The National Core Arts Standards (I)

[US] National Coalition for Core Arts Standards

Understanding and Using the National

Core Arts Standards

The arts have always served as the distinctive vehicle for discovering who we are. Providing ways of thinking as disciplined as science or math and as disparate as philosophy or literature, the arts are used by and have shaped every culture and individual on earth.They continue to infuse our lives on nearly all levels —generating a signi fi cant part of the creative and intellectual capital that drives our economy. The arts inform our lives with meaning every time we experience the joy of a wellremembered song, experience the fl ash of inspiration that comes with immersing ourselves in an artist’s sculpture,enjoying a sublime dance, learning from an exciting animation, or being moved by a captivating play.

The central purposes of education standards are to identify the learning that we want for all of our students and to drive improvement in the system that delivers that learning. Standards, therefore, should embody the key concepts, processes and traditions of study in each subject area, and articulate the aspirations of those invested in our schools — students, teachers, administrators, and the community at large. To realize that end goal, these new,voluntary National Core Arts Standards are framed by artistic literacy, as outlined in philosophical foundations,lifelong goals, and artistic processes; articulated as anchor and performance standards that students should attain;and supported by instructional resources, including model cornerstone assessments that illustrate how literacy might be measured. The connective threads of this conceptual framework are designed to be understood by all stakeholders and, ultimately, to ensure success for both educators and students.

While broad in concept, the standards are also focused in a framework that delivers the educational nuance of standards in only four artistic processes,bringing together what artists do and what we want for our students. Within this simple and elegant structure,decision-makers from teachers, to superintendents, to parents will be able to move forward in the rich variety of approaches that have become part of the American educational landscape.

The National Core Arts Standards are designed to guide the delivery of arts education in the classroom with new ways of thinking, learning, and creating.The standards also inform policy-makers about implementation of arts programs for the traditional and emerging models and structures of education. As with other subject areas, a commitment to quality education,equitable opportunities, and comprehensive expectations is embedded within the new arts standards.

Dance

The National Core Arts Standards in Dance are designed to enable students to achieve dance literacy.

To be literate in the arts, students need specific knowledge and skills in a particular arts discipline to a degree that allows for fluency and deep understanding.In dance, this means discovering the expressive elements of dance; knowing the terminology that is used to comprehend dance; having a clear sense of embodying dance; and being able to reflect, critique, and connect personal experience to dance.

Four artistic processes organize the standards across the arts disciplines: Creating, Performing, Responding,and Connecting. Each artistic process includes a set of overarching anchor standards. The anchor standards are consistent among the arts disciplines represented in the National Core Arts Standards and demonstrate the breadth of the work. They are held constant for student learning over time.

Each anchor standard in dance is supported by a process component, an enduring understanding, and an essential question. These additional features will bene fi t educational leaders and teachers as they consider curricular models and structure lessons aligned to the dance standards. Performance standards describe more specifically what students should know and be able to do in dance and are expressed as measurable outcomes across the grades pre-kindergarten to eighth grade and into high school at three levels of proficiency. The performance standards are the substantive portion of the work and represent the depth of study in dance.

Of significance is that the four artistic processes are addressed linearly in written standards, but are envisioned to occur simultaneously in the actual practice of dance.The dancer imagines, envisions, or improvises movements(creating), executes the movements (performing), re fl ects on them (responding), and connects the experience to all other contexts of meaning or knowledge (connecting).As a result, one lesson can address many standards at the same time. In a single class, students can learn by solving movement problems, showing their ideas through movement, thinking critically about them, and relating them to other ideas, experiences, contexts, and meanings.

The National Core Arts Standards in Dance are rooted in a creative approach to teaching and learning.They describe expectations for learning in dance regardless of culture, style or genre and impart the breadth and depth of the dance experience through the art-making processes. The goal of the standards is to inspire dance educators and their students to explore the many facets of dance and prepare them for a lifetime of engagement with the art form.

For more information about the National Core Arts Standards in Dance, please refer to the Dance Standards resource page and the National Coalition for Core Arts Standards Conceptual Framework for Arts Learning.

Dance/Creating

#Cr1.1

Process Component: Dance Anchor Standard 1 —Creating (Explore)

Anchor Standard: Generate and conceptualize artistic ideas and work.

Enduring Understanding: Choreographers use a variety of sources as inspiration and transform concepts and ideas into movement for artistic expression1.

Essential Question: Where do choreographers get ideas for dances?

Grade PreK

DA:Cr1.1.PKa Respond in movement to a variety of sensory stimuli (for example, music/sound, visual, tactile).

DA:Cr1.1.PKb Find a different way to do several basic locomotor2and non-locomotor3movements.

Grade K

DA:Cr1.1.Ka Respond in movement to a variety of stimuli (for example, music/sound, text, objects, images,symbols, observed dance).

DA:Cr1.1.Kb Explore4different ways to do basic locomotor and non-locomotor movements by changing at least one of the elements of dance5.

Grade 1

DA:Cr1.1.1a Explore movement inspired by a variety of stimuli (for example, music/sound, text,objects, images, symbols, observed dance, experiences)and identify the source.

DA:Cr1.1.1b Explore a variety of locomotor and non-locomotor movements by experimenting with and changing the elements of dance.

Grade 2

DA:Cr.1.2a Explore movement inspired by a variety of stimuli (for example, music/sound, text,objects, images, symbols, observed dance, experiences)and suggest additional sources for movement ideas.

DA: Cr.1.2b Combine a variety of movements while manipulating the elements of dance.

