zilongwang/ReadingBank huggingface dataset:
DAM SAFETY EXPECTATIONS Yes N/A No An/Au Pn/ Pu/ Pq/ Pd NCo/ NCm/ NCs NCi/NCp 1 Dam Safety Analysis 1.1 Records relevant to dam safety are available including design documents, historical instrument readings, inspection and testing reports, operational records and investigation results. 1.2 Hazards external and internal to the dam have been defined 1.3 The potential failure modes for the dam and the initial conditions downstream from the dam have been identified 1.4 Inundation adequate to determine consequence classification. Flood and “sunny day” scenarios assessed. 1.5 The Dam is classified appropriately in terms of the consequences of failure including life, environmental, cultural and third-party economic losses. 1.6 All components of the barrier (including retaining walls, saddle dams, spillways, road embankments) are included in the dam safety management process. 1.7 The EDGM selected reflects current seismic understanding 1.8 The IDF is based on appropriate hydrological analyses 1.9 The dam is safely capable of passing flows as required for all applicable loading conditions (normal, winter, earthquake, flood) 1.10 The dam has adequate freeboard for all applicable operating conditions (normal, winter, earthquake, flood)
what the follow-up actions should be and what instrument maintenance and calibration are necessary. 3 Emergency Preparedness 3.1 An emergency management process is in place for the dam including emergency response procedures and emergency preparedness plans with a level of detail that is commensurate with the consequences of failure. 3.2 The emergency response procedures outline the steps that the operations staff is to follow in the event of an emergency at the dam. 3.3 Documentation clearly states, in order of priority, the key roles and responsibilities, as well as the required notifications and contact information. 3.4 The emergency response procedures the full range of flood management planning, normal operating procedures and surveillance procedures 3.5 The emergency management process ensures that effective emergency preparedness procedures are in place for use by external response agencies with responsibilities for public safety within the floodplain. 3.6 Roles and responsibilities of the dam owner and response agencies are defined. 3.7 Inundation maps and critical information are appropriate and are available to downstream response agencies. 3.8 Exercises are carried out regularly to test the emergency procedures. 3.9 Staff are adequately trained in the emergency procedures. 3.10 Emergency plans are updated regularly and updated pages are distributed to all plan holders in a controlled manner. 4 Dam Safety Review 4.1 A safety review of the dam ("Dam Safety Review") is carried out periodically based on the consequences of failure.
(6) comparing and contrasting ways of knowing in the arts with ways of knowing in the humanities, the sciences, and other subject areas; and (7) analyzing the economics and career opportunities of arts creation, performance, analysis, and creative technology. REVIEW’S COMMENTS/FINDINGS: Standard Evidence of Proficiency Candidate: Explain evidence in this column for each standard. Type of Evidence A-B-C-D Degree of attainment 0-1-2-3 Met Not Met B. A teacher of dance and theatre arts with a dance specialization must demonstrate competency in: (1) a selected core movement genre through performance or concert opportunities; (2) a second dance movement genre in the context of reflective performance opportunities; (3) choreography and improvisation through performance or concert opportunities; (4) critical analysis and interpretation of the technical and choreographic aspects of performance; (5) the historical and aesthetic development of dance in diverse cultures; (6) contemporary technological principles, concepts, and tools and communicating the environmental and ethical issues concerning creative technology in dance; and (7) analyzing the functional, expressive, and health aspects of the human body. REVIEW’S COMMENTS/FINDINGS:
Choreographic planner: documents choreographic process, ideas, observations, sketches, brainstorming etc. and feedback Makes detailed and regular entries in the choreographic planner that comprehensively document the process 5 regular entries in the choreographic planner that clearly document the process 4 Makes regular entries in the choreographic planner that document some of the process 3 Sporadic entries in the choreographic planner documenting the process 2 the occasional entry in the choreographic planner documenting the process 1 Reflections and evaluations about the rehearsals/process Evaluates final performance of solo impartially and articulately with insightful references to audience feedback 5 Provides a clear, thoughtful evaluation of final solo performance with appropriate reference to audience feedback 4 Provides an adequate evaluation of final solo performance with occasional references to audience feedback 3 Provides a superficial evaluation of the final solo performance with little reference to audience feedback 2 Makes a limited attempt at evaluating final performance. Comments are unsupported or mostly irrelevant with no reference to audience feedback 1 Subtotal /10 Total task marks /30 Task weighting: Convert to 20% of practical mark /20 Sample assessment task Dance – ATAR Year 12 Task 7 – Unit 3 Assessment type: Response Conditions Time for the task: 45 minutes Task weighting 20% of the written mark for this pair of __________________________________________________________________________________ TASK 7: In-class timed response (30 marks) After a series of lessons related to a case study investigating a company that creates dance for youth, you will prepare an in-class timed response. The question will relate to how historical, cultural and social factors can shape the creation of a dance work. Use the internet: to research information about QL2 DANCE addressing the following questions:
for those in need. Over 88,000 Champions from all walks of life have joined forces to provide a more dignified service for everyone [Organisation Name] is helping to make sure that dignity is a reality for all. Over and above the care that [Organisations name] provided on a daily basis we are running an event as part of a national month of action to promote and raise funds Dignity in Care. [Organisation Name] will be [enter activity] this will involve [enter who] will be held on [enter details] at [enter venue].]. A spokesman for [Organisation Name] said: [provide a quote which may include: why they / the organisation is choosing to support Dancing for Dignity and what you hope to achieve] Dancing for Dignity is a national initiative led by the Dignity in Care Campaign and its key partners to staff and members of the public together to make a difference to those in care. Anybody can support Dancing for Dignity to find out more log onto www.dignityincare.org.uk where resource packs full of ideas and useful information for staff and members of the public to support Dancing for Dignity can be found. Notes to Editors:
makes detailed and regular entries in the choreographic planner that comprehensively document the process 3 makes regular entries in the choreographic planner that clearly document the process 2 makes the occasional entry in the choreographic planner documenting the process 1 Critical reflections about group collaboration processes reflects on strengths and limitations of group collaboration, makes relevant suggestions to improve the dance and listens to others’ point of view 4 identifies some strengths and limitations of group collaboration and offers some relevant ways they can shape the dance during rehearsals 3 entries occasionally identify ways to improve group collaboration; comments may address strengths and/or limitations and/or ways to improve the dance but in simplistic and not always relevant ways 2 has difficulty identifying strengths and/or limitations of group collaboration and/or a way to improve the dance 1 Provides an evaluation of the final performance gives a clear, considered evaluation of final performance 3 provides a simple evaluation of performance 2 makes a limited attempt at evaluating final performance; comments are unsupported or mostly irrelevant 1 Subtotal /10 Overall /46 Task weighting: Convert to 20% of overall unit mark /20%
Functions and contexts of overview of the development of dance in Australia from the twentieth century to the present Aboriginal dance and its influences Case study Within the focus of Australian dance, students must investigate one case study chosen from the following: Australian dance companies Australian choreographers. The case study must investigate the following: historical background information relevant dance works: significance of the dance work, choreographic intent, choreographic devices, choreographic structures, movement choices and design concepts historical, cultural and social context in terms of time and place ways cultural identity can be represented through dance. School-based assessment The Western Australian Certificate of Education (WACE) Manual contains essential information on principles, policies and procedures for school-based assessment that needs to be read in conjunction with this syllabus. Teachers design school-based assessment tasks to meet the needs of students. The table below provides details of the assessment types for the Dance General Year 12 syllabus and the weighting for each assessment type. Assessment – Year 12 Type of assessment Weighting Performance/production Exploring ideas, improvising, manipulating the elements of dance and using choreographic devices and structures to create original dance. Demonstrating competence in the use of technical skills, techniques/styles, interpreting choreographic intent and performance qualities in a range of performance contexts. A practical test is included in this assessment type. 65% Response Response to, analysis and evaluation of own, others’ or professional works using a range of critical frameworks and primary and secondary sources. Research work in which students plan, conduct and communicate case studies. The focus of case studies may include dance works of companies and/or choreographers. Each should be explored in relation to a range of contextual factors (historical, cultural and social) and explore a range of primary and secondary sources. The findings may be communicated in any appropriate form, for example, written, oral or graphical, or various combinations of these. 20% Externally set task 15%
Strand: Connecting Content Standard 5: Students will relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. CCSS Alignment CN.5.DAP.1 Identify the purposes of dance in different cultures CCRA.R.1 CCRA.W.7 CCRA.SL.4 CN.5.DAP.2 Explain the use of the elements of in various genres, styles, and culture CCRA.R.3, 7 CCRA.W.7 CCRA.SL.1, 4 CCRA.L.6 CN.5.DAP.3 Identify the relationship between social change and dance CCRA.R.3 CCRA.SL.4 CN.5.DAP.4 Examine the sequential development of dance through history (e.g., development of different genres, dances of the decades) CCRA.R.10 CN.5.DAP.5 Relate dances to the historical time periods from they originate CCRA.R.3, 9 CCRA.SL.4 CCRA.W.7, 9 CN.5.DAP.6 Discuss the impact of the relationship between dance and media (e.g., commercials, film, television, social media) CCRA.R.3, 7 CCRA.W.7 CCRA.SL.1, 4 CCRA.L.6
Contributors The following people contributed to the development of this document: Brooke Brewer – Alma School District Traci Presley – Little Rock School District M’Shay Callicott – Little Rock School District Lakeisha Sharpley – Little Rock School District Elizabeth Davis – Rogers School District Stephanie Thibeault – University of Arkansas at Little Rock Christen Pitts – North Little Rock School District Michael Tidwell – Little Rock School District
