Oral History - COVER PAGE

4/13/14 12:25 AM

MID-PHASE DANCE UNIT Kyle Georgina Marsh December 5th, 2013 Graduate School of Education Rutgers University

Unit Title: Oral History Dance Discipline Areas Addressed: This unit will be addressing all four of the following dance cornerstones, as established by Brenda Pugh McCutchen in her book Teaching Dance as Art in Education. The four cornerstones McCutchen introduces in order of their relevance to this oral history unit are: Knowing History, Culture, and Context Analyzing and Critiquing Creating and Composing Performing Knowing History, Culture, and Context As stated by McCutchen the importance of addressing dance from a historical and cultural point of view is that it introduces the idea that dance, as an art form exists within a broad context. The study of history, culture, and context ultimately, encompasses dance as art and as a human phenomenon. This is significant because as dance educators it is our goal to ultimately lead students to a point of discovery that will enable them to understand the unique power of dance as a tool of communication that brings life and energy to the experiences of other people (McCutchen, 2006. 209). In this way, students participating in this oral history unit will be prompted to investigate their relationships to history, as well as their individual cultural communities. Students will be engaging in the development of their historical and cultural knowledge by asking questions about what it is that they think they know, what they would like to know, and ultimately what it is they need to know. Through this process students will be guided into the development of a thoughtfully planned project design, which will lead to their collection of a 20 minute oral history interview with a community member of their choice. In this way students will be encouraged to engage not only as passive observers of history, but as actively empowered participants. . Analyzing and Critiquing The emphasis of this learning cornerstone is for students to critically reflect, respond, and talk about dance in a manner that encourages articulation and the use of specific dance vocabulary as a means of clearly expressing opinions and ideas (McCutchen, 2006. 251). In this unit students will be engaged in a constant process of analyzing and critiquing their own work and research within the field of oral history. Students will be keeping regular reflective journal entries about the development of their ideas, their interview experiences, and their choreographic process and progress. Throughout the unit

students will be asked to participate in group discussions and work collaboratively as a means of informing and refining their own individual research and choreographic processes. Individually this experience will provide students with the opportunity to further refine and identify their developing sense of aesthetic. Creating and Composing Perhaps one of the most crucial cornerstones addressed in this unit, creating and composing will serve as the educational bridge between students development of their historical knowledge and their direct application of this emerging understanding to their artistic identities. As expressed by McCutchen in essence, creating and composing involves reaching into the soul and brining out what is there in the forms of movement and creative thinking. It is the place to celebrate each individual childs unique self. It is the place where each one learns his [or her] own language of dance and finds his [or her] own creative movement voice (McCutchen, 2006. 169-70). In this way the culminating project of this unit attempts to directly address and empower each individual childs artistic identity by asking them to develop a choreographed solo, based on their interview experiences and collected historical data. Asking students to create movement solos not only empowers them as individual artist, but also serves to validate each students experience physically by encouraging the development of a movement vocabulary and language that is specific to each student. Performing Although performing is not the primary goal or focus of this unit, it is embedded within the context of the final project simply because as an art form dance involves communicating and therefore moving and performing (McCutchen, 2006. 125). After creating their solos student will be asked to stand in front of a body of their classroom peers and perform their final projects. In doing this students will be offered the opportunity to dialogue about their process afterwards and to receive feedback about their presentation as desired. Similarly, students who wish to submit themselves as participants in the annual student choreography concert will be offered the opportunity to present their work for a second time in front of the reaming school body and attending public. By choosing to present and engage in a final project that involves performance students will be integrating not only their intellectual and creative representations for this project, but also their kinesthetic and body intelligences. Collectively all four of the dance cornerstones and content areas represented above, reflect British dance educator Jacqueline Smith-