Grade 3

DA:Cr1.1.3a Experiment with a variety of selfidentified stimuli (for example, music/sound, text,objects, images, notation, observed dance, experiences)for movement.

DA:Cr1.1.3b Explore a given movement problem6.Select and demonstrate a solution.

Grade 4

DA:Cr1.1.4a Identify ideas for choreography generated from a variety of stimuli (for example, music/sound, text, objects, images, notation, observed dance,experiences).

DA:Cr1.1.4b Develop a movement problem and manipulate the elements of dance as tools to fi nd a solution.

Grade 5

DA:Cr1.1.5a Build content for choreography using several stimuli (for example, music/sound, text, objects,images, notation, observed dance, experiences, literary forms, natural phenomena, current news, social events).

DA:Cr1.1.5b Construct and solve multiple movement problems to develop choreographic content.

Grade 6

DA:Cr1.1.6a Relate similar or contrasting ideas to develop choreography using a variety of stimuli (for example, music, observed dance, literary forms, notation,natural phenomena, personal experience/recall, current news, or social events).

DA:Cr1.1.6b Explore various movement vocabularies7to transfer ideas into choreography.

Grade 7

DA:Cr1.1.7a Compare a variety of stimuli (for example, music, observed dance, literary forms, notation,natural phenomena, personal experience/recall, current news, or social events) and make selections to expand movement vocabulary and artistic expression.

DA:Cr1.1.7b Explore various movement vocabularies to express an artistic intent8in choreography. Explain and discuss the choices made using genre-specific dance terminology9.

Grade 8

DA:Cr1.1.8a Implement movement from a variety of stimuli (for example, music, observed dance, literary forms, notation, natural phenomena, personal experience/recall, current news, or social events) to develop dance content for an original dance study10or dance.

DA:Cr1.1.8b Identify and select personal preferences to create an original dance study or dance. Use genre-speci fi c dance terminology to articulate and justify choices made in movement development to communicate intent.

Grade HS Prof cient

DA:Cr1.1.Ia Explore a variety of stimuli for sourcing movement to develop an improvisational or choreographed dance study. Analyze the process and the relationship between the stimuli and the movement.

DA:Cr1.1.Ib Experiment with the elements of dance to explore personal movement preferences and strengths, and select movements that challenge skills and build on strengths in an original dance study or dance.

Grade HS Accomplished

DA:Cr1.1.IIa Synthesize content generated from stimulus materials to choreograph dance studies or dances using original or codif ed movement11.

DA:Cr1.1.IIb Apply personal movement preferences and strengths with the movement vocabulary of several dance styles12or genres13to choreograph an original dance study or dance that communicates an artistic intent.Compare personal choices to those made by well-known choreographers.

Grade HS Advanced

DA:Cr1.1.IIIa Synthesize content generated from stimulus material. Experiment and take risks to discover a personal voice to communicate artistic intent.

DA:Cr1.1.IIIb Expand personal movement preferences and strengths to discover unexpected solutions that communicate the artistic intent of an original dance.Analyze the unexpected solutions and explain why they were effective in expanding artistic intent.

Dance/Creating

#Cr2.1

Process Component: Dance Anchor Standard 2 —Creating (Plan)

Anchor Standard: Organize and develop artistic ideas and work.

Enduring Understanding: The elements of dance,dance structures14, and choreographic devices15serve as both a foundation and a departure point for choreographers.

Essential Question: What in fl uences choice-making in creating choreography?

Grade PreK

DA:Cr2.1.PKa Improvise dance that starts and stops on cue.

DA:Cr2.1.PKb Engage in dance experiences moving alone or with a partner.

Grade K

DA:Cr2.1.Ka Improvise dance that has a beginning,middle, and end.

DA:Cr2.1.Kb Express an idea, feeling, or image,through improvised movement moving alone or with a partner.

Grade 1

DA:Cr2.1.1a Improvise a series of movements that have a beginning, middle, and end, and describe movement choices.

DA:Cr2.1.1b Choose movements that express an idea or emotion, or follow a musical phrase.

Grade 2

DA:Cr2.1.2a Improvise a dance phrase16with a beginning, a middle that has a main idea, and a clear end.

DA:Cr2.1.2b Choose movements that express a main idea or emotion, or follow a musical phrase. Explain reasons for movement choices.

Grade 3

DA:Cr2.1.3a Identify and experiment with choreographic devices to create simple movement patterns and dance structures (for example, AB, ABA,theme and development).

DA:Cr2.1.3b Develop a dance phrase that expresses and communicates an idea or feeling. Discuss the effect of the movement choices.

Grade 4

DA:Cr2.1.4a Manipulate or modify choreographic devices to expand movement possibilities and create a variety of movement patterns and structures. Discuss movement choices.

DA:Cr2.1.4b Develop a dance study that expresses and communicates a main idea. Discuss the reasons and effectiveness of the movement choices.

Grade 5

DA:Cr2.1.5a Manipulate or modify a variety of choreographic devices to expand choreographic possibilities and develop a main idea. Explain reasons for movement choices.

DA:Cr2.1.5b Develop a dance study by selecting a speci fi c movement vocabulary to communicate a main idea. Discuss how the dance communicates non-verbally.

Grade 6

DA:Cr2.1.6a Explore choreographic devices and dance structures to develop a dance study that supports an artistic intent. Explain the goal or purpose of the dance.

DA:Cr2.1.6b Determine artistic criteria17to choreograph a dance study that communicates personal or cultural meaning. Based on the criteria, evaluate why some movements are more or less effective than others.