Competency Emerging Developing Acquired Accomplished Creating Dance *Note: The Stages of the Creative Process are: -Exploring -Selecting -Combining -Refining -Reflecting Sometimes attempts to move their body to sounds and/or music Sometimes interest in creating movement sequences Is comfortable observing the work of peers; may benefit from additional support when engaging in their own movement work Attempts to participate in some stages of the creative process*; may experience a large learning curve with other stages Experiences growing success in moving expressively; may benefit from occasional support Earnestly attempts to participate in the creation of movement sequences based on patterns, characters, and/or themes Participates in most stages of the creative process*(e.g., as an individual or group member) Is frequently and increasingly engaged in moving expressively in response to a variety of music and sounds Frequently and successfully creates movement sequences based on patterns, characters, themes, topics, and/or narrative Participates in all stages of the creative process* (e.g., as an individual or group member) Confidently and easily expressively in response to a variety of music and sounds; fully engages in the experience Takes leadership roles in the creation of movement sequences; makes space for others to act as leaders Can successfully transition between the role of leader and follower during group dance work Fully and successfully engages in all stages of the creative process*; encourages others in doing the same Elements of Dance *Note: Principles of Movement are: -Alignment -Balance -Flexibility -Strength -Breath work May benefit from additional support when: moving in a variety of levels, pathways, and/or directions striving for body alignment balancing attempting to develop flexibility and strength moving in time to a rhythm, metre and/or tempo Experiences growing success with moving in a variety of levels, pathways, and direction Earnestly works at developing their alignment, balance, flexibility, strength, and breath through movement Makes clear attempts to move in time to rhythm, metre, and/or tempo Successfully in a variety of levels, pathways, dynamics, and/or directions while working to improve their alignment, balance, flexibility, strength, and breath work* Successfully moves in time to rhythm, metre, and/or tempo Confidently moves in a variety of levels, pathways, dynamics, and directions while demonstrating alignment, balance, flexibility, strength, and breath work* Moves in time to rhythm, metre, and tempo with precision Uses correct technique in a range of dance styles
9:00AM – 11:30AM Speak To A Girl Here Right Here Lemonade Save The Day Sunshine In My Pocket Back In Time Whatever Happens AK Freak Finesse Skiffle Time NoNoNoNoNo NotSo Recovering Party Night Shoop A Lover’s Trak Throwback Love Wannabe Free Fallin’ Bae Twist Twist Twist Cut Me Down Roses And Violets Shakin’ My Head The Ghost Of You Sit Still Look Pretty Clap Clap Clap 11:30AM – 2:00PM Heartbeat All Of Me Watch The Tempo Sanctify My Sins Clothed Bring Down The Rain Mood Swing Tuesday Look Good Again Dunk It! Them Dey Go Sanctify My Sins Kiss Of Heaven The Language Of Love Naked Let Me Love You Lights Down Low Watch The Tempo Lights Down Low Somebody Wants You Like A Riddle Make Ya Move 85 The Last Word Come Alive True Inspiration Tip Pon It Cry Me Out Power Mix Pink Hearts Mix Taps Mates Of Soul Sexy Beaches Oh Mama Hey Blaze Of Glory Lost In Love 2:00 AM – 4:30PM Gypsy In The Night Turn Me Loose I Won’t Let You Down No Drama Larger Than Life Rendezvous Cha Vampire City Outta Control Whatever It Takes Tip Toe Only Love Filthy You Deserve Better Uphill Battle Consequences Healing Hands Mind Up One Reason The Stroma Dance I Held Your Hand Bring It Happily Ever After Good Vibration If You Ever Second Time Around Leave A Light On Smoke, Fire Marz And Mummies Beautiful Flames No Fear Feel 3 Rules Take Me To The Water Freeky Skillz Tuesday Blues
FAMOUS DANCERS, CHOREOGRAPHERS & COMPANIES LIST George Balanchine* Uylsses Dove Debbie Reynolds Isadora Duncan Jose Limon Diavolo Dance Theatre Mark Morris Jerome Robbins* Mia Michaels Paul Taylor Savion Glover Tina Landon Judith Jamison* Anna Halprin Rudolf Nureyev* Anna Pavlova Abdul New York City Ballet* Mikail Baryshinikov* Martha Graham* Fred Astaire* Gene Kelly* Gregory Hines Katherine Dunham Suzanne Farrell Doris Humphrey Ruth St. Dennis Wade Robson LXD Vaslav Nijinsky Rob Marshall Cirque Du Soleil* Alvin Ailey* Michael Jackson Lines Ballet Bob Tina Landon Jose Greco Joffrey Ballet Rudolf Laban Arthur Mitchell Bill Bojangels Robinson Twyla Tharp* Michael Flatley Ginger Rogers* Michael Kidd Florenz Ziegfeld Central West Ballet Merce Cunningham Doug Varone Brian Friedman Ted Shawn Erick Hawkins Lester Horton* Bella Lewitzky American Ballet Theatre Jack Cole* Laurie Ann Gibson Napoleon/ Tabitha D’umo (Nappy Tabs) Rasta Thomas Cynthia Gregory Lena Horne Bill T. Jones Anne Teresa de Keersmaeker Rennie Harris Agnes DeMille Robert Joffrey Marius Pepita David Parsons Syd Charise Trisha Brown Nigel Lythgoe Alonzo King Dave Scott
Critical Content: My students will Know… Key Skills: My students will be able to (Do)… Critical Language: includes the Academic and Technical vocabulary, semantics, and discourse which are particular to and necessary for accessing a given discipline. EXAMPLE: A student in Language Arts can demonstrate the ability to apply and comprehend critical language through the following statement: “Mark Twain exposes the hypocrisy of slavery through the use of satire.” A student in ______________ can demonstrate the ability to apply and comprehend critical language through the following statement(s): Academic Vocabulary: Technical Vocabulary: Unit Title Length of Unit Focusing Lens(es) Standards and Level Expectations Addressed in this Unit Inquiry Questions (Engaging- Debatable):