Autards Midway Model for dance education. In its most simple form this model suggests an emphasis on process rather than product and notes that, the quality of the process should be reflected in the quality of the product (Smith-Autard, 2002. 7). In this way all four of the dance corner stones addressed within this unit combine to offer students a comprehensive process that is reflective, creatively stimulating, and artistically meaningful. Grade Level/Target Course: This course is designed and intended for junior and senior students. However, due to the unique share-time scheduling of MCVTS will have to be modified in order to accommodate some sophomore and freshmen students who will be present during the designated periods of instruction. Placement in Curriculum: Unit 1: September 19th, 2013 January 30th, 2014 Duration: 12 lessons 60 minutes each Unit Description/Summary: The purpose of this unit is to foster the development of each students sense of identity and validity within the context of contemporary and historical society. My end goal for each student coming out of this process is that they emerge with a stronger sense of who they are, and how it is that this relates to their feeling empowered as individuals and as citizens. Students will be asked to select a topic or area of interest that relates to their personal lives or community as a means of developing an oral history project design outline that will lead them into the collection of a 20-minute oral history interview. After collecting their interview students will use the historical data they have generated as a research tool for the creation of an original piece of solo choreography. In the process of developing these oral history solos students will be exposed to a variety of choreographic tools, which will serve as a basis for a number of reflective, creative, and analytical responses students will generate in accordance with the information they have collected. Embedded Literacy and Common Core Key Competencies Across the Unit:

As students participate in this unit they will be working towards addressing and refining the following Common Core Key Competencies for Speaking and Listening in grades 11th and 12th: Comprehension and Collaboration CCSS.ELA-Literacy.SL.11-12.1 Initiate and participate effectively in a range of collaborative discussions (one-onone, in groups, and teacher-led) with diverse partners on grades 1112 topics, texts, and issues, building on others ideas and expressing their own clearly and persuasively. o CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas. o CCSS.ELA-Literacy.SL.11-12.1b Work with peers to promote civil, democratic discussions and decisionmaking, set clear goals and deadlines, and establish individual roles as needed. o CCSS.ELA-Literacy.SL.11-12.1c Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives. o CCSS.ELA-Literacy.SL.11-12.1d Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is required to deepen the investigation or complete the task. CCSS.ELA-Literacy.SL.11-12.2 Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data. CCSS.ELA-Literacy.SL.11-12.3 Evaluate a speakers point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used. Presentation of Knowledge and Ideas CCSS.ELA-Literacy.SL.11-12.4 Present information, findings, and supporting evidence, conveying a clear and distinct

perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range of formal and informal tasks. CCSS.ELA-Literacy.SL.11-12.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest. CCSS.ELA-Literacy.SL.11-12.6 Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. (See grades 1112 Language standards 1 and 3 here for specific expectations.) Unit Rationale:
Ph y si ca ll y, Co gn i ti vel y, P sy ch o-so ci al ly , & A e sthe ti c al ly:

Developmentally I perceive this group of students as being collectively sophisticated in both their physical, cognitive, psycho-social, and aesthetic understandings of dance. As a class they appear to have a very well rounded technical foundation and kinesthetic awareness. When viewed within the context of Fitts and Posners Associative and Autonomous Stages of Learning, these student exhibit varied levels of competence, in the way they navigate their bodies, observe personal space, and work to learn new movement patterns during technique class. Watching students in technique class I have observed varied levels of metacognition in the way students are prompted to selfanalyze and ask questions about the physical skills they are working on or refining. Similarly, when compared to Harrows Taxonomy of Psychomotor Domain, these students tend to live in the Perceptual, Physical Activities, Skilled Movements, and Non-discursive Communication categories, all of which require complex neuromuscular coordination. Cognitively, I find this group of students to be extremely inquisitive, deeply reflective, and refreshingly independent. Observing them in class I have noticed that students are often engaged in a subject matter and behavioral oriented teaching style, as per the Spectrum of Teaching Styles. This means that often learning is simply guided by the teacher and that students are frequently left in a position to independently make decisions, develop initiative, regulate their use of time, and ask questions for clarification. From a cognitive psychological point of view, all of the students in this class are operating within Paiges Formal Operations Stage, which means that they are engaged in the formation and use of abstract thoughts. Socially this group of students appears mature. Most of the students in this class are moving towards the formation of autonomous