Grade 7

DA:Cr2.1.7a Use a variety of choreographic devices and dance structures to develop a dance study with a clear artistic intent. Articulate reasons for movement and structural choices.

DA:Cr2.1.7b Determine artistic criteria to choreograph a dance study that communicates personal or cultural meaning.Articulate how the artistic criteria serve to communicate the meaning of the dance.

Grade 8

DA:Cr2.1.8a Collaborate to select and apply a variety of choreographic devices and dance structures to choreograph an original dance study or dance with a clear artistic intent. Articulate the group process for making movement and structural choices.

DA:Cr2.1.8b Define and apply artistic criteria to choreograph a dance that communicates personal or cultural meaning. Discuss how the criteria clarify or intensify the meaning of the dance.

Grade HS Prof cient

DA:Cr2.1.Ia Collaborate to design a dance using choreographic devices and dance structures to support an artistic intent. Explain how the dance structures clarify the artistic intent.

DA:Cr2.1.Ib Develop an artistic statement18for an original dance study or dance. Discuss how the use of movement elements, choreographic devices and dance structures serve to communicate the artistic statement.

Grade HS Accomplished

DA:Cr2.1.IIa Work individually and collaboratively to design and implement a variety of choreographic devices and dance structures to develop original dances.Analyze how the structure and fi nal composition informs the artistic intent.

DA:Cr2.1.IIb Develop an artistic statement that re fl ects a personal aesthetic19for an original dance study or dance. Select and demonstrate movements that support the artistic statement.

Grade HS Advanced

DA:Cr2.1.IIIa Demonstrate fluency and personal voice in designing and choreographing original dances.Justify choreographic choices and explain how they are used to intensify artistic intent.

DA:Cr2.1.IIIb Construct an artistic statement that communicates a personal, cultural, and artistic perspective.

Dance/Creating

#Cr3.1

Process Component: Dance Anchor Standard 3 —Creating (Revise)

Anchor Standard: Re fi ne and complete artistic work.

Enduring Understanding: Choreographers analyze,evaluate, re fi ne, and document their work to communicate meaning.

Essential Question: How do choreographers use selfreflection, feedback from others, and documentation to improve the quality of their work?

Grade PreK

DA:Cr3.1.PKa Respond to suggestions for changing movement through guided improvisational experiences.

DA:Cr3.1.PKb Identify parts of the body and document a body shape or position by drawing a picture.

Grade K

DA:Cr3.1.Ka Apply suggestions for changing movement through guided improvisational experiences.

DA:Cr3.1.Kb Depict a dance movement by drawing a picture or using a symbol.

Grade 1

DA:Cr3.1.1a Explore suggestions to change movement from guided improvisation and/or short remembered sequences.

DA:Cr3.1.1b Depict several different types of movements of a dance by drawing a picture or using a symbol (for example, jump, turn, slide, bend, reach).

Grade 2

DA:Cr3.1.2a Explore suggestions and make choices to change movement from guided improvisation and/or short remembered sequences.

DA:Cr3.1.2b Depict the levels of movements in a variety of dance movements by drawing a picture or using symbols (for example, high, middle, low).

Grade 3

DA:Cr3.1.3a Revise movement choices in response to feedback to improve a short dance study. Describe the differences the changes made in the movements.

DA: Cr3.1.3b Depict directions or spatial pathways in a dance phrase by drawing a picture map or using a symbol.

Grade 4

DA:Cr3.1.4a Revise movement based on peer feedback and self-reflection to improve communication of artistic intent in a short dance study. Explain choices made in the process.

DA:Cr3.1.4b Depict the relationships between two or more dancers in a dance phrase by drawing a picture or using symbols (for example, next to, above, below,behind, in front of).

Grade 5

DA:Cr3.1.5a Explore through movement the feedback from others to expand choreographic possibilities for a short dance study that communicates artistic intent.Explain the movement choices and re fi nements.

DA:Cr3.1.5b Record changes in a dance sequence through writing, symbols, or a form of media technology.

Grade 6

DA:Cr3.1.6a Revise dance compositions using collaboratively developed artistic criteria. Explain reasons for revisions and how choices made relate to artistic intent.

DA:Cr3.1.6b Explore or invent a system to record a dance sequence through writing, symbols, or a form of media technology.

Grade 7

DA:Cr3.1.7a Evaluate possible revisions of dance compositions and, if necessary, consider revisions of artistic criteria based on self-re fl ection and feedback of others. Explain reasons for choices and how they clarify artistic intent.

DA:Cr3.1.7b Investigate a recognized system to document a dance sequence by using words, symbols, or media technologies.

Grade 8

DA:Cr3.1.8a Revise choreography collaboratively or independently based on artistic criteria, self-re fl ection,and the feedback of others. Articulate the reasons for choices and revisions and explain how they clarify and enhance the artistic intent.

DA:Cr3.1.8b Experiment with aspects of a recognized system to document a section of a dance by using words, symbols, or media technologies.

Grade HS Prof cient

DA:Cr3.1.Ia Clarify the artistic intent of a dance by manipulating choreographic devices and dance structures based on established artistic criteria and feedback from others. Analyze and evaluate impact of choices made in the revision process.

DA:Cr3.1.Ib Compare recognized systems to document a section of a dance using writing, symbols, or media technologies.

Grade HS Accomplished

DA:Cr3.1.IIa Clarify the artistic intent of a dance by refining choreographic devices and dance structures,collaboratively or independently using established artistic criteria, self-re fl ection and the feedback of others. Analyze and evaluate impact of choices made in the revision process.