Content Area Dance Grade Level 4th Grade Course Name/Course Code Standard Grade Level Expectations (GLE) GLE Code Movement, Technique, and Performance Perform basic dance movements DA09-GR.4-S.1-GLE.1 Perform a movement phrase, or dance with a variety of intent DA09-GR.4-S.1-GLE.2 Create, Compose, and Choreograph Create group studies DA09-GR.4-S.2-GLE.1 Create a dance incorporating compositional elements DA09-GR.4-S.2-GLE.2 Historical and Cultural Context Dances from different cultures have similarities and differences DA09-GR.4-S.3-GLE.1 Observe dances from different historical periods DA09-GR.4-S.3-GLE.2 Reflect, Connect, and Respond Analyze and evaluate dance works DA09-GR.4-S.4-GLE.1 Use basic dance vocabulary to analyze dance work DA09-GR.4-S.4-GLE.2 Colorado 21st Century Skills Critical Thinking and Reasoning: Thinking Deeply, Thinking Differently Information Literacy: Untangling the Web Collaboration: Working Together, Learning Together Self-Direction: Own Your Learning Invention: Creating Solutions The Colorado Academic Standards for Dance are not intended to be taught in a linear (checklist of coverage) fashion, but rather should be implemented as a cyclical creative process. Each unit within this sample blueprint intentionally includes standards from all four dance standards to illustrate this process-based philosophy. Unit Titles Length of Unit/Contact Hours Unit Number/Sequence
Inquiry Questions (Engaging- Debatable): How is composing a a way to problem solve? (DA09-GR.4-S.2-GLE.1-IQ.2) How is a dancer a composer, choreographer and designer all in one? (DA09-GR.4-S.2-GLE.2) Unit Strands Performance Technique Create with Cultural Context Respond Selectively Concepts Composition, Culture, Influence, Observation, Stylized dance, Technique, Perspective, Choice, Technical Elements Generalizations My students will Understand that… Guiding Questions Factual Conceptual Observing and executing stylized dance works and techniques builds a dancer's sense of personal style in composition. (DA09-GR.4-S.1-GLE.1, 2) and 2) and (DA09-GR.4-S.3-GLE.1, 2) and 2) What is the of a dance (viewed)? Which unique trait of the dance would you choose to incorporate into a work of your own? Cultural influences define dance styles. and (DA09-GR.4-S.2-GLE.2) and and (DA09-GR.4-S.4-GLE.2) What are the origins of popular dance today? Why is dance an important part of many ceremonies and celebrations? A dancer’s personal perspective is often derived from influences, personal choice, and technical elements. (DA09-GR.4-S.1-GLE.2) and (DA09-GR.4-S.2-GLE.2) and (DA09-GR.4-S.3-GLE.1) and (DA09-GR.4-S.4-GLE.2) What do you do to structure a Do you see dance differently when you know dance vocabulary? How do the commonalities of a style or genre give a distinct form to a dance? Critical Content: My students will Know… Key Skills: My students will be able to (Do)…
Unit Title Dancing with and Against Gravity Length of Unit 2 weeks Focusing Lens(es) Choices Standards and Grade Level Expectations Addressed in this Unit DA09-GR.7-S.1-GLE.1, DA09-GR.7-S.1-GLE.3 DA09-GR.7-S.2-GLE.2 DA09-GR.7-S.3-GLE.1 DA09-GR.7-S.4-GLE.1 Inquiry Questions (Engaging- Debatable): Which is more satisfying: resisting gravity or giving into it? Why? (DA09-GR.7-S.1-GLE.1,3) How would you describe the feeling of working on the floor as opposed to working in a vertical plane? Unit Strands Perform on and off center Create while giving into and resisting gravity Context of environmental forces Respond with intent Concepts Improvisation, Investigate/Discovery, Space/Time/Energy, Order/Form Generalizations My students will Understand that… Guiding Questions Factual Conceptual Improvisation suggests movement ideas for choice making and refinement of dance works What does it mean to have an intent or inspiration for an improvisation? How does being balanced or unbalanced affect the outcome of an improvisation? Relationships between the elements of movement and gravity evokes the intent of dance movement and (DA09-GR.7-S.3-GLE.1) What are the movement elements? What is the connection between a strong center and: fall, recovery, and suspension? What does it mean to choose or select movements for a dance? How does a dancer’s relationship to gravity affect use of the movement elements? How does a dancer’s relationship to gravity affect use of movement Order and form encompasses the content of composition (DA09-GR.7-S.4-GLE.1) What does it mean for a dance to have a form? How does dance form change in relation to content? Critical Content: Key Skills:
and spacing for the dancers. with a blue wash and warm and cool side lighting before closing down to another spot for the final solo. Edges in dark – central focus. Used for mood, formation, enhance aural, enhance transitions and dramatic effect. 2nd section – pair of white lights off stage R – focus of relations. downstage. Occasionally dancers are lit by shafts of light and at one point 6 rectangles of light frame 6 duets. Colours are used to highlight different sections. in relationship. The darker setting towards the end of the duet also adds to the intensity and intimacy of the final section. Performance Environment End Stage End Stage Proscenium Arch Proscenium Arch Proscenium Arch Site sensitive; dance for camera. Set Designer Christopher Bruce N/A Anna N/A Julian Opie Filmed by Scratch. Staging / Set A minimal set within a black-box. Includes a table, a bench, two stools, a coat stand and suitcases. Empty – apart from a raised platform at the back of the stage upon which 4 percussionists perform. In one section skateboards are used to propel 5 dancers across the stage. Influenced by paintings by Goran Djurovic. A painted backdrop; calming. Vitrine on its side with a snowdrift inside the cabinet. Paper snow scattered on the ground in a diagonal from the vitrine to Laura DSR. In front of the vitrine - 2 stools and a headless suit on mannequin legs on a 3rd stool. Flooring is grey with wooden frame. Idea of audience looking into a snow globe of AT. The use of theatrical fog/smoke creates texture in the air around the dancers and is enhanced by the lighting. 18m LED screen is placed high on the back wall. It runs the width of the stage, along which there is a mesmerizing flow of electronic walking figures Reflects dark atmosphere. Cameras distance – isolation in their own world – viewer as secret observer. Camera moves closer as relationship does. Filming done on track – smoothness. Penultimate section - switches to hand held camera - raw and unstable. Set in remote locations – isolation and character separation.