individualized identities. Although there is still a strong sense of community and orientation towards the group, within this class most students are moving closer to Ericksons early adulthood phase of Intimacy vs. Isolation. As students mature and move further towards this stage of development the sense of complexity with which they view and understand both their romantic and plutonic relationships deepens. Aesthetically this group of students currently demonstrates a primary orientation towards Michael Parsonss Beauty & Realism phase as well as an Expressiveness phase. Together these phases are defined by Michael Parsonss taxonomy for aesthetic development as stages that value an admiration of technical skill, and that are interested in interpreting applying meaning to individual works of art. In this way I anticipate the use of students oral history projects to be beneficial in their creation of choreography as it will provide them with a centralizing theme and narrative to interpret and respond to.
Wh y Thi s Un it i s Rel ev an t:

The implementation of this unit is relevant to this particular group of learners and their lives because it will provide them with a unique opportunity to investigate their individual similarities and differences in a way they have never been able to do so before. It goes without saying that the student population within the MCVTS dance program is uniquely diverse; partially as a result of our location and our sharetime students program. As a result within the dance classroom we are privy to a number of different racial, cultural, and socio-economic identities. In turn these varying identities provide our students with the unique opportunity to learn, share, and interact with one another in a manner that could broaden and enlighten each of their views about each other and the various communities that surround them. By choosing to engage in an oral history unit that is community and student centered, the opportunities to facilitate open and informative conversations about race, identity, culture, and socio-economic status will be enriching, bright, and ultimately informative in the most positive manner possible. Choosing to engage in this way will situate students in a strategic place not only to learn from one another but, also to understand one another. Similarly, this unit is relevant to this group of students because of the way in which it intentionally seeks to empower this group of learners as individuals and as valued members of the community.
Pre -a sse ssme n t Re sul ts:

In performing my pre-assessment tasks for this group of students, I learned that many of them possessed misconceptions about what oral

history is, and what it would mean to collect one. Similarly, during my pre-assessment I discovered that most of my students also seemed to possess a sense of disconnect between the way in which they understood themselves and their relationship to history. During the course of my pre-assessment I asked students to try and identify how it is that we establish anything as a truth? Through posing this question I came to realize that the pedagogical point of view I needed to start this unit from was going to be one that prompted the students to essentially question the history of history, as a means of asking them to reconsider the historical facts they thought they knew. In doing this my intention was to prompt students to question more analytically how it is that they write and design history. The resulting essential questions I decided we would start with as an introduction to this unit than became: What is the difference between fact and truth? How can we define them? In seeking to develop a student generated definition of the difference between fact and truth it is my hope that we will lead ourselves into a discovering the multiple ways in which oral history can serve as a supplemental source and historical record. My goal for students in pursing this is to lead them to a place that allows them to uncover the importance of their own voice and experience within the fabric and unfolding of their own history. NJCCCS Dance Standards:

1.1 The Creative Process Grade 12 All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art. 1.1.12.A.1 - Articulate understanding of choreographic structures or forms (e.g., palindrome, theme and variation, rondo, retrograde, inversion, narrative, and accumulation) in master works of dance. 1.1.12.A.3 - Analyze issues of gender, ethnicity, socio-economic status, politics, age, and physical conditioning in relation to dance performances. 1.2 History of the Arts and C ulture Grade 12 All students will understand the role, development, and influence of the arts through history and across cultures. 1.2.12.A.1 - Determine how dance, music, theatre, and visual art have influenced world cultures throughout history. 1.2.12.A.2 - Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras.

