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11255 North Torrey Pines Road, La Jolla, CA 92037-1011 Phone (858) 642-8320 Fax (858) 642-8724 www.nu.edu

Lesson Plan Design

Subject: PE Dance Styles Grade: 10-12

Lesson Topic: Jazz Dance Technique & Choreography

Candidates Name: Sarah Shoemaker

Site Supervisor: Jarrah Myles

ID # 023441257
NU Supervisor: Sharon Fernandes

Date: __Thursday, March 10, 2016____________________________

1. Introduction: (Identify Grade Level K12 Academic Content Standard(s), rationale, focus learner, create
bridges from past learning, behavior expectations)
.
Content Standards:
California VAPA Dance Content Standards: Grade 9-12
Proficient:
1.0 ARTISTIC PERCEPTION: Processing, Analyzing,
and Responding to Sensory Information Through the
Language and Skills Unique to Dance. Students perceive
and respond, using the elements of dance. They
demonstrate movement skills, process sensory
information, and describe movement, using the
vocabulary of dance.
1.1 Demonstrate refined physical coordination
when performing movement phrases (e.g.,
alignment, agility, balance, strength).
1.2 Memorize and perform works of dance,
demonstrating technical accuracy and
consistent artistic intent
1.3 Perform in multiple dance genres (e.g.,
modern, ballet, jazz, tap,
traditional/recreational).
2.0 CREATIVE EXPRESSION: Creating, Performing,
and Participating in Dance. Students apply
choreographic principles, processes, and skills to create
and communicate meaning through the improvisation,
composition, and performance of dance.
2.4 Perform original works that employ
personal artistic intent and communicate
effectively
2.5 Perform works by various dance artists
communicating the original intent of the work
while employing personal artistic intent and
interpretation
California Physical Education Model Content Standards,
High School Course 3D:
Standard 1: Students demonstrate knowledge of and
competency in motor skills, movement pattern, and
strategies needed to perform a variety of physical
activities.

Rationale for Academic Standards: Students taking

this course will be proficient in dance technique at a
developmentally appropriate level for age and
experience, with regard to both performing arts and
physical education. The class will devote specific time
developing flexibility through various stretching
techniques and strengthening of the dance body through
proven somatic practices. Focusing on the process of
creativity, discipline and self-knowledge instead of
choosing a performance driven approach is fostered by
critical and process-oriented thinking. Students will
learn fundamental alignment, technique, and
terminology. This course is UC A-G approved for either
physical education or art elective credit.

1.2 Identify the characteristics and critical

elements of a highly skilled performance in
dance activities and demonstrate them.
1.3 Apply previously learned movement
concepts to the learning and development of the
motor skills required for successful
participation in dance activities.

Purpose: Students will apply previously learned

biomechanics, general dance technique, choreography,
and performance concepts to learn and perform in class a
jazz/contemporary combination put to music. Students
will also have the opportunity to practice improvisation
skills.

Prior Learning: Students will be reminded of where

they have seen or done similar skills previously in other
genres throughout the term, such as ballet and hip-hop,
in class drills and choreography. Scaffolding will lead
from simple skills to more complex steps and patterns
based on student ability level. Ensure that students
understand weight placement and alignment, how to
engage the core for support, use of pli for strength and
stability, spotting, and small overall movements for
faster tempo. The ability to breathe and relax into the
stretch is essential for increasing flexibility.

Focus Learners: This class consists of eight students.

All have had at least one year of dance and passed a
placement audition to be admitted into class. The class is
geared toward upper-class students who are not ready
for Dance 3 or 4 in terms of technique, but want to
continue their training beyond the scope of Dance 2.
There are two IEP students in the class with mild to
moderate emotional and processing difficulties.
Accommodations and modifications are made as needed
with respect to workload and any required writing or
reading (which in this class is minimal).
Behavioral Expectations: Students are expected to
dress down for class according to dance department
dress code and participate fully, including but not
limited to warm ups, class discussions, technique
practice, and learning choreography. Nonparticipation in
any portion of class will be reflected in class points. As a
safety precaution, students who are tardy and miss