DA:Cr3.1.IIb Develop a strategy to record a dance using recognized systems of dance documentation (for example, writing, a form of notation symbols, or using media technologies).

Grade HS Advanced

DA:Cr3.1.IIIa Clarify the artistic intent of a dance by manipulating and refining choreographic devices, dance structures, and artistic criteria using self-reflection and feedback from others. Document choices made in the revision process and justify how the re fi nements support artistic intent.

DA:Cr3.1.IIIb Document a dance using recognized systems of dance documentation (for example, writing, a form of notation symbols, or using media technologies).Dance/Performing

#Pr4.1

Process Component: Dance Anchor Standard 4 —Performing (Express)

Anchor Standard: Select, analyze, and interpret artistic work for presentation.

Enduring Understanding: Space20, time, and energy21are basic elementsof dance.

Essential Question: How do dancers work with space,time,and energy to communicate artistic expression?

Grade PreK

DA:Pr4.1.PKa Identify and demonstrate directions for moving the body in general space22(for example,forward, backwards, sideways, up, down, and turning)and fi nding and returning to a place in space.

DA:Pr4.1.PKb Identify speed of dance as fast or slow. Move to varied rhythmic sounds at different tempi23.

DA:Pr4.1.PKc Move with opposing characteristics(for example, loose/tight, light/heavy, jerky/smooth).

Grade K

DA:Pr4.1.Ka Make still and moving body shapes that show lines (for example, straight, bent, and curved),changes levels, and vary in size (large/small). Join with others to make a circle formation and work with others to change its dimensions.

DA:Pr4.1.Kb Demonstrate tempo24contrasts with movements that match to tempo of sound stimuli.

DA:Pr4.1.Kc Identify and apply different characteristics to movements (for example, slow, smooth, or wavy).

Grade 1

DA:Pr4.1.1a Demonstrate locomotor and nonlocomotor movements that change body shapes, levels,and facings. Move in straight, curved, and zig-zagged pathways. Find and return to place in space. Move with others to form straight lines and circles.

DA:Pr4.1.1b Relate quick, moderate and slow movements to duration in time. Recognize steady beat and move to varying tempi of steady beat.

DA:Pr4.1.1c Demonstrate movement characteristics25along with movement vocabulary (for example, use adverbs and adjectives that apply to movement such as a bouncy leap, a fl oppy fall, a jolly jump, and joyful spin).

Grade 2

DA:Pr4.1.2a Demonstrate clear directionality and intent when performing locomotor and non-locomotor movements that change body shapes, facings, and pathways in space. Identify symmetrical and asymmetrical body shapes and examine relationships between body parts. Differentiate between circling and turning as two separate ways of continuous directional change.

DA:Pr4.1.2b Identify the length of time a move or phrase takes (for example, whether it is long or short).Identify and move on the downbeat in duple and triple meter. Correlate metric phrasing with movement phrasing.

DA: Pr4.1.2c Select and apply appropriate characteristics to movements (for example, selecting speci fi c adverbs and adjectives and apply them to movements).Demonstrate kinesthetic awareness26while dancing the movement characteristics.

Grade 3

DA:Pr4.1.3a Judge spaces as distance traveled and use space three-dimensionally. Demonstrate shapes with positive and negative space27. Perform movement sequences in and through space with intentionality and focus.

DA:Pr4.1.3b Ful fi ll speci fi ed duration of time with improvised locomotor and non-locomotor movements.Differentiate between “in time” and “out of time” to music. Perform movements that are the same or of a different time orientation to accompaniment. Use metric and kinesthetic phrasing.

DA:Pr4.1.3c Change use of energy and dynamics by modifying movements and applying speci fi c characteristics to heighten the effect of their intent.

Grade 4

DA:Pr4.1.4a Make static and dynamic shapes with positive and negative space. Perform elevated shapes(jump shapes) with soft landings and movement sequences alone and with others, establishing relationships with other dancers through focus of eyes.

DA:Pr4.1.4b Accompany other dancers using a variety of percussive instruments and sounds. Respond in movement to even and uneven rhythms. Recognize and respond to tempo changes as they occur in dance and music.

DA:Pr4.1.4c Analyze movements and phrases for use of energy and dynamic28changes and use adverbs and adjectives to describe them. Based on the analysis, re fi ne the phrases by incorporating a range of movement characteristics.

Grade 5

DA:Pr4.1.5a Integrate static and dynamic shapes and floor and air pathways into dance sequences.Establish relationships with other dancers through focus of eyes and other body parts. Convert inward focus to outward focus for projecting out to far space.

DA:Pr4.1.5b Dance to a variety of rhythms29generated from internal and external sources. Perform movement phrases30that show the ability to respond to changes in time.

DA:Pr4.1.5c Contrast bound31and free-flowing32movements. Motivate movement from both central initiation (torso) and peripheral initiation (distal) and analyze the relationship between initiation and energy.

Grade 6

DA:Pr4.1.6a Refine partner and ensemble skills in the ability to judge distance and spatial design33. Establish diverse pathways, levels, and patterns in space. Maintain focus with partner or group in near and far space.

DA:Pr4.1.6b Use combinations of sudden and sustained timing as it relates to both the time and the dynamics of a phrase or dance work34. Accurately use accented and unaccented beats in 3/4 and 4/4 meter.

DA:Pr4.1.6c Use the internal body force created by varying tensions within one’s musculature for movement initiation and dynamic expression. Distinguish between bound and free-flowing movements and appropriately apply them to technique exercises and dance phrases.