1.4 Aesth etic R esponses & Critique M ethodologies Grade 12 All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. 1.4.12.A.1 - Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of dance, music, theatre, and visual art. 1.4.12.A.2 - Speculate on the artists intent, using disciplinespecific arts terminology and citing embedded clues to substantiate the hypothesis. 1.4.12.A.3 - Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works. 1.4.12.A.4 - Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artwork. 1.4 Aesthetic R esponses & Critique M ethodologies Gra de 12 All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. 1.4.2.B.1 - Observe the basic arts elements in performances and exhibitions and use them to formulate objective assessments of artworks in dance, music, theatre, and visual art. 1.4.2.B.2 - Apply the principles of positive critique in giving and receiving responses to performances. 1.4.2.B.3 - Recognize the making subject or theme in works of dance, music, theatre, and visual art. 1.3 Performance Grade 12 All students will synthesize those skills, media methods, and technology appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art. 1.3.12.A.1 - Integrate and recombine movement vocabulary drawn from a variety of dance genres, using improvisation as a choreographic tool to create solo and ensemble compositions.

1.3.12.A.2 - Create theme-based solo and ensemble dances that have unity of form and content, conceptual coherence, and aesthetic unity. 1.3.12.A.4 - Collaborate in the design and production of dances that use choreographic structures and incorporate various media and/or technologies.
NJ 21st Century Standards: 9.1 21 st -Century Life & Career Skills Grade 12 A. Critical Thinking and Problem Solving All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures.

9.1.12.A.1 - Apply critical thinking and problem-solving strategies during structured learning experiences. 9.121 st -Century Life & Career Skills Grade 12 B. Creativity and Innovation All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse and organizational cultures. 9.1.4.B.1 - Participate in brainstorming sessions to seek information, ideas, and strategies that foster creative thinking. 9.1.8.B.1 - Use multiple points of view to create alternative solutions. 9.1.8.B.2 - Assess data gathered to solve a problem for which there are varying perspectives (e.g., cross-cultural, genderspecific, Igenerational), and determine how the data can best be used to design multiple solutions. 9.1.12.B.1 - Present resources and data in a format that effectively communicates the meaning of the data and its implications for solving problems, using multiple perspectives. 9.1.12.B.2 - Create and respond to a feedback loop when problem solving. 9.1 21 st -Century Life & Career Skills Grade 12 C. Collaboration, Teamwork, and Leadership All students will demonstrate the creative critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures.

9.1.12.C.1 - Enlist input from experts in the field, community members, and other stakeholders to design a service-learning activity that addresses a local, national, or worldwide need. 9.1 21 st -Century Life and Career Skills Grade 12 D. Cross-Cultural Understanding and Interpersonal Communication All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse and organizational cultures. 9.1.12.D.1 - Interpret spoken and written communication within the appropriate cultural context. 9.1.12.D.2 - Determine the immediate and long-term effects of cross-cultural misconceptions or misunderstandings resulting from past or current international issues or events. 9.1.12.D.3 - Explain why the ability to communicate in another language in an appropriate cultural context is a valuable 21stcentury skill.
Essential Questions: What is fact? What is truth? How do our definitions of fact and truth relate to our definition and understanding of history? Who writes history? How do we view and understand our personal relationships to history? Whose story does history tell? Who is left out of history? What makes people or information historically worthy? What is our role in the recording and making history? How does all of this information relate to me and my community? What stories and people are important to me? How can I challenge and redefine the historical record? Essential Understanding/Important Knowledge: Knowledge (Nouns) Skills (Verbs) Choreographic structures Articulate Issues of gender, ethnicity, Analyze socio-economic status, politics, age, and physical condition Influence of world cultures Determine

Historical habits of mind Cultural implications of dance Artistic intent Cultural influences Arts elements Principals of positive critique Subject or theme in art works Movement vocabulary Theme-based solo Choreographic structures Problem-solving strategies Creative thinking Alternative solutions Gather data Feedback loop Communication

Justify Differentiate Speculate/Site Evaluate Observe Apply Recognize Integrate Create Collaborate Apply Participate Use/Create Assess Create/Present/Respond Interpret