Phaidon Press: . Publisher specialising in visual arts but also producing texts in support of Dance and theatre arts. Click on Phaidon Store – Performing Arts/Music – Performing Arts or Phaidon Theatre Manuals. Snodger Media Online: . Publishes a variety of educational materials. Specialist online applications and software Audacity® – free sound editor and recorder. Dance Form 2.0 - choreography software. - view through Purchased products. FotoFlexer - Free online photo editor iTunes® – audio, video, podcasts and apps: some free, some commercially available. iTunes® (2012) - find free or otherwise priced titles that support and theatre education including “Autodance”, “Fashion Sketchbook”, “Lighting Designer” and “Garage Band”. iTunes U® (2012) Search for “Dance” in iTunes and you will find titles like “Dance”, “Dance music program”, Mixing Dance Music”, “Theatre & Dance” Prezi – free online presentation tool . Windows Live Movie Maker – free video editor.
Focusing Lens(es) System Complexity Standards and Grade Level Expectations Addressed in this Unit DA09-GR.HSEP-S.1-GLE.1, DA09-GR.HSEP-S.1-GLE.2, DA09-GR.HSEP-S.1-GLE.3 DA09-GR.HSEP-S.4-GLE.1, DA09-GR.HSEP-S.4-GLE.2 Inquiry Questions (Engaging- Debatable): How can basic technique in one dance form improve with the study of multiple dance forms? (DA09-GR.HSEP-S.1-GLE.1-IQ.1, GLE.3-IQ.2) and What must a dancer do to properly prepare for a performance? How do underlying structures unconsciously guide the creation of dance works? Unit Strands Perform correct vocabulary terms for movements Create alignment Kinesthetic Context Respond using anatomical vocabulary Concepts Technique, Law/rules, Order/form, Movement, Anatomical structure, Analysis, Value, Structural, Aesthetic, Accuracy, Support Generalizations My students will Understand that… Guiding Questions Factual Conceptual Human movement analysis reveals movement potential in classical ballet technique. (DA09-GR.HSEP-S.1-GLE.1, 2) and (DA09-GR.HSEP-S.4-GLE.1, 2) What is the root of of a dancer pronating the tarsus? How are the aesthetic values of a ballet body different from safe and proper alignment? The value placed on kinesiology serves as support for the art of ballet by providing tools for accurate structural technique. (DA09-GR.HSEP-S.1-GLE.1, 2) and 2) Is ballet considered a cardiovascular activity? In what ways does cardiovascular conditioning aid in technique and performance ability? Critical Content: My students will Know… Key Skills: My students will be able to (Do)… Correct alignment for a ballet dancer (such as rotation) (DA09-GR.HSEP-S.1-GLE.1, 2, 3) and (DA09-GR.HSEP-S.4-GLE.2) Demonstrate an understanding of dance elements.
1.3 TC uses data from formative, diagnostic, and summative assessments to guide instructional planning. InTASC 6, 7; CAEP 1.2 SCTS 4.0 – Planning (Instructional Plans; Assessment) TC does not gather or examine student performance data or does not use data appropriately in the planning process. TC uses student performance data (from previous assessments or to instructional strategies. TC gathers and uses learner performance data from a variety of assessments to modify lesson objectives and instructional plans. 1.4 TC plans differentiated instruction to address diverse learning needs. InTASC 1, 7 CAEP 1.4 SCTS 4.0 – Planning (Instructional Lesson plans do not include strategies for differentiation or meet requirements identified in IEPs and/or 504 plans. Lesson plans include general strategies for addressing diverse learning needs. Plans meet requirements identified in IEPs and/or 504 plans, as applicable. Lesson plans include specific strategies for differentiation of teaching procedures/pacing to address diverse learning needs. Plans meet requirements identified in IEPs and/or 504 plans, as applicable. Domain 2: Instruction Below Expectations Meets Expectations Exceeds Expectations 2.1 TC effectively communicates appropriately challenging expectations to learners. CAEP 1.4 SCTS 4.0- Instruction (Standards and Objectives; Activities and Materials); Environment (Expectations) TC does not communicate expectations for what students will know and be able to by the end of the lesson. TC communicates appropriately challenging expectations for what students will know and be able to do by the end of the lesson. TC communicates appropriately challenging expectations for what learners will know and be able to do by the end of the lesson (or lesson series), while explaining the purpose and relevance of the content. 2.2 TC differentiates instruction to meet the needs of diverse learners. CAEP 1.4 SCTS 4.0 – Instruction (Motivating Students; Activities and Materials; Teacher Content Knowledge; Teacher Knowledge of Students) TC does not attempt to differentiate instruction. TC uses general strategies to differentiate instruction in an attempt to meet the needs of diverse learners. TC uses a variety of specific instructional strategies for meeting the needs of diverse learners.
1.5 TC plans strategies for tracking student progress and communicating results that reflect student achievement. InTASC 6 SCTS 4.0 Planning (Instructional Assessment) TC plans strategies for tracking student progress; however, communication to students is limited to the use of report cards. Strategies for tracking student progress include plans for communicating achievement results to students in an appropriate manner. Strategies for tracking student progress include well-organized plans for communicating achievement results on a regular basis to students in an appropriate manner.