Grade 7

DA:Pr4.1.7a Expand movement vocabulary of floor and air pattern designs. Incorporate and modify body designs from different dance genres and styles for the purpose of expanding movement vocabulary to include differently designed shapes and movements for interest and contrast.

DA:Pr4.1.7b Vary durational approach in dance phrasing by using timing accents and variations within a phrase to add interest kinesthetically, rhythmically, and visually.

DA:Pr4.1.7c Compare and contrast movement characteristics from a variety of dance genres or styles.Discuss specific characteristics and use adverbs and adjectives to describe them. Determine what dancers must do to perform them clearly.

Grade 8

DA:Pr4.1.8a Sculpt the body in space and design body shapes in relation to other dancers, objects, and environment. Use focus of eyes during complex fl oor and air patterns or direct and indirect pathways.

DA:Pr4.1.8b Analyze and select metric, kinetic,and breath phrasing and apply appropriately to dance phrases. Perform dance phrases of different lengths that use various timings within the same section. Use different tempi in different body parts at the same time.

DA:Pr4.1.8c Direct energy and dynamics in such a way that movement is textured. Incorporate energy and dynamics to technique exercises and dance performance.Use energy and dynamics to enhance and project movements.

Grade HS Prof cient

DA:Pr4.1.Ia Develop partner and ensemble skills that enable contrasting level changes through lifts,balances, or other means while maintaining a sense of spatial design and relationship. Use space intentionally during phrases and through transitions between phrases.Establish and break relationships with others as appropriate to the choreography.

DA:Pr4.1.Ib Use syncopation and accent movements related to different tempi. Take rhythmic cues from different aspects of accompaniment. Integrate breath phrasing with metric and kinesthetic phrasing.

DA:Pr4.1.Ic Connect energy and dynamics to movements by applying them in and through all parts of the body. Develop total body awareness so that movement phrases demonstrate variances of energy and dynamics.

Grade HS Accomplished

DA:Pr4.1.IIa Dance alone and with others with spatial intention. Expand partner and ensemble skills to greater ranges and skill level. Execute complex fl oor and air sequences with others while maintaining relationships through focus and intentionality.

DA:Pr4.1.IIb Perform dance studies and compositions that use time and tempo in unpredictable ways. Use internal rhythms and kinetics as phrasing tools.Dance “in the moment.”

DA:Pr4.1.IIc Initiate movement phrases by applying energy and dynamics. Vary energy and dynamics over the length of a phrase and transition smoothly out of the phrase and into the next phrase, paying close attention to its movement initiation and energy.

Grade HS Advanced

DA:Pr4.1.IIIa Modulate and use the broadest range of movement in space for artistic and expressive clarity.Use inward and outward focus to clarify movement and intent. Establish and break relationships with other dancers and audience as appropriate to the dance.

DA:Pr4.1.IIIb Modulate time factors for artistic interest and expressive acuity. Demonstrate time complexity in phrasing with and without musical accompaniment. Use multiple and complex rhythms (for example, contrapuntal35and/or polyrhythmic36) at the same time. Work with and against rhythm of accompaniment or sound environments37.

DA:Pr4.1.IIIc Modulate dynamics to clearly express intent while performing dance phrases and choreography. Perform movement sequences expressively using a broad dynamic range and employ dynamic skills for establishing relationships with other dancers and projecting to the audience.

Dance/Performing

#Pr5.1

Process Component: Dance Anchor Standard 5 —Performing (Embody)

Anchor Standard: Develop and refine artistic technique and work for presentation.

Enduring Understanding: Dancers use the mindbody connection and develop the body as an instrument for artistry and artistic expression.

Essential Question: What must a dancer do to prepare the mind and body for artistic expression?

Grade PreK

DA:Pr5.1.PKa Demonstrate basic full body locomotor,non-locomotor movement, and body patterning38with spatial relationships.

DA:Pr5.1.PKb Move in general space and start and stop on cue while maintaining personal space39.

Grade K

DA:Pr5.1.Ka Demonstrate same-side and crossbody locomotor and non-locomotor movements, body patterning movements, and body shapes.

DA:Pr5.1.Kb Move safely in general space and start and stop on cue during activities, group formations, and creative explorations while maintaining personal space.

Grade 1

DA:Pr5.1.1a Demonstrate a range of locomotor and non-locomotor movements, body patterning, body shapes, and directionality.

DA:Pr5.1.1b Move safely in general space through a range of activities and group formations while maintaining personal space.

Grade 2

DA:Pr5.1.2a Demonstrate a range of locomotor and non-locomotor movements, body patterning, and dance sequences that require moving through space using a variety of pathways.

DA:Pr5.1.2b Move safely in a variety of spatial relationships and formations with other dancers, sharing and maintaining personal space.

Grade 3

DA:Pr5.1.3a Replicate body shapes, movement characteristics, and movement patterns in a dance sequence with awareness of body alignment and core support.

DA:Pr5.1.3b Adjust body-use40to coordinate with a partner or other dancers to safely change levels,directions, and pathway designs.

Grade 4

DA:Pr5.1.4a Demonstrate fundamental dance skills (for example, alignment41, coordination, balance,core support, kinesthetic awareness) and movement qualities when replicating and recalling patterns and sequences of locomotor and non-locomotor movements.

DA:Pr5.1.4b Execute techniques that extend movement range, build strength, and develop endurance.Explain the relationship between execution of technique,safe body-use, and healthful nutrition.