Unit Level Student Learning Objectives: 1. SWBAT generate their own choreographic solo study based on data they collect during their oral history interview. 1.1 Identify information from their oral history interview that is relevant and useful to them in their choreographic process. 1.2 Recall physical moments and movements from their interview process. 1.3 Physically interpret the information in a literal format. 1.4. Summarize the information by identifying major themes and points. 2. SWBAT demonstrate their use and knowledge of choreographic structures in relationship to a physical analysis of their oral history interviews. 2.1 Use observation criteria and skills to identify specific individual characteristics. 2.2 Categorize observations by embodying and differentiating between their physical differences and similarities. 2.3 Implement and apply new physically embodied information into the structure of their solo. 2. 4 Analyze and organize physical information in their solo accordingly in reference their person/subject of study and understanding of choreographic tools. 3. SWBAT Compare and illustrate ways in which history is related to their communities and personal lives.

3.1 gather individual data in the form of an oral history project design that represents an area of interest that is community related. 3.2 execute an oral history interview with a community member of their choice. 3.3 select and focus on key information that is the result of their oral history interview as part a part of their choreographic process. 4. SWBAT monitor and engage in a critical feedback process about the choreographic work they create and the oral history research they generate. 4.1 analyze and discuss student peers movement studies with appropriate choreographic vocabulary. 4.2 outline, deconstruct, and describe themes that arise in relationship to issues surrounding gender, culture, politics, and community as appropriate. 4.3 generate and provide observable alternate solutions and problem solving skills to peers as needed. Cornerstone Task: Students will create a solo that demonstrates research and physical exploration of gesture, vocalization, and environment as drawn from their oral history interview experience. In the development of this project students are expected to place an emphasis on process rather than product. The goal is not to create the perfect solo, but rather to demonstrate a full exploration of the oral history research methods as it relates to movement and the creation of choreography. Students will be asked to explore three primary choreographic elements: gesture, sound, and environment. In the creation of their final product students are working towards a physically interpreted embodiment or recreation of their oral history interviewee and, or area of interest. Pre-Assessment: In preparing to teach this unit my pre-assessment involved an initial meeting with students, in which I split them into groups of four and handed out large sheets of paper. After splitting students into groups and handing out paper I asked them to designate a person to draw one large circle in the center or the page. Following this, students were instructed to sit so that each group member occupied one full length of the paper. Next, students were instructed to draw lines from the corners of their page towards the circle in the center, as a means of designating personal writing space. If performed correctly each

group ended up with four writing quadrants surrounding the circle in the center. Students were asked to begin by taking five minutes on their own to write and list what they thought oral history might mean. After completing this task, students were asked in their groups to discuss and share answers. Students were instructed to place any reoccurring or shared answers into the center of their circle. Next each group of students was asked to share aloud with the class the answers they had noted in the center of their circle. As a class we compared and discussed any similarities and differences we found between each groups circle answers. Following this exercise I collected each groups papers, and explained that we were going to save them as items we would come back to at the end of this unit, in order to assess how much wed learned. At this point I handed out the class syllabus and discussed with students what materials they would need for this class over the course of the semester.

Community Resources: Human resources within the community: Community resources utilized during this unit will be the involvement and interviewing of specially selected community members themselves! In asking students to seek out interview subjects from their surrounding communities, my hope is that surrounding community members as well as my students will become personally invested in this process. A primary goal of this project is that it be community specific, so that ultimately students can be lead into discovering how rich their own homes and communities are with history and culture. Rutgers University: As it is within the interest of MCVTS to encourage the development of its relationships with resident community educational institutions such as Rutgers, another resource utilized in this unit will be the guidance of Rutgers professor Dr. Jeff Friedmen.

UNIT LEARNING PROGRESSION MAP LESSON 1 Truth/Fact/Opinion SWBAT interpret and clarify the difference between truth, fact, and opinion. SWBAT compare and explain the relationship between truth, fact, opinion, and the historical record.