Oct. 4th Elite Rehearsal (Choreo and Etudes) 2:30-3:45 (1.5) TCHS Room Oct. 10th (Weds.) Elite (if chosen for AC) All County Rehearsals 2:30-6:00 DPHS Room Oct. 16th (Tues.) Elite Seniors Rehearsal (Senior Small Group) 2:30-3:30 TCHS Dance Room Oct. 17th (Thurs.) Elite Expose Stage Rehearsal 2:30-4:30 TCHS PAC Oct. 24th (Weds.) Apprentice and Elite Senior Piece Rehearsal Scheduling Meeting 1:30-2:30 TCHS Dance Room Oct. 25th (Thurs.) NHSDA Board Members Board Meeting 2:30-3:00 TCHS Dance Room Oct. 30th (Tues.) NHSDA Members Meeting 2:30-3:00 TCHS Dance Room Nov. 1st Elite Expose Dress Rehearsal 7th pd-3:30 TCHS PAC Nov. 7th (Weds.) (if chosen for AC) All County Rehearsals 2:30-5:00 DPHS Dance Room Nov. 10th (Sat.) OCPS Dance Assessments/ Dance Expose TBD (all day) DPHS (Various Locations) Nov. 13th and Nov. 14th (Tues. & Weds.) Elite Holiday Piece Rehearsal 2:30-3:30 (T), (W) TCHS Dance Room Nov. 15th Apprentice Holiday Piece Rehearsal 2:30-3:45 (1.5) TCHS Dance Room Nov. 30 (Fri.) NHSDA Board Members Board Meeting 2:30-3:00 TCHS Dance Room Dec. 4th (Tues.) Members Meeting 2:30-3:00 TCHS Dance Room Dec. 6th Apprentice and Elite Holiday Concert Rehearsal 2:30-4:00 TCHS PAC Dec. 11th (Tues.) Apprentice and Elite Holiday Concert Rehearsal 2:30-5:30 TCHS PAC Dec. 13th (Thurs.) Apprentice and Elite Holiday Prism Concert Dress Rehearsal 2:30-5:30 TCHS PAC
Dec. 14th (Fri.) Apprentice and Holiday Concert 7:00 p.m. (Call 6:00) TCHS PAC Dec. 15th (Sat.) Apprentice and Elite Holiday Prism Concert 7:00 p.m. (Call 6:00) TCHS PAC Jan.-Feb. Apprentice and Elite Basketball Games TBD TCHS Gym Jan.-March Apprentice and Elite Senior Piece Rehearsals Specific Dates TBA in Dec. TCHS Dance Room Jan. 17th All Classes Dance Program Convention During the school day TCHS PAC Jan. 25th (Fri.) NHSDA Board Members NHSDA Board Meeting 2:30-3:00 TCHS Room Feb. 2-3 (Sat. and Sun.) Elite and Apprentice LA Dance Magic Specific Times TBA Orlando Regency Hyatt *Scholarships will be available Feb. 5th (Tues.) NHSDA Members NHSDA Meeting 2:30-3:00 TCHS Dance Room Feb. 6th (Weds) Elite Seniors FDPA Rehearsal (if needed) 1:30-4:00 Feb. 9, 10, 11 (Sat., Sun., Mon.) Elite Seniors Florida Dance Performance Assessments Specifics TBA Pinellas County Center for the Arts *NOT FOR SURE Feb. 27th (Weds.) All Classes Winter Showcase Rehearsal 1:45-5:30 TCHS PAC Feb. 28th (Thurs.) All Classes Winter Showcase Call 5:45, Show 7:00 TCHS PAC March 8th (Fri.) NHSDA Board Members Board Meeting (Induction Specific) 2:30-3:00 TCHS Dance Room March 12th (Tues.) Meeting/Induction Practice 2:30-3:30 TCHS Dance Room March 13th (Weds.) All Classes Program/Team Auditions for '18-'19 1:30-4:30 HS, MS TCHS PAC March 26th (Tues.) NHSDA Members NHSDA Inductions and Senior Showcase 6:30-8:30 TCHS PAC March 28th (Thurs.) All Classes Dance Team Call Backs 2:15-4:00 HS, TCHS Dance Room
Schedule Monday Tuesday Wednesday Thursday 5:00-5:30 Pre Ballet Age: 2-3 Studio A 5:30-9:00 Company Studio A & B 5:30-6:30 Ballet, tap, tumble Age: 3-4 Studio A 5:30-6:30 Ballet, tap, tumble Age: 3-4 Studio A 5:30-9:00 Company Studio A & B 5:30-6:30 Ballet, tap, jazz Age: 5-7 Studio B 5:30-6:30 Ballet, tap, jazz,tumble Age: 5-7 Studio B 6:30-7:30 Jr. Jazz/Hip Hop Age: 6-8 Studio A 6:30-7:30 Ballet & Jazz Age: 7-10 Studio B 6:30-7:30 Teen Jazz/Hip Hop Age:10-18 Studio B 7:30-8:30 Teen Ballet/Lyrical Age: 10-18 Studio A 7:30-8:15 Dance Team Prep Age: 11-18 Studio B
Reflection time ‘What movements did you enjoy doing today?’ ‘What movements did you enjoy watching others do today? Direction: Forward, backward, sideways, diagonal, left Orientation: Facing front, back, side, etc. Pathway: Curved, straight DYNAMICS Defines how one moves. Characteristics of a movement. The degree of energy, intensity, or power in the execution of movements. Quality: Flowing, tight, loose, sharp, swinging, swaying, suspended, collapsed, smooth Attack: Sharp/smooth Sudden/sustained RELATIONSHIP Defines the relationship of the dancers. Spatial Relationships: In front, beside, behind, over, under, alone/connected, near/far, formations Timing Relationships:
Heavy or light movement? Warm down. Reflection. 3 Warm up. Exploring the element of Relationship. Partner work. Group Work. Warm up from lesson one and moving in space from lesson two. Teacher- Today we are going to be looking at the element of ‘Relationship’. We are going to look at the relationship between the dancers. They might be standing next to each other, behind, in front, on a diagonal, etc. They might be dancing at the same time or before and after. Mirror image- Have students stand facing each other in pairs. One student at a time is the creator and with slow movements they begin to move. Their partner is going to move the same way and mirror image them in unison (movement is done at the same time). After the other student has a turn split the class into two groups. One person from each group is chosen to stand at the front and the process is repeated with a group following. Students take turns of being at the front and creating. The other group has the opportunity to observe. Remind students not to move too fast so the others can keep up with them. Mexican Wave- Have students stand in a circle and explain to them that they are going to perform a ‘Mexican wave’ just like at a sporting game. Have one student begin and the others follow on to create a wave with their arms around the circle. Explain to the students that in dance terms this is called a ‘cannon’ and it means that all the dancers are doing to same thing but they need to wait for another to start of finish before they begin. Brainstorm some different movements (maybe different body parts) they could use and try another cannon (Mexican wave style in a circle). Teacher notes- While a dancer is always moving and standing in relationship to the floor. They stand on it, run over it, sink into it or leap away from it. This lesson however focuses on the relationship between the dancers in regards to spatial and timing relationships. Relationship, cannon, unison, formation, straight, diagonal,
Subject DRAMA MEDIA MUSIC VISUAL ARTS Unit Title: Stories Through Dance Achievement Standard By the end of Year 6, students explain how the , and production elements communicate meaning in dances they make, perform and view. They describe characteristics of dances from different social, historical and cultural contexts that influence dance making. Students structure movements in dance sequences and use the and to make dances that communicate meaning. They work collaboratively to perform dances for audiences, demonstrating technical and Learning Intention Students learn to chorography Learning Framework Community Contributor Leader and Collaborator Active Investigator Effective Communicator Designer and Creator Quality Producer Cross Curricular Priorities Catholic Ethos Aboriginal and Torres Strait Islander Histories and Cultures Social Emotional Learning Asia and Australia’s Engagement with Asia Inclusive Education Sustainability Education General Capabilities Literacy Critical and Creative Thinking Numeracy Ethical Behaviour Information and Communication Technology Personal and Social Competence