Rationale for Purpose: Over the course of this unit,

students have progressed in understanding and ability,
flexibility and jazz dance technique. The purpose is for
students to continue progressing to intermediate (level
2/3) proficiency level, as per the course description and
appropriately aligned standards. Improvisation along
with learning and performing a combination in class
provides practice of intermediate jazz skills and steps in
sequence as well as experience learning choreography
and dancing in front of people in preparation for
showcase auditions and production later in the semester.
Rationale for Prior Learning: This lesson is part of
continued instruction in jazz technique and flexibility.
Relevant previously learned steps include pirouette,
grand battement, chain turns, etc., and are reviewed
with each lesson to enable bridging and scaffolding.
Previous lessons have prepared students in progression
for the steps, patterns, and choreography covered in this
lesson. Students are able to achieve the standards safely
and with good technique. Students reach proficiency by
practicing movements, skills, and steps repetitively
through various activities. Through the daily warm up
students continue to develop flexibility, coordination,
strength, and endurance for prolonged dance activity and
practice. Dance concepts build from basic movements to
more complex steps and patterns for choreography.
Rationale for Focus Learners: The needs interests of
students have been considered in designing the lesson.
Though there are not currently ELD students in the
class, SDAIE and related strategies are used. Student
interests and abilities in the spectrum of the intermediate
level have been taken into account for differentiation of
instruction and variety of assessment methods.

Rationale for Behavioral Expectations: Rules, policies

and procedures are established in the class syllabus.
They are based on school-wide polices, department
policies, and commonly held dance class etiquette. Class
rules, policies, and procedures have been discussed and
practiced with the students since the first day of class.
Effective classroom management from day one is
essential to student learning.

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warm-ups are not allowed to participate but must sit out
and remain actively engaged by taking notes on the
lesson. Students will follow class policies and guidelines
as outlined in the course syllabus, as well as the Inspire
Student Handbook. This includes not leaving the room at
any time without the teachers permission. Students will
conduct themselves in a manner consistent with widely
accepted dance class etiquette as established and
maintained in day-to-day classroom procedures, and be
respectful of the teacher and all classmates at all times.
This includes staying quiet while the teacher is talking or
demonstrating and while classmates are dancing in turn.

2. Learner Outcome(s)/Objective(s): (What will students learn from this lesson? How will you measure
mastery of the outcome?)
Learner Outcomes/Objectives: As a result of this
lesson, students will be able to

Practice intermediate locomotor jazz dance

skills with level-appropriate technique.
Demonstrate and practice introductory level
understanding in improvisation, progressing
toward proficiency.
Perform a short intermediate level
jazz/contemporary combination put to music in
small groups.

Measuring Mastery:
The learner objectives will be measured through
formative assessment of the skills and steps covered in
this lesson. This will take place via observation on both
individual and group basis.
At the end of the jazz dance/flexibility unit, students will
participate in a summative jazz dance evaluation. This
will take place on an individual basis according each
students own previous experience and progress in the
jazz dance unit. The evaluation will be worth 30 points
and will be comprised of personal improvement of levelappropriate steps and stretches (10 points), musicality
(10 points), and performance of level-appropriate steps
(10 points). Mastery in the intermediate level 2/3 Jazz
Dance Unit is considered to be a score of at least 24
points.

Rationale for Learning Outcomes/Objectives: The

objectives are measurable expressions of the learning
expectations based on the standardswhat must be
mastered. This allows for focus and organization on the
part of both teacher and students. The teacher uses
standards and objectives to guide instructional planning,
procedures, assessments. Students are informed of the
objectives so that they know what is expected of them
and can engage appropriately and efficiently with the
content.
Rationale for Measuring Mastery: Since this lesson
falls in the middle of the unit, formative assessment
allows me to see student progress on the road to mastery.
From the data gathered on individual progress, I can
make plans to help individual students, and ultimately
the entire class, reach intermediate proficiency by the
time of the summative assessment. It also allows me to
assess and make changes to my own instructional
strategies.

3. Pre-assessment Activity: (Determine students abilities to achieve the learner outcome and prescribe
instruction accordingly. Consider: linguistic background, academic language abilities, content knowledge,
cultural and health considerations, interests and aspirations, physical development, social development,
emotional development. )

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Pre-Assessment Activity: Of the 80 minute block
period, the first 20-25 minutes of class will be spent on a
general physical warm up with regard to dance. The
teacher will demonstrate and students will perform a full
body warm up from head to toe, including dynamic and
static stretches for flexibility, coordination exercises,
and muscular strength and endurance exercises.