SWBAT attribute and critique the significance of truth, fact, opinion, and the way in which empowers them as individuals to interact with the historical record. Lesson 2 Introduction to Oral History Project Design SWBAT identify key points that differentiate telling a story from oral history. SWBAT generate an outline that demonstrates the key aspects of an oral history project design. SWBAT create a copy of their own oral history project design. LESSON 3 Project Design & Interview Questions SWBAT reiterate and solidify the primary aspects of an Oral History Project Design. SWBAT compose drafts of their open-ended questions that they will use in their collection of Oral History interviews. SWBAT make references to the community around them and determine personal resources that they can use in their collection of an Oral History interview. LESSON 4 Open Ended Questions SWBAT extract and analyze specific information from group discussions that pertain to each students individual interests, within the context of their oral history project designs. SWBAT compare and summarize the difference between an oral history interview and a journalistic interview. SWBAT re-draft and refine their individual set of open-ended oral history interview questions. Lesson 5 The Interview Process SWBAT verbally identify and discuss key points regarding the proper etiquette involved in conducting an oral history interview. SWBAT identify and discuss the purpose of "pause" and "silence" that can occur within the oral history interview process, and explain why it is valuable to them. SWBAT articulate the ways in which they will utilize proper interviewing techniques and the observance of silence in the collection of their oral history projects. LESSON 5 Finalizing the Interview Process SWBAT analyze and describe key aspects of the interview process. SWBAT execute their own oral history interviews and collect digital data.

SWBAT plan and produce questions as they relate to their own individual projects. LESSON 6 Data Collection & Interview Reflections SWBAT document and record a 20 minute Oral history interview. SWBAT analyze and reflect on their experiences after having interviewed. SWBAT organize and critique any new information they have gained in reference to their selected interview topic, as a result of their oral history interview process. LESSON 7 Individual Process SWBAT produce an analytical reflection of their individual oral history interview experiences by responding to reflective questions both in writing and through group discussions. SWBAT analyze video and audio footage of interview, via group discussions to determine what aspects of the interview process they could improve on for the future, if they were to attempt this task again. SWBAT begin embodying the practice of oral history transposition by physicalizing their responses to verbal imagery cues. LESSON 8 Choreographers Workshop Gesture SWBAT generate, organize, and perform their own choreographic vocabulary based on literal recreations of movements they observe from selected sections of their oral history interviews. SWBAT use the sound and movement they observe in their oral history interviews, separately from one another to generate movement studies. SWBAT analytically differentiate between the use of narrative as a tool for generating choreography and the use of imitation as a tool for generating choreography. Lesson 9 Chor eographers Wor kshop Sound SWBAT recognize and extract useful moments of speech and sound from their interview experience as a source for generating new movement studies. SWBAT implement and use selected experts of sound as guidelines for the creation of responsive movement invention. SWBAT design and refine movement studies for their solo that utilizes sound and text as a major tool for generation and manipulation.

Lesson 10 Choreographers W orkshop Environment/In-vironment SWBAT analyze physical aspects of the environment that they conducted their oral history interviews in, as a guideline for generating new movement vocabulary. SWBAT distinguish and select emotional responses that they had to the spaces they interviewed in, and contextualize these reaction in relationship to their analysis of the physical environment. SWBAT use and produce a movement study that is generated from drawings and physical memories of the space they interviewed in, as a descriptive tool for generating new movement vocabulary. Lesson 11 Sound Scores SWBAT analyze elements that contribute to creating of selecting sound scores for dance. SWBAT deconstruct elements of sound that will be specific to the generation of use of their solos sound score. SWBAT create of appropriately select sound scores for their solo. Lesson 12 Assemble SWBAT critique and provide guided feedback about peers work. SWBAT integrate and organize peer feedback. SWBAT refine, produce, and perform final solo project for peers.