DA:Pr5.1.4c Coordinate phrases and timing with other dancers by cueing off each other and responding to stimuli42cues (for example, music, text, or lighting).Re fl ect on feedback from others to inform personal dance performance goals.

Grade 5

DA:Pr5.1.5a Recall and execute a series of dance phrases using fundamental dance skills (for example, alignment, coordination, balance, core support,kinesthetic awareness, clarity of movement).

DA:Pr5.1.5b Demonstrate safe body-use practices during technical exercises and movement combinations.Discuss how these practices, along with healthful eating habits, promote strength, fl exibility, endurance and injury prevention.

DA:Pr5.1.5c Collaborate with peer ensemble members to repeat sequences, synchronize actions, and refine spatial relationships to improve performance quality. Apply feedback from others to establish personal performance goals.

Grade 6

DA:Pr5.1.6a Embody43technical dance skills44(for example, alignment, coordination, balance, core support, kinesthetic awareness, clarity of movement) to accurately execute changes of direction, levels, facings,pathways, elevations and landings, extensions of limbs,and movement transitions.

DA:Pr5.1.6b Apply basic anatomical knowledge,proprioceptive feedback, spatial awareness, and nutrition to promote safe and healthful strategies when warming up and dancing.

DA:Pr5.1.6c Collaborate as an ensemble to re fi ne dances by identifying what works and does not work in executing complex patterns, sequences, and formations.Solve movement problems to dances by testing options and finding good results. Document self-improvements over time.

Grade 7

DA:Pr5.1.7a Apply body-use strategies to accommodate physical maturational development to technical dance skills(for example, functional alignment45, coordination, balance,core support, kinesthetic awareness, clarity of movement,weight shifts, fl exibility/range of motion).

DA:Pr5.1.7b Utilize healthful practices and sound nutrition in dance activities and everyday life. Discuss bene fi ts of practices and how choices enhance performance.

DA:Pr5.1.7c Collaborate with peers to practice and refine dances. Develop group performance expectations through observation and analyses (for example, view live or recorded professional dancers and collaboratively develop group performance expectations based on information gained from observations).

Grade 8

DA:Pr5.1.8a Embody technical dance skills (for example, functional alignment, coordination, balance,core support, clarity of movement, weight shifts, fl exibility/range of motion) to replicate, recall, and execute spatial designs and musical or rhythmical dance phrases.

DA:Pr5.1.8b Evaluate personal healthful practices in dance activities and everyday life including nutrition and injury prevention. Discuss choices made, the effects experienced, and methods for improvement.

DA:Pr5.1.8c Collaborate with peers to discover strategies for achieving performance accuracy, clarity,and expressiveness. Articulate personal performance goals and practice to reach goals. Document personal improvement over time (for example, journaling,portfolio, or timeline).

Grade HS Prof cient

DA:Pr5.1.Ia Embody technical dance skills(for example, functional alignment, coordination,balance, core support, clarity of movement, weight shifts,flexibility/range of motion) to retain and execute dance choreography.

DA:Pr5.1.Ib Develop a plan for healthful practices in dance activities and everyday life including nutrition and injury prevention. Discuss implementation of the plan and how it supports personal performance goals.

DA:Pr5.1.Ic Collaborate with peers to establish and implement a rehearsal plan to meet performance goals. Use a variety of strategies to analyze and evaluate performances of self and others (for example, use video recordings of practice to analyze the difference between the way movements look and how they feel to match performance with visual affect). Articulate performance goals and justify reasons for selecting particular practice strategies.

Grade HS Accomplished

DA:Pr5.1.IIa Dance with sensibility toward other dancers while executing complex spatial, rhythmic, and dynamic sequences to meet performance goals.

DA:Pr5.1.IIb Apply anatomical principles46and healthful practices to a range of technical dance skills for achieving fluency of movement. Follow a personal nutrition plan that supports health for everyday life.

Grade HS Advanced

DA:Pr5.1.IIIa Apply body-mind principles47to technical dance skills in complex choreography when performing solo, partnering, or dancing in ensemble works in a variety of dance genres and styles. Self-evaluate performances and discuss and analyze performance ability with others.

DA:Pr5.1.IIIb Research healthful and safe practices for dancers and modify personal practice based on fi ndings. Discuss how research informs practice.

Dance/Performing

#Pr6.1

Process Component: Dance Anchor Standard 6 —Performing (Present)

Anchor Standard: Convey meaning through the presentation of artistic work.

Enduring Understanding: Dance performance is an interaction between performer, production elements, and audience that heightens and ampli fi es artistic expression.

Essential Question: How does a dancer heighten artistry in a public performance?

Grade PreK

DA:Pr6.1.PKa Dance for others in a designated area or space.

DA:Pr6.1.PKb Use a simple prop as part of a dance.Grade K

DA:Pr6.1.Ka Dance for and with others in a designated space.

DA:Pr6.1.Kb Select a prop to use as part of a dance.Grade 1

DA:Pr6.1.1a Dance for others in a space where audience and performers occupy different areas.

DA:Pr6.1.1b Explore the use of simple props to enhance performance.

Grade 2

DA:Pr6.1.2a Dance for and with others in a space where audience and performers occupy different areas.

DA:Pr6.1.2b Use limited production elements48(for example, hand props, simple scenery, or media projections).

Grade 3

DA:Pr6.1.3a Identify the main areas of a performance space using production terminology49(for example, stage right, stage left, center stage, upstage, and downstage).

DA:Pr6.1.3b Explore simple production elements(costumes, props, music, scenery, lighting, or media) for a dance performed for an audience in a designated speci fi c performance space.

Grade 4

DA:Pr6.1.4a Consider how to establish a formal performance space from an informal setting (for example,gymnasium or grassy area).

DA:Pr6.1.4b Identify, explore, and experiment with a variety of production elements to heighten the artistic intent and audience experience.

Grade 5

DA:Pr6.1.5a Demonstrate the ability to adapt dance to alternative performance venues50by modifying spacing and movements to the performance space.

DA:Pr6.1.5b Identify, explore, and select production elements that heighten and intensify the artistic intent of a dance and are adaptable for various performance spaces.

Grade 6

DA:Pr6.1.6a Recognize needs and adapt movements to performance area. Use performance etiquette51and performance practices52during class, rehearsal and performance. Post-performance, accept notes from choreographer and make corrections as needed and apply to future performances.

DA:Pr6.1.6b Compare and contrast a variety of possible production elements that would intensify and heighten the artistic intent of the work. Select choices and explain reasons for the decisions made using production terminology.

Grade 7

DA:Pr6.1.7a Recommend changes to and adapt movements to performance area. Use performance etiquette and performance practices during class, rehearsal and performance. Maintain journal documenting these efforts. Post-performance, accept notes from choreographer and apply corrections to future performances.

DA:Pr6.1.7b Explore possibilities of producing dance in a variety of venues or for different audiences and, using production terminology, explain how the production elements would be handled in different situations.

Grade 8

DA:Pr6.1.8a Demonstrate leadership qualities(for example, commitment, dependability, responsibility,and cooperation) when preparing for performances. Use performance etiquette and performance practices during class, rehearsal and performance. Document efforts and create a plan for ongoing improvements. Postperformance, accept notes from choreographer and apply corrections to future performances.

DA:Pr6.1.8b Collaborate to design and execute production elements that would intensify and heighten the artistic intent of a dance performed on a stage, in a different venue, or for different audiences. Explain reasons for choices using production terminology.

Grade HS Prof cient

DA:Pr6.1.Ia Demonstrate leadership qualities (for example, commitment, dependability, responsibility, and cooperation) when preparing for performances. Demonstrate performance etiquette and performance practices during class, rehearsal and performance. Post-performance, accept notes from choreographer and apply corrections to future performances. Document the rehearsal and performance process and evaluate methods and strategies using dance terminology and production terminology.

DA:Pr6.1.Ib Evaluate possible designs for the production elements of a performance and select and execute the ideas that would intensify and heighten the artistic intent of the dances.

Grade HS Accomplished

DA:Pr6.1.IIa Demonstrate leadership qualities (for example, commitment, dependability, responsibility, and cooperation) when preparing for performances. Model performance etiquette and performance practices during class, rehearsal and performance. Implement performance strategies to enhance projection. Postperformance, accept notes from choreographer and apply corrections to future performances. Document the rehearsal and performance process and evaluate methods and strategies using dance terminology and production terminology.

DA:Pr6.1.IIb Work collaboratively to produce a dance concert on a stage or in an alternative performance venue and plan the production elements that would be necessary to ful fi ll the artistic intent of the dance works.

Grade HS Advanced

DA:Pr6.1.IIIa Demonstrate leadership qualities (for example, commitment, dependability, responsibility, and cooperation) when preparing for performances. Model performance etiquette and performance practices during class, rehearsal and performance. Enhance performance using a broad repertoire of strategies for dynamic projection. Develop a professional portfolio(resume, head shot, etc.) that documents the rehearsal and performance process with fl uency in professional dance terminology and production terminology.

DA:Pr6.1.IIIb Work collaboratively to produce dance concerts in a variety of venues and design and organize the production elements that would be necessary to ful fi ll the artistic intent of the dance works in each of the venues.

National Core Arts Standards ? 2015 National Coalition for Core Arts Standards. Rights administered by State Education Agency Directors of Arts Education (SEADAE). All rights reserved. www.nationalartsstandards.org.

Notes

1 Artistic expression: the manifestations of artistic intent through dance, drama music, poetry, fi ction, painting, sculpture or other artistic media. In dance, this involves the dance and the dancers within a context.

2 Locomotor: movement that travels from one location to another or in a pathway through space (for example, in PreK, walk, run, tiptoe, slither, roll, crawl, jump, march, gallop; in Kindergarten, the addition of prance, hop, skip, slide, leap).

3 Non-locomotor: movement that remains in place; movement that does not travel from one location to another or in a pathway through space (for example, in PreK, bend, twist, turn, open, close; in Kindergarten, swing, sway, spin, reach, pull).

4 Explore: investigate multiple movement possibilities to learn more about an idea.

5 Elements of dance: the key components of movement; movement of the body using space, time, and energy; often referred to as the elements of movement; see “The Elements of Dance Organizer” by Perpich Center for Arts Education (used with permission).

6 Movement problem: a speci fi c focus that requires one fi nd a solution and complete a task; gives direction and exploration in composition.

7 Movement vocabulary:codi fi ed or personal movement characteristics that de fi ne a movement style.

8 Artistic intent: the purpose, main idea, and expressive or communicative goal(s) of a dance composition, study, work, or performance.

9 Dance terminology: vocabulary used to describe dance and dance experiences. Genre-speci fi c dance terminology (Tier 3/Grades 6 up): words used to describe movement within speci fi c dance forms (ballet, contemporary, culturally-speci fi c dance, funk, hip-hop, jazz, modern, tap, and others). For example, in Polynesian dance (Hula): auwana, kahiko, halau, kaholo, uwehe, ami; in ballet:glissade, pas de bouree, pas de chat, arabesque; in jazz: kick ball change, pencil turn, jazz walk, jazz run; in modern: contraction,triplets, spiral, pivot turn; and in tap: shuf fl e-step, cramp roll, riff, wing, time step.

10 Dance study: a short dance that is comprised of several dance phrases based on an artistic idea.

11 Codi fi ed movement: common motion or motions set in a particular style that often have speci fi c names and expectations associated with it.

12 Style: dance that has speci fi c movement characteristics, qualities, or principles that give it distinctive identity (for example,Graham techniqueis a style of Modern Dance;rhythm tapis a style of Percussive Dance;Macedonian folk danceis a style of International Folk dance;Congolese danceis a style of African Dance).

13 Genre: a category of dance characterized by similarities in form, style, purpose, or subject matter (for example, ballet, hip hop,modern, ballroom, cultural practices).

14 Dance Structures: the organization of choreography and movement to ful fi ll the artistic intent of a dance or dance study (for example,AB, ABA or theme and variation); often referred to as choreographic form.

15 Choreographic devices: manipulation of dance movement, sequences, or phrases (repetition, inversion, accumulation, canon,retrograde, call and response).

16 Dance phrase: a brief sequence of related movements that have a sense of continuity and artistic or rhythmic completion.

17 Artistic criteria: aspects of craft and skill used to ful fi ll artistic intent.

18 Artistic statement: an artist’s verbal or written introduction of their work from their own perspective to convey the deeper meaning or purpose.

19 Aesthetic: a set of principles concerned with the nature and appreciation of beauty.

20 Space: components of dance involving direction, pathways, facings, levels, shapes, and design; the location where a dance takes place; the element of dance referring to the cubic area of a room, on a stage, or in other environments.

21 Energy: the dynamic quality, force, attach, weight, and fl ow of movement.

22 General Space: spatial orientation that is not focused towards one area of a studio or stage.

23 Tempi: different paces or speeds of music, or underlying beats or pulses, used in a dance work or composition (singular:tempo).

24 Tempo: the pace or speed of a pulse or beat underlying music or movement (plural:tempi or tempos).

25 Movement characteristics: the qualities, elements, or dynamics that describe or de fi ne a movement.

26 Kinesthetic awareness: pertaining to sensations and understanding of bodily movement.

27 Negative space: the area (space) around and between the dancer(s) or dance image(s) in a dance.

28 Dynamics: the qualities or characteristics of movement which lend expression and style; also called “efforts,” or “energy” (for example, lyrical, sustained, quick, light, or strong).

29 Rhythm: the patterning or structuring of time through movement or sound.

30 Movement phrase: a brief sequence of related movements that have a sense of continuity and artistic or rhythmic completion.

31 Bound movement: an “effort element” from Laban Movement Analysis in which energy fl ow is constricted.

32 Free- fl owing movement: an “effort element” from Laban Movement Analysis in which energy is continuous.

33 Spatial design: pre-determined use of directions, levels, pathways, formations, and body shapes.

34 Dance work: a complete dance that has a beginning, middle (development), and end.

35 Contrapuntal: an adjective that describes the noun counterpoint; music that has at least two melodic lines (voices) played simultaneously against each other; in dance, at least two movement patterns, sequences or phrases danced simultaneously using different body parts or performed by different dancers.

36 Polyrhythmic: in music, several rhythms layered on top of one another and played simultaneously; in dance, embodying several rhythms simultaneously in different body parts.

37 Sound environment: sound accompaniment for dancing other than music (for example, street noise, ocean surf, bird calls, spoken word).38 Body patterning: neuromuscular patterns [for example, core-distal, head-tail, homologous (upper-lower), homo-lateral (same-side),cross-lateral (crossing the body midline)].

39 Personal space: the area of space directly surrounding one’s body extending as far as a person can reach; also called the kinesphere.

40 Body-use: the ways in which movement patterns and body parts are used in movement and dance practice; descriptive method of identifying patterns.

41 Alignment: the process of adjusting the skeletal and muscular system to gravity to support effective functionality.

42 Stimuli: a thing or event that inspires action, feeling, or thought.

43 Embody: to physicalize a movement, concept, or idea through the body.

44 Technical dance skills: the degree of physical proficiency a dancer achieves within a dance style or technique (for example,coordination, form, strength, speed, and range).

45 Functional alignment: the organization of the skeleton and musculature in a relationship to gravity that supports safe and ef fi cient movement while dancing.

46 Anatomical principles: the way the human body’s skeletal, muscular, and vascular systems work separately and in coordination.

47 Body-mind principles: concepts explored and/or employed to support body-mind connections (for example, breath, awareness of the environment, grounding, movement initiation, use of imagery, intention, inner-outer, stability-mobility).

48 Production elements: aspects of performance that produce theatrical effects (for example, costumes, make up, sound, lighting, props).

49 Production terminology: words commonly used to refer to the stage, performance setting, or theatrical aspects of dance presentation.

50 Alternative performance venue: a performance site other than a standard Western style theater (for example, classroom, site speci fi c venue, or natural environment).

51 Performance etiquette: performance values and expected behaviors when rehearsing or performing (for instance, no talking while the dance is in progress, no chewing gum, neat and appropriate appearance, dancers do not call out to audience members who are friends).

52 Performance practices: commonly accepted behaviors and practices when rehearsing and performing on stage (for example,production order is technical rehearsal, dress rehearsal, then performance; dancers warm up on stage and must leave when the stage manager tells them; when “places” are called, dancers must be ready to enter the performing space).