In Touch with Dance. 1993. London: Whitethorn Books
Laban, Rudolf. The Mastery of Movement. .UnitedKingdom: Northcote
Lynne Kenna, Judith. Partnering Dance-in-Education. Human Kinetics :United States
Rickett-Young, Linda. Dance Sense: Theory and Practice for GCSE Dance Students. United Kingdom: Northcote
Schneer, G. Movement Improvisation, in the Words of a Teacher and her StudentsLondon :Dance Books
Smith-Autard, J. The Art of Dance in Education. Dance Books: London
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28.