Travelling a range of speed and rhythm Travelling a range of dynamic qualitiesan Assessment of Creative application Acquiring (sometimes) Consolidating (frequently) Established (consistently) Creates short dances or phrases (set movements) Takes creative risks Manipulates movement and creates short dances using the elements of dance Dances freely or improvises within given structures Assessment of performance skills Acquiring (sometimes) Consolidating (frequently) Established (consistently) Rehearses sufficiently for performance Performs appropriately to a range of audiences Applies basic performance skills with others to improve performance outcomes Responding to Dance Acquiring (sometimes) Consolidating (frequently) Established (consistently) Reflects on their own engagement, contributions, discoveries and performance Analyses and reflects upon the performance of others Recognises features, content and meaning in dances Identifies the influence of purpose, perspective, identity and culture on the choreography and performance of dances Planning for Differently Abled Students
29. 30. Percentage What was effective in the lesson? Why? What do I want to consider for the next time I teach this lesson? What were the strongest connections between arts discipline and subject area? Teacher: Date: ARTS IMPACT VOICES FROM THE FIELD 2018 – Dancing Persuasively 15 ARTS IMPACT FAMILY LETTER ARTS AND ELA INFUSED LESSON: Dancing Persuasively Dear Family: Today your child participated in a Dance and ELA Infused lesson. We talked about how we can use dance to persuade. • We selected a position to use to persuade an audience, two reasons to support our argument, and a conclusion. • We created a dance to persuade an audience to agree with our position. • We wrote a persuasive essay based on our dance. At home, you could try to persuade each other using movement and not words. Enduring Understanding Dance shapes and movements can communicate persuasive arguments.
1 Educated to degree level E 2 Maths to at least level 2 E 3 English to at level 2 E 4 IT qualifications to level 2 E 5 A relevant IAG qualification 6 A relevant project management qualification, such as Prince2 or APM D Experience and Skills 7 Recent experience of developing and delivering activities and resources to support the progression of young people in education E 8 Recent experience of management, particularly in the context of activities for young people, predominantly year 10/14+ onwards E 9 Recent experience of working collaboratively with a of stakeholders including external partners E 10 Recent experience of evaluating activities and appropriately revising work practices E 11 Experience of working in schools or colleges across Derbyshire and Nottinghamshire D 12 Experience of working with third party providers of educational enrichment programmes D 13 Demonstrate suitability to work with children and vulnerable adults including knowledge/understanding of safeguarding and DBS compliance E 14 Knowledge and understanding of higher education; in particular widening participation policy, practice and funding issues E 15 Up-to-date knowledge of the education sector, especially pre-and secondary education E 16 Excellent interpersonal and communications skills and an ability to deal with a wide range of stakeholders and people at all levels of an organisation E 17 Excellent written and report writing skills E 18 Ability to work well in a team environment as well as independently E 19 Knowledge of safeguarding policy and processes in relation to arranging activities for young people E 20 An ability to work creatively and to interact positively with young people E 21 Ability to travel E Personal Attributes: 22 Demonstrate a positive approach to equality and diversity and customer service E 23 Demonstrate an ability to take responsibility for own and others’ Health and Safety at work E 24 Ability to get on with and respect people of all ages E 25 Well organised E 26 Ability to articulate clearly and objectively E Equality of opportunity 27 A commitment to uphold and promote Equality of Opportunity E KEY: E Essential D Desirable A Assessed by Application Form
3d: Using Assessment in Instruction There is little or no assessment or monitoring of student learning; feedback is absent or of poor quality. Students do not appear to be aware of the assessment criteria and do not engage in self- assessment. Assessment is used sporadically by teacher and/or students to support instruction through some monitoring of progress in learning. Feedback to students is general, students appear to be only partially aware of the assessment criteria used to evaluate their work, and few assess their own work. Questions, prompts, and assessments are rarely used to diagnose evidence of learning. Assessment is used regularly by teacher and/or students during the lesson through monitoring of learning progress and results in accurate, specific feedback that advances learning. Students appear to be aware of the assessment criteria; some of them engage in self-assessment. Questions, prompts, assessments are used to diagnose evidence of learning. Assessment is fully integrated into instruction through extensive use of formative assessment. Students appear to be aware of, and there is some evidence that they have contributed to, the assessment criteria. Students self-assess and monitor their progress. A variety of feedback, from both their teacher and their peers, is accurate, specific, and advances learning. Questions, prompts, assessments are used regularly to diagnose evidence of learning by individual students. 4b: Maintaining Accurate Records Teacher’s system for maintaining information on student completion of assignments and student progress in learning is nonexistent or in disarray. Teacher’s records for activities are in disarray, resulting in errors and confusion. Teacher’s system for maintaining information on student completion of assignments and student progress in learning is rudimentary and only partially Teacher’s records for activities are adequate but require frequent monitoring to avoid errors. Teacher’s system for maintaining information on student completion of assignments, student progress in learning, and non-instructional records is fully Teacher’s system for maintaining information on student completion of assignments, student progress in learning, and non-instructional records is fully Students contribute information and participate in maintaining the records.
