Structured Dances in Music Education

1. Andrea Sangiorgio Structured Dancesin Music Education some methodological criteria CDM Centro Didattico Musicale www.centrodidatticomusicale.it

2. movement learning coordination movement sequences movement creativity music learning listening melody / rhythm / musical structure Dance Music

3. Methodological Criteria • substitution, semplification, didactic reduction of difficult movements • progressivity and coherence of the didactic pathway Procedures for building a dance from the global structure to single elements top down methods from the details to the whole bottom up methods

4. Preparatory Activities • using imagery to motivate the action (telling a story, giving an image, etc.) • letting children listen to the music (they can initially dance freely to the music, or can look for internal imagery and emotions raised by the music • sing and learn the melody, as a basis and orientation for the later acquisition of the movement sequence • listen and represent the structure of the dance through different kinds of movement (eg. alternate locomotion in part A and gestures on the spot in part B) • start with the most difficult part (eg. a new step) or with an element of the dance that may draw children’s attention

5. Using the voiceto accompany the danceand to guide children in the learning phases Procedures to introduce and lead the dance with the voice: • sing the melody • use a nonsense chant to accompany and make clear the sequence of the different movements • “say and do”: use words or short sentences indicating the specific steps or movements Using the voice (instead of the pre-recorded music) makes it possible to regulate the speed of the steps, to highlight crucial moments of the movement sequence, and to lead the group timely, i.e. anticipating with the voice what will come in the movement. To be associated with voice is conducting the group with the whole body and the gestures: through non-verbal language the teacher can, for example, point to directions in space, and use signals to anticipate the subsequent movements.

6. Music Learningintegrated with movement learning • In this perspective, structured dances also have an important function of stimulating children’s musical (i.e. rhythmic and/or melodic) learning • dancing can represent a further stimulus to sing and to accompany one’s own movements with voice • it also gives the opportunity to sing tonal patterns or chant rhythm patterns, alternating these with the melody or the rhythm of the dance • it offers several possibilities for specifically musical contents to be introduced through the activity of dancing If children learn to sing the melody or to chant the rhythm of the dance, later on they will find it easier to synchronise their movements to the music. An interesting ‘bridge’ between dance and music is represented by body percussion.

7. Using Music Instruments A possible development of a structured dance consists of using its music as a basis on which to play simple rhythm combinations with percussion instruments. Children can accompany the diverse parts of the dance with rhythmic phrases. Thus, the acquisition of a movement sequence acts as a preparation for the performance of a rhythm music piece.

8. What Dances, What Musics? ‘Structured dances’ are characterised by: • a well-defined formal structure • an articulation in parts that are clearly recognisable • a corresponding differentiation between movement structure and musical structure The music Folk, ethnic, classical, pop music... any genre can be suitable, provided that the music is: • easy to be perceived in its formal organisation • not too long • motivating for dancing • esthetically valid

9. Creative Elaborations A part of the dance can be used to have children create – on their own, in pairs, or in small groups – some alternative movements or building their own choreography. Phases of the creative work process from improvisation to composition • acquiring models and ideas • exploring • selecting • giving form to and fixing ideas Going beyond imitative learning is important to promote children’s creativity skills, and specifically improvising and composing skills in movement.

10. Goals of Creative Elaborations Structured dances provide the possibility for: • promoting the development of a movement vocabulary through the active and creative fruition of the dance elements • stimulating personal expressivity • urging children to group problem solving • develop their cooperation skills • let them identify themselves with their own inventions In leading creative activities the teacher does not have a role of the ‘one who knows’, but is active in coordinating the creative process and facilitating group learning.

11. Dancing for... Structured dances can play a strong educational role and can enrich children’s lived experience at school. Dancing can be used for: • opening or closing a work phase • ritualise some moments of the day • construct a good emotional climate among children • absorb and contain exuberant energies • find inner calm and regenerate the spirit • offer a place for personal invention • express oneself, communicate, cooperate, socialise

12. Orff-SchulwerkElemental Music and Dance EducationMethodological Foundations • unity of music, dance, and speech • music learning and movement learning • creative learning • learning in and through the group