Rationale: The warm up is standard in the typical dance

class format. It activates physical concepts, skills and
range of motion needed for jazz dance technique. It is a
means of formative assessment that allows me quickly to
assess student ability and technique level in relation to
the activities and necessary skills covered in the days
lesson. I can take note of student strengths and needs in
order to make decisions about differentiated instruction
and grouping.

Linguistic Background: This lesson is in English to

reflect the background of most of the students in the
class as well as the larger student body of Inspire. That
said much of the terminology in general dance technique
comes from the ballet genre, which is based in French.
These terms are used in jazz dance instruction, such as
pli (to bend), pass (passing) or retir (retracted), and
coup (cutting), to name only a few. In dance class,
terminology and movement concepts are contextualized
by physical demonstration. This further facilitates
bridging from English or French dance vocabulary to the
native language of ELLs.

Rationale for Linguistic Background: It is important

to consider the linguistic background of students as well
as content to support efficient communication and
comprehension. This is especially important in dance
instruction, where knowledge and understanding of
vocabulary is essential to advanced mastery and artistry.
The terminology dictates the look and quality of a step.
At higher levels in the dance profession, dancers are
sometimes expected to perform movement sequences
based on verbal explanation only. Therefore linguistic
background as a basis for student understanding is
highly important. As students develop skill and
vocabulary, content literacy increases, as does the
potential to teach new terms using a variety of methods.

Academic Language Abilities: As mentioned above,

students must possess understanding of dance
terminology and jazz dance vocabulary. This includes
dance steps and technical concepts, such as alignment
and balance, as well as rhythm and tempo, theatre stage
directions, and warm up exercises and stretches.
Students have been introduced to general and common
terms in previous lessons. Content will be
communicated through demonstration/modeling, visuals
such as handouts, photo and video (if necessary), and
tactile/kinesthetic means.

Rationale for Academic Language Abilities: As this is

a level 2/3 auditioned course students are expected to
have a basic understanding of academic language in
relation to dance in order to be comfortable and progress
to mastery in Dance Styles. In dance technique this
includes verbal and written understanding of vocabulary
words, as well as visual understanding and recognition
of steps and movement qualities, movement vocabulary,
and ability to execute dance steps in terms of
coordination, flexibility, strength, and range of motion.

Content Knowledge: Students have demonstrated

content knowledge in previous lessons, units, and dance
courses by:
Auditioning and gaining admission to Dance
Styles.
Identifying and describing basic jazz technique
(pli, pas de bourre, jazz walk, positions of the
feet, alignment, etc.)
Demonstrating basic jazz technique and steps
(pirouette, grand battement, chain turn, piqu
turn, leap, etc.)

Rationale for Content Knowledge: Progression toward

mastery of jazz dance technique is dependent on
building upon the previous lesson. Knowledge of and
ability to perform basic steps is foundational to
progressing in technical ability. For students who do not
have the understanding and ability to perform the simple
steps, there will be difficulty executing more complex
steps. Students must possess general dance
understanding and skills to know when and why to bend
their knees, how to change weight, when to be on their
toes, how to engage the core, etc. for technical mastery,
artistry, and safety.

Almost all of the students in this class have taken Dance

1 passing with a B or better and had brief introductory
instruction in jazz dance as a unit in that course. Many
of the students have also taken Dance 2 and had
extensive jazz training in that course.
Because dance genres vary greatly in quality and

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stylistic nuances, student knowledge and ability may
vary across genres. For example a student who excels in
ballet technique may find tap dance awkward and loose,
while a student who excels in tap dance may find ballet
to be too rigid and precise.
Cultural and Socioeconomic Consideration:
According to Inspires School Accountability Report
Card, over 33% of the student body is
socioeconomically disadvantaged. For this reason, in
addition to the fact that as a public school teacher I
cannot expect students to pay out of pocket for
curriculum needs, the dance department does not require
students to wear specially made dance shoes for every
style. For jazz dance, socks or bare feet are acceptable.
Additionally, any student who cannot meet dance
department dress code guidelines for economic or other
personal reasons is strongly encouraged to inform the
teacher so accommodations can be made to meet the
need.

Rationale for Cultural and Socioeconomic

Consideration: By taking into account students
cultural backgrounds, I can infuse interest in the lesson
by integrating cross-cultural connections and
relationships with the content. This can potentially
increase comprehension. Understanding student
economic status and other personal situations can help
me meet individual student needs at a basic as well as
curricular level. This is based on Maslows Hierarchy of
Needs as related to the classroom environment and
instruction. When a students needs are met, the
likelihood of academic success increases.

Health Considerations: Students notify me of

temporary or chronic illnesses or injuries at the
beginning of the year and when they come up. Students
with these ailments, such as asthma, back pain,
headache, etc. are allowed to modify exercises and skills
as needed on a day-to-day or long-term basis. Others are
addressed on a case-by-case basis. In order to be
excused from participation long term, students must
have a note from a doctor (preferred) or a
parent/guardian.

Rationale for Health Considerations: Health

considerations are especially important to address in a
physical education class. Student wellbeing and safety
are priorities. Lesson plans and activities must be
adaptable for a range of physical possibilities to ensure
the success of all students in an inclusive class.
Furthermore, the absence of appropriate adaptations or
accommodations can have an adverse effect on student
interest in the course and appreciation for dance overall.

Interests and Aspirations: Students are taking this

course to increase and expand knowledge of dance
technique across a variety of genres and improve
technique and flexibility, in addition to earning PE
credit. Some of the students plan to participate in
placement auditions for next year with the goal of
moving up to Dance 3 or higher. Over half the class
plans to attend auditions for the dance showcase
performance in May.

Rationale for Interests and Aspirations: I integrate

student interests and aspirations into lectures,
demonstrations, activities, and assessments. One
example of this is showing a clip of a well-known movie
musical or dance piece that contains styles that they have
learned and can recognize. Another example is simply
stating, This is a skill you need to be able to do for
Dance 3. The integration of student interests and
aspirations makes real-world applications and answers
the question, Why are we learning this?

Physical Development: The students in this class range

in age from 15-18 years. Their biological and physical
maturation varies within the range typical for high
school students. In addition their level of dance
experience varies and is not always related to their age.
Some of my freshmen have been dancing since age 3
and are far more physically coordinated and spatially
aware than some of my juniors and seniors who have
only been dancing for one year. Students who have not
had as much dance experience or other physical activity,
such as athletic training, are at a slight deficit in regards
to gross motor skills.

Rationale for Physical Development: It is imperative

for a dance and PE teacher to understand students
physical development in order to present
developmentally appropriate lessons that provide for the
safety and success of all students. This must also
account for physical changes and growth, which might
affect performance from day to day. The varied amounts
of experience must be accounted in instructional and
assessment strategies. Assessments must provide for
both level 2/3 benchmarks and personal improvement.

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Social and Emotional Development: It is important in
any class for students to feel supported and to feel like
they can be successful. In a dance class students can feel
exposed both physically and emotionally. Students in
this class have already demonstrated a certain amount of
security and resiliency by auditioning for admission into
the class. Students collaborate and cooperate in pairs and
groups for their social development. Beyond these
things, it is emphasized that students are to attempt all
exercises and skills to the best of their ability on any
given day, and that all students are attempting the same
thing. I model this by demonstrating nearly everything
that I ask the students to do, and I am transparent with
regard to difficulties that I have on a level that is
professionally appropriate to share with students, i.e.
being especially tired, busy, etc.

Rationale for Social and Emotional Development:

Part of a teachers responsibility is to provide for the
social and emotional development of students. This must
occur within the context of content instruction. At the
high school level in dance, students must learn
responsibility, how to manage emotions, self-motivation
and discipline, cooperation and collaboration, and
confidence, within a physically and mentally demanding
field. At the same time, students and teachers must be
realistic with the amount of social and emotional strain
they can take on a day-to-day basis, and have the selfawareness and security to be able to speak up when help
is needed. The development of these social and
emotional capabilities is essential to further study in
dance and later entry into the professional dance world.

One provision for emotional security built into the class

policies and outlined in the syllabus is the Blue Day.
A Blue Day is one day each semester that a student can
sit out of class for any reason, no questions asked,
without penalty. This is meant for those days when
students are overtired, overworked, emotional, and/or
just dont feel like dancing.

4. Differentiation, Adaptation & Accommodation Strategies: (Based on the pre-assessments, modify

Learning Activities based on learner characteristics to meet the needs of ELL & special needs students,
highly achieving students and low achieving students)
Strategies for ELL: There is technically an ELL
Coordinator at Inspire, but her involvement is limited
because ELL students make up such a small portion of
the student population. If necessary all printed materials
for Dance Styles will be provided ahead of time, and
additional key vocabulary can also be given. Handouts
and assignment instructions can also be provided in a
students native language upon request. In Dance Styles,
typical accommodations for ELL include SDAIE and
other related strategies such as:
Modeling of all exercises, skills, and steps
Modified speech including simplified language,
slower speed, and clarification
Repetition
Bridging to native language using
contextualization, relevant examples, and
cognates
Collaborative learning with native English
speakers and/or students who can translate
Visual aids such as video, photos, graphic
organizers presented with relevant English
vocabulary

Rationale for Differentiation Strategies for ELL

students: English language proficiency varies widely
among ELL students. It is important to communicate
with the student, the ELL Coordinator, and the students
parents to understand the individual level of the student.
The ultimate goal is to meet content standards and to
develop English language skills. I can help the student
achieve this by appropriately differentiating instruction
and providing the necessary support and resources as
identified in collaboration with key personnel. SDAIE
and related strategies are foundational to differentiating
instruction for ELL.

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Strategies for Students with Special Needs: Students
with special needs can vary widely within a dance class.
For students with diagnosed learning difficulties or
disabilities, the IEP or 504 plan must be followed and
communication maintained with administration, resource
and special education teachers, and parents. The needs
of students with physical difficulties or disabilities must
also be appropriately addressed, and communication
open with administration, doctors, and parents. Typical
strategies used in Dance Styles to accommodate students
with physical or learning disabilities include:
Pre-written or fill-in-the-blank lecture notes
Printouts of any PowerPoint or other
presentation slides used
Scaffolding and chunking information
Additional processing time
Repetition and re-explanation in different
ways/words
Frequent breaks
Modified movement to reflect ability and range
of motion
Alternate exercises or skills
Modified tempo/speed of movement
Strategies for High Achievers: Inspire offers the option
of choosing one of twelve major tracks in various fields
of arts and sciences. My high achieving students tend to
be those who have more dance experience and/or are
more interested in dance than others as evidenced by
their choosing to be dance majors. They are not
necessarily gifted or exceptionally talented in dance, but
they are the hardest workers and progress quickly.
Typical Strategies used in Dance Styles to accommodate
high-achieving students include:
Increased tempo/speed of steps
Varied rhythm of tap steps
Increased complexity/difficulty of skills
Increase amount/number of skills/steps
Leadership opportunities
Creative choreography opportunities
Strategies for Low Achievers: In Dance Styles, lowachieving students tend to be those who enjoy dance but
lack confidence in their abilities, or who are taking the
class merely for PE credit. The two PE choices for
students at Inspire are dance class and independent study
(ISPE). Low achieving students in dance are usually
quieter and stay towards the back of the room during allclass activities. Strategies to address low-achieving
students include:
Frequent individual feedback and personal
interaction
Public praise for a job well done
Extra time for processing
Avoiding putting the student on the spot

Rationale for Differentiation Strategies for Special

Needs: Differentiation strategies for students with
special needs in dance class are based on student
cognitive and physical abilities. The goal is to meet
content standards and develop abilities in a safe and
supportive environment. Communication and
collaboration is maintained with special education and
resource teachers as well as parents to follow, maintain,
and adjust IEPs and 504 plans as needed. Students with
special needs are highly individual, and special needs
can include any combination of physical, psychological,
and mental difficulties and/or disabilities. As with all
students, differentiation strategies must provide support
for the needs, abilities and interests of the student while
maximizing academic capacity.

Rationale for Differentiation Strategies for High

Achievers: The purpose of differentiating instruction for
high achieving students is to maximize capacity,
encourage growth, and avoid boredom or lack of
motivation. Needs of high achievers should be assessed
according to their abilities and interests. For example
students who excel at jumping skills should be given
more types of leaps to learn; students interested in
musical theatre should learn character-based
choreography.

Rationale for Differentiation Strategies for Low

Achievers: As an auditioned elective at an academically
rigorous charter school, typically there are no extremely
low achievers in Dance Styles. However, the strategies
used for individual low-achieving students vary with
personality type and learning style. Often the lack of
motivation that results in low achievement is caused by
other personal and environmental factors. Because of
this, the communication lines should be open and
relaxed with the student, extending personally, deeper
than simply checking for adequate completion of work.

Flexible Grouping
Frequent pair and group activities that allow for
closer monitoring of individual progress
Communication with parent/guardian when
grade reaches C- or below

5. Resources: (Identify materials needed for this lesson accounting for varying degrees of skill level)
Student Resources:
Equipment: Paper, pen/pencil for taking notes, if desired
Clothing: Dance department dress code, such as closefitting athletic attire
Teacher Resources:
Technology: Computer and projector with screen, sound
system with aux cable, music played from computer or
personal device such as a phone; Digital file of the song
Rise Up by Andra Day, sourced from the Spotify app.

Rationale: All student resources promote safety and

optimal learning conditions. Note-taking accouterments
provide for verbal and kinesthetic learners. The
appropriate clothing allows for freedom of movement.
Rationale for Teacher Resources: Teacher resources
support optimal learning. The use of audio equipment
and music is standard in the field of dance. Such
resources promote differentiated instruction by
presenting content using multiple methods, such as
modeling, lecture, multimedia audiovisual examples of
tempo and rhythm, and kinesthetic/tactile performance
of steps.

6. Learning Activities: Explicit Teacher Instruction - (Explain, model, demonstrate, check for
understanding)
Introduction: After attendance is taken and
announcements are read.
Physical Warm Up: (25 minutes) Students will spread
out in the center of the room in front of the mirror as
established in daily classroom procedures. I will lead the
class in a general physical warm-up to music that will
include dynamic stretches, static stretches, coordination
and conditioning exercises with the specific goal of
increasing flexibility and range of motion and enhancing
tap dance technique. Focus is placed on core, quad, and
calf muscle endurance and foot flexibility. This includes
explanation and modeling/demonstration of all
exercises.
Explicit Teacher Instruction:
Lecture and Demonstration: (15 minutes) After
Independent Practice, I will explain, model, and
demonstrate an intermediate jazz dance combination to
the song Rise Up by Andra Day as a direct lecture
with intermittent student response, questions, and
participation. The lecture will include reference to jazz
dance technique from Guided Practice key vocabulary,
and video aids if needed. Students will be reminded of
the expected outcomes through the lecture.

Rationale for Introduction: Reviewing and warming

up using body part-specific exercises establishes the
zones of movement for lesson content. It is a way to
determine ability and comprehension levels based on
coordination and rage of motion. The warm up facilitates
specific instruction in PE and fitness. Recalling prior
knowledge of specific movements provides a bridge to
lesson content. The warm up serves to focus student
attention and energy to their physical movements and
dance technique. It is the anticipatory set for the main
part of the lesson and provides pre-assessment data on
student ability and readiness for use in differentiation of
instruction for individual students.
Rationale for Explicit Teacher Instruction: The
lecture is a means of re-teaching and reviewing key
concepts and skills, and building on the previous lesson
using steps with which the students are familiar.
Emphasis is placed on technical elements, memorization
of a pattern, musicality, and performance quality.
Students are allowed to take notes on choreography as
needed. Explanation with demonstration maximizes
comprehension.

Check for Understanding: Using the 10:2 Theory, I

will pause in my lecture and demonstration to allow
students to practice segments of the combination as I
explain them. While teaching, repeating, and running
through the combination I will observe student
engagement and performance, giving feedback and
corrections as necessary.

Rationale for Check for Understanding: Checking for

understanding allows me to see if students are
processing the general details and movement patterns of
each step. By seeing them try portions of the
combination I can see connections from the mental to
the physical. Students who are able to answer questions
but not able to execute the steps properly need more
kinesthetic practice. Students who are able to execute the
steps but unable to answer questions about the steps
need more explanation and deeper cognitive processing
of the fundamental details of each step.

7. Learning Activities: Guided Practice/ Collaborative Practice (Check for understanding and provide
feedback and re-teaching)
Guided Practice #1: (10 minutes) Students will line up
at the side of the room in three lines. For Across-the
Floor Drills. I will model, and after each set I will give
general feedback for correction based on what I observe
in individual students. On my cue by counting off to
music, students will drill steps in groups of three,
including:
Pirouettes
Grand Battements and Tilts
Chain and Piqu Turns
Leaps
Guided Practice #2: (15 minutes simultaneous with
Explicit Teacher Instruction) Students will spread out in
the center of the room facing the mirror and do the
combination chunk by chunk with me as I explain and
demonstrate. Students will ask relevant questions about
the choreography for clarification.
Check for Understanding: In Guided Practice, the
check for understanding will occur by observation of
student execution of the dance steps. Feedback given in
the moment is based on this formative assessment

Rationale for Guided Practice: Guided practice

provides the repetition needed in dance and other
physical activity to establish muscle memory and
progress toward mastery. General observation helps me
see the biggest issues across the class so I know where to
focus my feedback and content focus for the most
impact on comprehension and improvement. Students
have practiced general dance technique throughout the
year and have the necessary motor skills. The
progression through jazz dance technique to mastery at
an advanced level often takes years of dedicated training
and repetitive practice.
Doing the combination as I teach it allows for active
engagement of all students. This strategy helps
kinesthetic/tactile learners in particular.

Rationale for Check for Understanding: The feedback

is key in this check for understanding. Repetition is
highly important for mastery of physical skills, but it is
important to catch mistakes so that incorrect movements
or techniques are not committed to muscle memory for
the steps. In the case that it is physically impossible for
proper technique to be used, appropriate modification
will be given with feedback.

8. Independent Practice: (Provide practice that supports the learning outcome. Note: Independent activities
are assigned assuming that students understand the concept well enough to work on their own.)
Independent Practice: (10 minutes) Students will be
given the opportunity to work on their dance
improvisation skills. This involves a free dance of
sorts, in which students make up their own choreography
on the spot. Students may take a moment to think, but
emphasis is placed on spontaneity and moving how they

Rationale for Independent Practice: Independent

practice is essential to mastery of dance concepts and
artistry. It gives students the opportunity to apply
feedback from other parts of the lesson and previous
lessons. Independent practice also facilitates true
individual differentiation of instruction, as the activity is

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feel in the moment. Brief interaction with classmates is
permitted, but students should largely be focused on
their own movement during this time.

Check for Understanding: I will circulate the room and

give verbal individual feedback on progress and model
and explain corrections, helping students make
adjustments by physical touch if necessary. The actual
check for understanding occurs through observation of
initial execution, and then immediate application of
feedback.

not based on partner, small group, or whole-class

contingency. Although spontaneous, the ability to
improvise in dance is a skill. The practice in improv is
preparation for showacase auditions and a preview of the
Improv Unit coming up, which leads into a
Choreography Unit.
Rationale for Check for Understanding: The one-onone check for understanding in Individual Practice is the
ultimate conduit for communicating differentiated
instruction to the student. It provides data for planning
content of subsequent lessons and assessments. Students
who are able to apply feedback correctly consistently are
ready to move on, while students who have difficultly or
inconsistency in application of feedback need more
support, practice, and repetition of concepts and steps.

9. Assessment and Evaluation: (Describe how you will assess and/or evaluate the students learning.
Describe differentiating assessment strategies you will use for ELL, special needs students, highly achieving
students and low achieving students.)
Assessment and Evaluation (Formative): The
formative assessment for this lesson is not graded and is
included as part of the daily participation points.
Assessment is measured based on individual progress
toward mastery with respect to the lesson objectives and
a pre-established Dance Styles performance rubric.
(10 minutes) Students will split into groups of 3-4 and
perform the combination from Explicit Teacher
Instruction in front of the class. Each group may take
several turns.

Rationale for Assessment and Evaluation: In a dance

class, one lesson is not long enough for most students to
expect mastery of the technique required for certain
steps, so assessment for this lesson will be formative
leading to a final unit summative assessment on a later
date. The assessment will demonstrate whether or not
students have understood and processed the content of
the lesson and dictate any adjustments needed in
subsequent lessons to accommodate re-teaching or
solidifying concepts. This assessment also serves as
further repetition for committing the steps to muscle
memory.

10. Closure: (Describe how students will reflect on what they have learned.)
Closure: Students will spread out in the center of the
room and have an opportunity to ask questions about the
combination or showcase auditions. The teacher will
give final thoughts, feedback, and reminders. Students
will perform the combination one more time as a whole
class.

Rationale for Closure: Closure summarizes the lesson

in relation to the standards and objectives, and increases
the likelihood of student retention of lesson outcomes. It
allows students to reflect on what they learned for
metacognition. Students apply the concepts discussed
that the beginning of the lesson, to the activities and
assessments they just performed, and the lesson connects
full circle. This addresses a common problem with
advanced dancers from private studios, which is that
they can perform physical skills, but they cannot explain
how or why they are able to do them.

11. Lesson Reflection/Assessment: (Collect student learning data to determine: What went well? What needs
to be changed? Were learning outcomes met? What activities will you add, change, modify in the future?
What can be done to follow up on the learning from this lesson? Who needs additional help? Who needs
enrichment or higher level work?)

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Revised: 10/22/12