4.3 An understanding of procedures for realizing a variety of dance styles Students will demonstrate an understanding of procedure for realizing a variety of dance styles DANC 314 Improvisation; DANC 304 Ministry DANC 111 Dance Performance Ensemble DANC 400 level techniques Improvisation Project 16-17 year 20-21 year 75% will score a B or higher Intrapersonal awareness: Students will gain self-awareness of identity, character, and vocational calling Knowledge and/or skills in one or more areas of dance beyond basic coursework and performance appropriate to the individual’s needs and interests Students will develop knowledge and / or skills in one or more areas of dance beyond basic course work and performance appropriate to the individual’s needs and interests. THEA 304 Dance Ministry; THEA 475 Theatre Capstone Seminar; DANC 470 Dance Capstone Practicum DANC 404 Dance Choreography DANC 105 Dance Pedagogy Capstone Project ELI Reflection questions 17-18 year 22-23 year "How I did it" Paper 17-18 year 22-23 year 75% of seniors will score 15 points or higher on the rubric. Faith knowledge & application: Students will develop informed and mature convictions about Christian faith and practice Students will develop abilities to: Cultivate the stewardship of the intellect and imagination Explore the intersections between Christian faith and Dance THEA 470 Theatre Capstone Seminar DANC 305 Dance Ministry Art and Faith Integration paper 75% of seniors will score a 5 on the rubric. 13-14 year 17-18 year 22-23 year
Dandelion Wine Chapter 23-31 Study Guide Chapter 23-26 73. What did Mrs. Brown mean when she said to Tom that she needed the “equivalent of the blood of the Lamb” with her? 74. Why did Tom decide to go with her? 75. What is the real source of animosity between the two women? 76. How did Mrs. Brown “do herself in” in her attempt to fight witchcraft? 77. Why do you Mrs. Goodwater had the wax doll? 78. What, in the end, “saves” Mrs. Brown from the witchcraft? 79. Create a title for Chapter 23. 80. Make 2 connections with Chapter 23. One needs to be “text to me,” and one needs to be “text to text” or “text to world.” 81. Create a title for Chapter 24. 82. The first paragraph on page 129, Colonel Freeleigh’s dream, is an extended metaphor. What does it represent?
Section 4: Annual Self-Evaluation [Drafting Note Annual self-evaluation section enables schools to continuously collect, monitor and analyse school data about all aspects of school performance. This ensures that all aspects of school performance are considered throughout the year and that any risks, issues and opportunities are identified as they emerge. The Annual self-evaluation against the Continua of Practice should be completed as data becomes available] Priority Improvement model dimensions – note Improvement Initiatives are bolded Is this an identified initiative or dimension in the AIP? Continuum status Evidence and analysis Excellence in teaching and learning Building practice excellence [Drafting note For current AIP improvement initiatives and/or dimensions, please provide a succinct and conclusive statement referring to the monitoring section of this plan. This statement can to the progress status and/or make reference to the achievement of the appropriate goals, targets and success criteria. For all other initiatives and dimensions, please consult the Focus question and data matrix (link) for suggested enquiry based questions and data sets to be used for investigation.] Curriculum planning and assessment high impact teaching strategies Evaluating impact on learning Professional leadership Building leadership teams Instructional and shared leadership Strategic resource management Vision, values and culture Positive climate for learning Empowering students and building school pride Setting expectations and promoting inclusion Health and wellbeing Intellectual engagement and self-awareness Community engagement in learning Building communities Global citizenship Networks with schools, services and agencies Parents and carers as partners Reflective comments: [Drafting Note Please use this section to summarise your learnings from the self-evaluation process, including professional growth and key findings] Confidential cohorts analysis: [Drafting note This section is not for public distribution. Report here the extent to which cohorts of students within the school (including Koori, high ability, refugee, EAL, PSD, out of home care students, etc.) are being supported and challenged, leading to an inclusive and stimulating environment for all students] Next Steps: