GUYANA MINISTRY OF EDUCATION SECONDARY SCHOOL EXPRESSIVE ARTS CURRICULUM GUIDE GRADE 8 Content Page Introduction i Foreword ii Acknowledgement iii 8.1 Dance 1 8.1.1 Imagery and Environmental Movement 1 8.1.2 Motivating factors 2 8.1.3 Principles of Alignment 3 8.1.4 Movement Manipulation 5 8.1.5 Motif Development 7 8.1.6 Masquerade (1) 9 8.1.7 Motor Development 10 8.1.8 Movement Manipulation 12 8.1.9 Masquerade (2)) 13 8.1.10 Creativity 14 8.1.11 Elements of Choreography 16 8.1.12 Articulation 17 8.1.13 Masquerade (3) 18 8.1.14 Spatial Awareness 19 8.1.15 Class Structure 20 8.1.16 Combinations 21 8.1.17 Phrases 23 8.1.18 Sequences 25 8.1.19 Dance Illustrations 27 8.2 Drama 67 8.2.1 The History of Drama 67 Content Page 8.2.2 Expressive Skills 68 8.2.3 The ‘Mime”in Pantomime 71 8.2.4 Theatre Appreciation 76 8.2.5 Technical Theatre 77 8.2.6 Stage Lighting 79 8.2.7 Stage Sound 84 8.2.8 Safety in Theatre Arts 88 8.2.9 Responsibilities of the Director 91 8.2.10 Responsibilities of the Stage Manager 93 8.2.11 Responsibilities of the Properties Manager 98 8.3 Music 101 8.3.1 Pitches 101 8.3.2 Movement of Music 102 8.3.3 Movement of Pitches 102 8.3.5 Structuring the Major Scale 103 8.3.6 Major Scales 103 8.3.7 Primary Chords 103 8.3.8 Dynamic 104 8.3.9 Form 105 8.3.10 Musical Eras 105 8.3.11 Folk Music 106 8.1 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.1 Creative Movement in How and why Acceptance Improvisation: Teacher gives Was there Music Imagery and development the environment things move Appreciation (a) The effect movement image. much Environmental of creative around us. instead. Development of breeze on Students are evidence of Science Movement responses of the leaves required to listen uninhibited within the Discovery of The movement of receptiveness and branches carefully, they are movement? Language performance new movement the body in space of a tree reminded not to Arts structure. and time. try to Was there any (b) Sugar- intellectualise/plan evidence of Social Studies cane growing movement nor to development on an estate reproduce of movement movement(s) vocabulary? (c) The rising previously learnt. and setting of Do you think sun Teacher, that students wherever it is enjoyed the (d) Movement helpful, will ask session? of water, rain, student to recall a river, water mood, a physical fall, waves. or emotional state – anything that Please note would precipitate only imagery movement by has been student used as a Students efforts stimulus to are looked at . facilitate improvisation. Discussion follows recorded music is used to accompany practical expositions 1 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.2 Imaginative Factors which Understanding Patience Visual – that Teacher Did students Language Motivating provide stimuli what is meant by receptiveness which can be explains what succeed in Arts Factors for movement visual, auditory, seen and the terms getting their concepts tactile and touched eg. mean, giving ideas across? Science kinesthetic pictures, examples of leaves each. Were the exercises too Auditory – Students difficult? that which contribute by can be heard giving Did the eg. music, examples of students gain stamping feet factors which from this Tactile – that motivate experience? which movement. provides Were the qualities of Students are examples touch which divided into correctly listed are small groups and could they noticeably using visual, precipitate definite eg. auditory, movement? fur of a kitten tactile and is furry, a wet kinesthetic cake of soap factors is slippery Lists are made of those examples which could easily be demonstrated by locomotor movements. 2 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.3 Control Technique:- Method of Perseverance (a) Revision Students are What Physical Principles of Developing First second achieving correct of basic placed in percentage of Education Alignment memory and fifth alignment technique semi-circle students were skills position of the Fig. 2-14 of A quiz able to Mathematics arms. Dance (practical) is achieve the Curriculum done? desired line of Language grand pliè with Level 7. movement in Arts feet in 1st/2nd Students then (a) revised position. (b) Position of assume line technique Technique arms as formation. previously shown in (b) New learnt diagrams on Teacher technique page 27. demonstrates new What technique to percentage of be learnt. students had a high level of Emphasis is recall in terms made as to of technique visual trace of being revised? line of movement Teacher corrects where necessary 3 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.3 2nd position Students Principles of grande pliè working in Alignment(cont’d) are taught. group do peer These Non- teaching and locomotor assessment. movements are analysed All technique in terms of both that the vertical which was horizontal, revised as oblique or well as ‘new’ curved lines is they form. incorporated These lines as evaluation of movement is made in being terms of important to application of dance. principles of alignment. 4 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.4 Creative Matter How to transfer Receptiveness -Mirror Image -Students Did students Mathematics Movement previously motive into that Appreciation Directional work with enjoy the Exploration learnt which can be For movement walks partners and lesson? Music communicated in exploration within the Factors the movement -Directional formal class Was there stimulate medium walks with the structure evidence of movement lifting and the (Motivating lowering of -With development factors) arms alternating and use of a separately as leaders movement well as vocabulary? simultaneously. -In small groups Were their - Follow the responses to leader -Teacher the motivating explains and factors - Using visual demonstrates transferred to auditory, tactile examples of communicable as well as each method movement? kinesthetic being studied. factors to stimulate movements 5 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.4 - Students are Movement encouraged Exploration not to plan (cont’d) their movements in advance but to let them flow naturally instead based on instructions given - they are cautioned against the use of movement previously seen or learnt. 6 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.5 Motif Developing Movements that How to link Perseverance -Standing Teacher What Mathematics Development the ability to can be linked movement phrases co-operation with feet in 1st demonstrates variations in recall together position desired movement concentration parallel. movement ideas were Definition of the Teacher rolls phrase. evident? word-motif the torso downward for Students copy Was there a eight counts same. natural use of until the transitions in hands reach Teacher the attempts the floor, she corrects to complete then holds where the phrase? the ankles for necessary. (two counts) In your Students are opinion do you Turns out for divided into see the efforts two counts groups produced and execute completed the a demiplie Each group phrase (for four develops the successfully? counts) phrase taught by teacher. Each group in turn shows what they have come up with 7 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.5 Motif - Groups add Teacher Development on sixteen checks and (cont’d) more counts makes to complete comments the phrase in their own Recorded way. music is used to accompany this exercise 8 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.6 Co- Origin of folk Evolution of Appreciation Theory:- Teacher invites Did the Music Masquerade(i) ordination form masquerade of the folk The origin of old member of students enjoy terminology idiom masquerade village/community the session? Social Studies (1) Lady going to speak with to market -some steps students Was the History used session (2) Breast plate Teacher invites informative? (1) Lady members of (3) Back walk going to masquerade Did students market band to come have difficulty Fig. 1 They play their co-ordinating music and dance steps Breast plate Students are Fig. 2 encouraged to join in Back walk Students are Fig. 3 taught the three steps stated in ‘content’ 9 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.7 Concentration Movement done The role of the Patience The memory Divide class Did students Mathematics Motor by peers memory in the game into small enjoy the Development execution of groups game? movement Each group Did the game forms a circle widen Students’ One student dance performs a vocabulary? single movement How idea using a successful definite body were students part eg. arm, in leg, head. remembering the movement Each pupil in idea of circle should others? move in chronological order Number 2 must repeat the movement of # 1 and add her own movement. 10 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.7 This Motor continues. Development(cont’d) The last one does everyone else’s movement then adds hers. After the last student completes her movement, all members of the circle perform their pattern in unison. This game can be done at floor level, standing level and in total space to increase challenge. 11 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.8 Technical The ways in How to execute Sharing co- -Executing Teacher What degree Mathematics Movement balance which basic movement with operation tendu, demonstrate of control was Manipulation technique learnt control relevelante exercise. evident can be battlement Students among executed with with attempt same. students? the aim of supporting, promoting leg in plié Teacher better moves around control/mastery -Executing emphasing coupé and important passé with points. (a) supporting leg in plié, Students work in pairs and (b) supporting assist each leg in relevé. other. Students then work on mass executing movement to specific counts accompanied by recorded music 12 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.9 Co- Retension of Why the folk form Appreciation Theory:- Videos are Did students Social Studies Masquerade(2) ordination masquerade in ‘masquerade’ is of the folk Retention of shown of enjoy the Guyana retained in specific idiom masquerade masquerade session? History areas of Guyana in Guyana dancers Terminology Did the -Boy Robin Some steps Specific students -Scottish High used:- attention is achieve some lander -Boy Robin paid to measure of -Stumble see Fig. 4 execution of control in steps to be executing the -Scottish High taught steps lander see Fig. 5 Students attempt to - Stumble imitate from see Fig. 6 video Teacher does formal lesson to teach technique Recorded masquerade movements used to accompany efforts 13 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.10 Creative Use of emotions The importance of Openness Theme: Teacher On a range of Music Creativity in the creative the inner self in the Confidence emotions discusses 1 to 10 how process creative process -Joy informally did the groups Drama -Anger creative score? Sorrow imagery Recorded emphasizing In your music the fact that opinion what there is no percentage of right or wrong the students way lacked Students (a) Openness working in (b) Con- groups fidence develop creative responses to specific emotions given in content Teacher provides music which is appropriate for completing 14 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.10 These Creativity emotions and (cont’d) which assist in evoking suitable responses. Groups sit and analyse each others responses students express their feelings about the exercise. 15 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1.11 Development Choreographic The importance of Openness Choreographic Teacher uses How did Mathematics Elements of of creative elements choreographic elements diagrams on students Choreography skills elements in the Self -Symmetry/ charts to respond in Art Definition of: creative process confidence Asymmetry explain terms of -Symmetry content achieving -Asymmetry How can the body -Configuration desired be used to form of body parts Students copy shapes/designs symmetrical and as well as the diagrams asymmetrical entire body designs Students are -Shapes of divided into various bodies groups as a whole in relation to Exercise on space various elements is -Design in done space (a) geometric Teacher shapes evaluate see Fig. 7 efforts 16 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.12 The ability to Technique Having a concept of Openness -Basic Teacher What Music Articulation use the body previously ones self technique – teachers the percentage of as a tool for taught the contraction students were self contraction emphasing able to expression see Fig. 8 the fact that express this technique appropriately? Appropriate begins/is recorded initiated in the Were students music pelvic area comfortable Specific parts with the -Simple of the body exercises movement which are done in this vocabulary to important for session express the execution (a) rejection are also noted (b) pain (c) offering Working in (d) reaching pairs, students improvise movement to express ideas listed in content Peer evaluation is used Students discuss lesson 17 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.13 Co- Guyanese who Background to folk Appreciation Revision of Using On a scale of History Masquerade(3) ordination have form of folk form steps masquerade one to ten contributed to previously Music as how the retention of learnt accompaniment competent are this folk form Class execute students in the Teaching steps execution of Basic steps basic step previously basic steps Hop Cross learnt to Hop step specific counts Slide slide Teacher Written teaches new Assignment: steps Trace the history of Group work is masquerade done to from its reinforce same origins to present day Teacher evaluates Students are given assignment and date for submission 18 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.14 Ability to feel Terminology The importance of Sharing co- -Levels of Working in In your Mathematics Spatial and measure spatial movement space operation movement groups, opinion was Awareness space awareness and relationship see Fig .9 students are the lesson around us required to productive? -Directional demonstrate movement their see Fig. 10 understanding of spatial design listed in topic Teacher encourages the use of movement exploration in this exercise Students analyse exercise. Teacher evaluates 19 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.15 Concentration Technique Way in which a Discipline Structure of Students How would Mathematics Class previously dance class can be class assume class your rate this Structure learnt structured (a) Centre positions lesson in work Using musical terms of (b) Floor work accompaniment (a) class (c) Moving in discipline space Lesson (b) response planned is (c) proficiency Technique to done with be taught teacher giving (a) Jumps in instructions etc. 1st position parallel and Teacher turn out teaches new Figure 11 technique (b) Simple Students arabesque execute same jumps New technique is incorporated in the class structure 20 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.16 Motor Basic technique Synohonisation Co-operation Pliés and In (1) plié 4 What % of the Mathematics Combinations previously relevés counts students were learnt (centre) straighten able to (a) Demi Plié knees 4 A combination with bent counts, relevé (a) can be defined knees, heels – 4 counts, Understand as remaining on lower heels 4 execute (a) Two the floor. counts combinations locomotor Repeat in two with some movements or (b) Relevé and one count degree of with stretched proficiency (b) one knees and In (2) students locomotor heels off the travel across movement and floor the floor in one connecting lines of 3 step or linkage (1) Position – persons idea or standing tall with arms In (3) – feet (c) A grouping oval shaped are flexed, of connected at sides feet small of back movements turned out. sinks into the usually floor, head is prepared for Movement in last to touch presentation space floor, arms during the later -Directional move portion of a walks – 4 to sideward- dance the front, 4 to shoulder technique class the side. level, palms down 21 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.16 Dance 4 to the front Toes are Combinations technique class then plié for pointed head (cont’d) two counts, remains back releve for one as long as count and possible lower heel for one count - Toes are pointed arms Floor reaching -Abdominal forward. foot and body bounce Repeat combinations Position – long sitting Teacher checks students (a) Roll down progress slowly, back of spine Recorded leading – 4 music is used counts, for accompaniment (b) arch up chest leading – 4 counts (c) body bounces forward – 4 counts 22 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.17 Locomotor, Basic technique How phrases are Group Walks – First Did the Music Phrases creative Previously formed interaction extended Variation group(s) learnt studies: eg. - Divide the succeed in - 2/4 rhythm class into completing the Definition of - ¾ rhythm small groups task? terms:- - skipping Phrases – the - Give one Were the building block of forward and locomotor creative dance forms backward in movement as results tempo, corporation of well as one interesting dynamics basic congo linkage idea energy, flow, step with to the entire Did the counting, different arm class students transition positions expand their Ask each movement - Students group to vocabularies contribution select two through different creative locomotor efforts movements and attach these to the linkage idea 23 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.17 Second Did the Phrases Variation students (cont’d) - Give students learnt the art a pattern made of leading as up of at least well as three different following? movements moving in the Was there line of some direction. originality in the sequences Ask each group presented? to evolve a new pattern by Did the rearranging the students original expand their sequence movement directions, vocabulary? tempo, counts. Teacher emphasizes synchronization and dynamic performance 24 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.18 Creative Movements To understand how Self- Two creative (1) Review Was the Mathematics Sequences learnt in to form dance confidence approaches movements development Social technique class sequences learnt in of social skill Interaction Positive self -Development technique evident in the The importance image of short lesson en exercise? of transition in a movement masse sequence sequences accompanied by - Arrange- drum/recorded ment of music movement sequences (2) Practice in into a dance two groups to allow pupils to observe each other (3) provide a visual demonstration of a possible sequence, make sure that students don’t use all your ideas. 25 DANCE CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8:1.18 (4) Organise Sequences students in (cont’d) small groups utilize movements learnt in technique lesson and arrange them into patterns (5) Help students create a smooth transition so that one step blends into the next. 26 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1 Reading Development Drama is created Cognition of After the Students as Class should Science The History of and functions of as a response to developmental Greek theatre individuals or be able to drama 1800 to Researching different styles social conditions. processes at of BC. in groups will distinguish the 1900(minimum of drama work in There arose choose to dram of the teaching time 3 Tracing and between 1800 Dramatic forms drama. the study the Greeks hrs) connecting and 1900. usually arise out of Elizabethan drama of a learned in developments these conditions. Drama existed Theatre of specific level 7, with in drama and Emphasis in the England of country during those learned social history should be The drama of a Caribbean which a particular in Level 8. over time placed on society can reflect a during the Shakespeare 20-year Caribbean great deal about 1800’s and was a great period from They should Drama the attitudes and 1900s. part 1800 to 1900. be able to concerns of the Brechtian identify main society in which the theatre was Each group of social forces drama is being also students gives that informed created. developing in a ten-minute early drama in France and presentation different the to the class, countries. Stanislavsky including school was pictures if They should also possible ten- be able to emerging in minute identify some Europe. presentation of the leading to the class, forms, notions including and dramatic pictures if artists of the possible, as time. well as research sources. 27 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.1 African, Asian They should The History of and be able to drama 1800 to Aborigine, begin to 1900(minimum and analyze the teaching time 3 Caribbean drama that is hrs) (cont’d) dramas also produce in existed relation to the during this society in period, each which it is with its own produced. distinctive content, form and style. 28 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2 Learning to Various parts of The body is a Creation of What are Read a simple Students Life Skills Expressive use the the body, powerful expressive self- feelings? passage (from should be able Skills various parts including the instrument. awareness, a set text, to: Social Studies (Minimum 4 of the body face and limbs self- A person’s newspaper Identify simple hrs) as can be used to The voice is also an expressiveness feelings can article, emotions. English instruments create body expressive and be expressed student’s Language of language. instrument. confidence. in words. But book of Describe expression. words are not choice etc.) these Dance Vocal Each person has in the only emotions in expression, his or her own body means of Ask each appropriate PE along with body and voice, powerful expression. child to language. language tools for expressing identify the Literature combine to him/herself. A person’s emotions that Reproduce express emotions, are expressed emotion and Music emotions, thoughts and in the produce thoughts and attitudes can passage. particular Language Arts attitudes. sometimes be Then ask emotional discovered them to responses in through describe how others using signals given those only facial intentionally emotions expressions or made them and body unintentionally feel. language. though their faces and bodies. This is known as “countenance and body language” 29 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2 Ask them to Expressive act out the Skills passage (minimum 4 using no hrs) words only their bodies and faces. Ask them to act out how they felt about the passage using on words, only bodies and faces. Divide class into groups. Give each group a scenario to work with, which they have to present to the class again using to words. 30 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2 Ask the class Expressive if they can Skills identify the (minimum 4 emotions hrs) being acted out. Go for clarity and honesty, reward this in students. 31 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3 Identifying Definition of Mime is Ability to Mime is a Since mime The “MIME” in mime as a non- Mime. communication or focus on the technique depends on Pantomime verbal means story telling by symbolic and used in the large and (Minimum 4 of Basic movement and to observe theatre that is exaggerated hrs). communication mechanics of gesture only. and identify totally movements, and expression Mime. Entire stories and visual stimuli. dependent students are used in drama. not just simple upon instructed to scenarios can be Ability to use movement do deep Learning a non- told completely the body and gesture. breathing and verbal means without the use of alone to long of expression words. impart The language stretching and information. of gesture exercise to communication. Person’s who was born with make employ this man and is themselves technique are reborn larger than called “mimics”, everyday as they are. “mimes” or “mime part of his artists”. need to express himself. Before the human voice developed, gestures helped not only to communicate, but also to aid in the development of vocal sounds. 32 Illustration of Lady Going To Market Fig. I (a) 33 Fig. I (b) Heel, heel with continuous alternate arms movements Four count sequence repeated with arm and leg coordination 34 Fig. I (c) Toe. Toe 35 Illustrations of Breast Plate Fig. 2 (a) Arm position to start breast plate 36 Fig 2 (b) Walk is in relevé with legs crossing each other alternately As student moves across the floor with a twisting movement. Arms are bent at elbow with palms held upwards facing the Direction of travel as if to shield the chest. . 37 Illustrations of Back Walk Fig. 3 (a) Movement is done in a backward direction, alternating legs Passing through a passé position each time. Alternate shoulders, circle backward during movement. Arms move in an unrestricted manner Movement of arm is as reflex action of the shoulder movement 38 Illustrations of Boy Robin Fig. 4 (a) Direction of travel with this movement is done forward on the diagonal with the right side leading. Hip is thrust forward as the left ankle goes under the right arch. 39 Illustrations of Scotish Highlander Fig. 5 (a) 40 Fig. 5 (b) Shoulders move forward alternately in co-ordination with Leg. Movement of arms are as a result of that of the shoulder. Arm movement must be without restraint. Pelvis moves freely from side to side The entire sequence is repeated continuously. 41 Illustrations of Stumble Fig. 6 (a) Feet move in a shuffled jumping action done on the sot in a series of five counts. 42 Fig. 6 (b) The shuffled action is followed by a squat The sequence is repeated. 43 Fig. 6 (c) On the 6th squat, one leg is stretched. The student uses one hand to pick up the coin then comes back up gradually. 44 Symetry 45 Asymmetry 46 Asymmetry 47 Geometric Shapes Fig. 7 48 Illustrations of contraction (Parts of the body) Fig. 8 (a) I Pelvis 49 50 Fig. 8 (a) II Ribcage 51 Fig. 8 (a) III Chest 52 Fig. 8 (a) IV Head 53 Fig. 8 (b) I Starting position of contraction Technique is initiated in the pelvic 54 Fig. 8 (b) II Each part is contracted in turn beginning with the Pelvis until the Torso curves like the letter C 55 Fig. 8 (b) III Torso curved like letter C 56 Fig. 8 (c) IV To release, movement is initiated in the pelu area and the body return to the starting position 57 Fig. 10 (a) Rejection 58 Fig 10 (b) Pain 59 Fig. 10 (c) Offering 60 Fig, 10 (d) Reaching 61 Fig. 9 (a) 62 Fig. 9 (a) 63 Fig. 9 (c) 64 Fig. 9 (d) 65 Directional Movement Fig. 10 66 Fig. 11 Jumps in First position turn out A Jump is an extension of a plié. As preparation, perform a small plié and left the Straighten movement lift to half toe. Use enough Energy to lift into the air. Cushion the landing with a small plié. 67 8.2 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.1 Reading Development Drama is created Cognition of After the Students as Can students: History The History of and functions of as a response to developmental Greek theatre individuals or in Distinguish Drama 1800 to Researching different styles social conditions. processes at of BC, there groups will the drama of Social Studies 1900 (minimum of drama Dramatic forms work in arose the choose to study the Greeks teaching time 3 Tracing and between 1800 usually arise out of drama. Elizabethan the drama of a learned in Literature hrs) connecting and 1900. these conditions. Theatre of specific country Level 7, with developments The drama of a England of during a particular those learned Art and Craft in drama and Emphasis society can reflect a Drama existed which 20-year period in Level 8? social history should be great deal about in the Shakespeare from 1800 to Music over time placed on the attitudes and Caribbean was a great 1900. Identify main Caribbean concerns of the during the part. social forces Computer Drama. society in which the 1800’s and Brechtian Each group of that informed Science drama is being 1900’s. theatre was students gives a early drama in created. also ten-minute different developing in presentation to countries? France and the class, the including pictures Identify some Stanislavsky if possible, as well of the leading school was as research forms, notions also sources. and dramatic emerging in artists of the Europe. time? 67 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.1 African, Asian Can students: The History of and -Analyze the Drama 1800 to Aborigine, drama that is 1900 and produced in (minimum Caribbean relation to the teaching time dramas also society in 3 hrs) (cont’d) existed which it is during this produced? period, each with its own distinctive 8.2.2 Learning to Various parts of The body is a Creation of What are Read a simple Can students: Life Skills Expressive use the the body, powerful expressive self- feelings? passage (from a -Identify Skills various parts including the instrument. awareness, set text, simple (Minimum of the body face and limbs self- A person’s newspaper article, emotions? Social Studies 4hrs) as can be used to The voice is also an expressiveness feelings can student’s book of instruments create body expressive and be expressed choice etc.) -Describe of language.. instrument. confidence. in words. But these English expression. words are not Ask each child to emotions in Language Vocal Each person has in the only identify the appropriate expression, his or her own body means of emotions that are language? along with body and voice, powerful expression. expressed in the Dance language tools for expressing passage. Then combine to him/herself. A person’s ask them to express emotions, describe how emotions, thoughts and those emotions thoughts and attitudes can made them feel. attitudes. sometimes be discovered 68 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION Can students: 8.2.2 through Ask them to act Can students Physical Expressive signals given out the passage -Reproduce Education Skills intentionally using no words emotion and (Minimum or only their bodies produce Literature 4hrs) (cont’d) unintentionally and faces. particular through their emotional Music faces and Ask them to act responses in bodies. This out how they felt others using Language is known as about the only facial Arts “countenance passage using no expressions and body words, only and body language”. bodies and faces. language? Divide class into groups. Give each group a scenario to work with, which they have to present to the class again using no words. Ask the class if they can identify the emotions being acted out. Go for clarity and honesty, reward this in students. 69 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.2 Refine and add Expressive vocabulary as Skills necessary. (Minimum 4hrs) (cont’d) 70 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 82.3 The Identifying Definition of Mime is Ability to Mime is a Since mime Can students: Dance “MIME” in mime as a non- Mime. communication or focus on the technique depends on large -Represent Pantomime verbal means storytelling by symbolic and used in the and exaggerated objects, Physical of Basic movement and to observe theatre that is movements, sentences and Educatiion communication mechanics of gesture only. and identify totally students are simple and expression Mime. Entire stories and visual stimuli. dependent instructed to do scenarios, History used in drama. not just simple upon deep breathing using the scenarios can be Ability to use movement and long technique of Literature Learning a non- told completely the body and gesture. stretching Mime? verbal means without the use of alone to exercises to make of expression words. impart The language themselves larger Can students: and information. of gesture than they are. Act out a communication. Persons who was born with simple mime employ this man and is They are required scenario technique are reborn to play out a whether it is a called “mimics”, everyday as simple scenario in current item of “mimes” or “mime part of his a set number of news, a poem, artists”. need to gestures that the part of a story express teacher will set. or a concern himself. The scenario of the class? Before the should involve human voice only a short developed, conversation gestures between only two helped not people. only to communicate, The student is but also to expected to act aid in the out both sides of development the conversation, of vocal switching spots as sounds. necessary. 71 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.3 The Later they Observation Can students: “MIME” in were exercises such as Write a short Pantomime incorporated “Still Life” found in essay or make (cont’d) into the first “P. Mohamed’s” a ten minute forms of preparing a presentation written Dramatic on the origin, language, for Production”, mechanics example, the should be taught. and types of Egyptians mime? and the Other exercises Aztecs and in which encourage the use of the entire pictographic body as against writings of the the upper body Hebrews. should also be Gesture and taught. expressive movement were also utilized in ancient religious dances and ceremonies. From the ancient ceremonies in China and Japan, India and Egypt, emerged the 72 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.3 The actor who “MIME” in was once, Pantomime singer, actor (cont’d) and Mime. In Greece, the first recorded pantomime actor is the legendary dancer Telestes, who in Aeschylus “Seven Against Thebes”, (467 BC), detached himself from the chorus to interpret through rhythmic steps and gestures, the action that the chorus sang or recited. 73 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.3 The Through the “MIME” in contributions, Pantomime Decroux, (cont’d) Marceau and Lecoq, three main schools of mime developed in Europe during the 1970s, which had worldwide repercussions. The most common whiteface, illusion pantomime, portrayed concrete emotions and situations by means of conventional gestures, creating the illusion that something was there in reality when it was not. 74 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.3 The Corporeal “MIME” in mimes Pantomime rejected this (cont’d) form to express abstract and universal ideas and emotions through codified movements of the entire body. Those in Lecoq’s movement theatre combined acting, dance and clowning, with movement. 75 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.4 Theatre Ability to A play is a live Plays and films are Appreciation Film is Ask each student Can students: Language Appreciation identify production of a different mediums for drama as a processed to go to see a play Make at least Arts (Minimum drama as a dramatic story. or forms in which means of drama. and to write two one visit to the time 3 hrs.) form of drama can be communicating pages on the theatre and Social Studies theatre. Theatre is a utilized. information, A play is a story and how it see one full generic term illuminating story made them feel. play? Music Ability to used to Drama as a form situations and performed for differentiate describe the has the main solving a live -to do the same -Identify at different total group of characteristics of problems. audience by as the above for a least four types of performing arts, Characters, actors and film. differences drama. including music dialogue and actresses and and dance. incidents. and other -to write another similarities of Development performers in essay or discuss drama in film of cognitive Drama is a form some cases. the similarities and play? skills and of theatre, in and differences critical which between the play -Describe the assessment characters and and the film. main story line skills while incidents and emotional viewing combine to tell content of a dramas. a story. play? Film is not a dramatic form. But drama may be employed as a means of story telling using the medium of film and video. 76 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.5 Cognitive There are Many people who Teamwork The main Instruct each child Can each Computer Technical Skills. several specialise in and elements of to interview at child identify Science Theatre technical different aspects of cooperation dramatic least one theater all the (Minimum 5 Teamwork elements the theatre combine is vital to production practitioner about elements of a Language hrs). and involved in skills and work dramatic are: his/her work. This dramatic Arts collaborative producing any together to create a work. should be written production? skills. dramatic dramatic Creative up and presented Art production. production. Honesty, trust elements to the class and -Identify Career and discipline such as kept as part of a clearly the Career building There are are essential scripting and scrapbook. technical Guidance skills, such specific people to dramatic design. elements. as stage responsible for work. Assign each child Integrated management, each element. Material in class as a -Identify Science lighting elements member of a technical design, All these people such as production team. personnel and costume work together finances and Each child should their roles? design, as a team to hardware. act out and sound create the explain his or her engineering finished product Human duties in an and so on. that we can see elements imaginary or real and enjoy. such as production. personnel. Each child should Technical be clear about elements production such as hierarchy and lighting, protocol in relation sound, stage to technical issues and of the drama. costumes etc. 77 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.5 Some people in Technical drama work in Theatre full view of the (Minimum 5 audience and hrs).(cont’d) others work behind the scene. All are equally important. Those working behind the scene are usually the technical crew. 78 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.6 Able to Awareness that Understand that Demonstrate Lighting is the Oral discussion Can students Language Stage Lighting discuss, lighting was a Stage Lighting is the ability to most on the history of develop a Arts brainstorm, part of stage very important and share ideas advanced in Stage Lighting. Portfolio on Oral discussion research, production for crucial to a about Stage terms of The History of on the History report and many years and production. Lighting. equipment Brainstorming the Stage of Stage explain the was used for and topic. Lighting? Lighting. importance illumination and Understand the Co-oper- technique. of lighting as visibility. History from the ativism and Students are -List the Art and Craft an important first 2000 years to positive Most of the placed into groups different forms Compilation of element of present day. group advances according to the of stage Portfolio the stage. attitudes. have period and are lighting long occurred in responsible for ago with stage Social Studies the past information lighting Tracing the hundred pertaining to that present day? History of years. specific period on Stage Lighting. Before that Stage Lighting. -Identify when Stage stage lighting Lighting was Students elect a is used? a relatively leader for each crude affair. group and that person is For the first responsible for 3000 years reporting to the theater was class. held mostly outdoors during the day for the need of illumination. 79 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.6 The sun is an Students compile Stage Lighting excellent the information on (cont’d) source of Stage Lighting. light. Play wrights used imagination to suggest night time or shifts in Lighting. Performers brought on torches or a candle to indicate night. In AD 1600 – theater began to move indoors. Candles and oil lamps were used for illumination until 1803 when a theater in London installed gas lights. 80 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.6 Lighting Stage Lighting during the (cont’d) eighteenth and nineteenth centuries became more manageable but still remained crude and primitive. During this period there was tragic and costly fires in theaters both in Europe and the United States. In 1979 Thomas Edison invented the incandescent lamp (the electric light bulb) and the 81 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.6 era of Stage Lighting imaginative (cont’d) lighting for the theater began. There has been numerous advances over the past 50 years. Lighting instruments have been refined to become more powerful. Today for a large college theater production there may be as much as 300 lights. 82 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.6 Each one of Stage Lighting these (cont’d) instruments can be hooked up to a central computer board and light settings, the level direction and colour of the lighting instruments can be stored in the computer. 83 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.7 Stage Able to Awareness that Understand that Demonstrate Sound has Teacher and Can students Language Sound discuss, instruments sounds could be through become an students have an produce an Arts question, produce many found in music, sharing ideas important Oral discussion instrument for Oral discussion explain and sounds in a speech, about the element in on Sound. sound effects list the production. accompanying a specific roles theatre for a Science importance film or other visual of Sound in a productions. They come up classroom What is of Sound as presentation. Production. with a definition play? Sound? an important Sound can be on Sound through element of Understanding that Co-oper- defined as a Brainstorming. - Say what is Art and Craft the Stage. sound effects can ativism sensation sound and Production of be made to caused in the Teacher why it is used an instrument produce different Co-operation ear by the questions in a for sound sounds. in producing vibration of students on the production? effects. Sound the different elements Some devices that Effects. surrounding where sound can are used for sound air or other be found. effects are wooden medium. drum, a miniature Teacher explains door and two It can be sound effects and pieces of wood. found in students identify Music, instruments that Speech, etc. can be used to accompanying produce a a film or other particular sound. visual presentation. 84 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.7 Stage Sound effects Students list the Sound(cont’d) can be different defined as instruments that any sound can be used to produced by produce sound mechanical or and the kinds of human sounds that are means to produced for a create for the production. audience a Sound associated with the Play being produced. Many devices have been developed through the years to create these sound effects. 85 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.7 Stage For example, Sound(cont’d) a wind noise can be produced by a wooden drum made from slats. When the drum is turned, by means of a handle, it makes a noise like howling wind. For door slams a miniature door or even a full door in a frame can be placed just off stage and opened and shut. 86 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.7 Stage Two pieces of Sound(cont’d wood slammed shut can also simulate the sound of a closing door. In some cases this effect can sound like a gunshot. 87 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.8 Safety in Able to Awareness that Understanding that Demonstrate It is very Class discussion Can students: Language Theatre Arts discuss, safety is very Safety is freedom the ability to important to and brainstorming -List Safety Arts research, important when from injury or risks. share ideas. put safety on what is Safety measures that Oral discussion report and having a measures in and why Safety need to be in and Written compile an Production. Some of the Co-opera- place for any measures should place before a Expression aid on the measures that tivism and production. be put in place. production? importance There are should be put in positive Social Studies of ensuring several place are:- group Safety can be Students are -Identify the Researching that safety measures that (i). The attitudes. defined as placed into groups reasons why the given topic. measures must be put in environment should freedom from to look at some of safety are put in place before a be safe. injury or risks the safety measures Art and Craft place for a production. as well as measures that should be put Compilation of production. (ii) All equipment, designating should be put in in place aid. appliances and any or place for a before a machines are in various production. production? working order and devices for should be left in preventing Students report at charge with a injury from the end of the competent person. machinery. session. There must be an The following Students make an Entrance and Exit should be aid on Safety in in the production. looked at Theatre Arts and carefully place it in the when having classroom. a production. 88 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.8 Safety in Ensure that Theatre the Arts(cont’d) environ- ment is safe e.g. acting or performance areas should be safe at all times before and during the performance. The Stage Manager should ensure that all equipment, appliances or machines are in working condition. 89 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.8 Safety in The Stage Theatre Manager Arts(cont’d) should ensure that equipment are left in the care of responsible persons only. The Production area should always be equipped with a fire extinguisher and first aid kit. There must be an Entrance and Exit door in the performing area. 90 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.9 Able to: That basically That: Accepting The director: Warm up activities Can students - Literature Responsibilities direct, the Director has 1. The Director their role and 1. Selects or Large group -read a One of the Director coordinate, six collaborates with responsibility, creates a discussion on: Act Play, Math cast responsibilities the playwright, cooperating script. interpret the block a and works actors, designers, with the Responsibilities play, and play, closely with the and technicians to production 2. Decides on of the director. discuss how a scenic, costume create on stage a manager. the script’s What is a director would conduct and light carefully selected interpretation dramatic cast the play? rehearsals. designer in vision of life. Displays a and the production? coordinating the willingness to configuration Money -identify and visual elements 2. Modern directors give the of the stage available for discuss of the favour the necessary space. production dramatic production. collaborative support at all funds/sponsor- elements e.g. approach. In this times. 3. Casts the ship. character The Director is organic method, actors in their setting conflict responsible for director and actors Developing a various roles. Teacher gives and resolution the overall work together in keen desire students guidance in plays they artistic quality of rehearsals to to direct a 4. Works with on how they can read or the production. develop play. other theatre choose a suitable attend? movements. artists to plan piece for and execute performance. e.g., the relevance of production. content – age, culture. 5. Conduct rehearsals with the actors. . 91 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.9 3. The importance gestures, 6. Co- Casting is Responsibilities of the rehearsal character, ordinates all matching an of the Director process is to relationship, elements into actor/actress to a (cont’d) discover a unity, stage image the final role and also the rhythm and and line stage process by which meaning for the interpretation. performance. the technical crew production. is chosen for a The overall particular artistic production. The qualities of director must the interpret the play. production style, pace Rehearsal- and visual This involves appearance interpreting the is also the play, blocking, responsibility working together of the to develop Director. movements, character, etc., and preparation for all the theatrical elements e,g, light, sound, set, design, etc. 92 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.10 Able to That: That: Appreciating The Stage Group discussion Can students Social Studies Responsibilities discuss and The Stage The Stage the Manager is on the content. stage manage of the Stage interpret the Manager is Manager is the responsibility responsible short plays Literature Manager role of the concerned person who co- of a Stage for: Questions and that reveal Stage with the ordinates all Manager. 1. The back answers based on character, Art Manager. allocation of rehearsals and stage team: the content. setting and tasks and the actual Co-operating a) Set dramatic carries them running of a with the back designer action out for any performance. stage team. exclusively given b) Properties through production. The Stage Appreciating Manager drama? Manager has the rehearsals. The back immense c) Carpenter stage team responsibility of is seeing to it that a d) Costume responsible performance, Designer to the Stage comes of Manager. satisfac-torily. e) Light and Sound The Stage Technicians Manager is not only an f) Stage hand essential member of any g) Daily production Records team. h) Atten- dance 93 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.10 Immense task (2) Coordina- Responsibilities of seeing to it ting all of the Stage that a physical Manager performance aspects of the (cont’d) comes off production satisfactorily. with the director’s approval. (3) The Stage Manager coordinates with the Director and communicates with heads of all other departments during rehearsal and after opening and for the scheduling of other company or individuals related to the production. 94 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.10 (4) The Stage Responsibilities manager of the Stage should attend Manager all production (cont’d) meetings and all rehearsals with the Director as he/she plots the play. (5) The Stage manager must ensure that the stage is set at all times for rehearsals and performance and that the environment is healthy and safe on stage and backstage 95 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.10 (6) The Stage Responsibilities Manager of the Stage compiles the Manager prompt book – (cont’d) (a copy of the play with directions for performances) record stage business, blocking, lighting, sound and other cues; makes the rehearsal schedule, takes notes during rehearsals, coordinates rehearsals and is in charge of production on 96 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.10 opening Responsibilities night. In of the Stage addition, Manager cueing and (cont’d) coordinating all human and technical elements; and runs the show after it has opened. 97 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.11 Able to That: That: Appreciation (1) A property Group discussion Can students: Math Responsibilities discuss the The The properties of the role of (prop) must on the content. Illustrate how of the importance Properties Manager has a the properties be a symbol theatre Art properties of properties Manager is list of all Manager. of something Designing a incorporates manager in a responsible properties and important in prop’s chart with other Technical production. for all makes a chart Cooperate the drama, a personal disciplines? Drawing movable with the with Stage focus that properties and set Listening to articles used headings: hands and helps build properties, with Can students Language the role and in a Scene, props, properties the tension headings and identify the Arts duties of the production – and location, people. and the instructions as to different types properties personal with appropriate power of the when the items of Properties. Literature manager. properties instructions. movement. should be placed and set on, and taken off properties. (2) Properties the set. are all Is in direct moveable A copy should be control of the articles that given to each Stage Hand are in use in actor/actress and and a production. Properties properties People. people. (3) There are two Is in charge categories: of obtaining, placing and a) Personal returning (if Properties borrowed) all e.g. books, a properties glass of after the water, wine, production. newspapers, etc. 98 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.11 (4) The Responsibilities Properties of the manager properties must have a manager list of all (cont’d) properties and a chart with headings:- Scene; 1 Prop: Joan’s glass of water. Location: On the side table. Strike after Scene 1 Scene, Prop and Location with instructions as to when the items should be placed and taken off. 99 DRAMA CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.2.11 A copy Responsibilities should be of the available to properties every manager actor/actress (cont’d) and properties person. It should also be posted on the board where it can easily be consulted along with other schedules. 100 8.3. MUSIC CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3.1 Pitches play pitches can be pitches are Interest in Sing do mi, Play and sing the Can students: Science given performed in a combined in and derive soh given pitches in -play and sing Frequency, ptches – specific order. specific ways to pleasure from (C,E,G) simple rhythms in short phrases sound waves B,A,G - - make music. playing and groupings of 2, 3 of 2 measures vibrations, on the singing Play the and 4. using known nature pitches reocrder pitches can be pitched ptches pitches and such as bird (review notated on rhythms. C,E,G,A,B rhythms? sounds the clef) paper, to of the ‘C’ (e.g b bb represent scale. b__) sing the specific sounds pitches (in the form of C,E,G tunes etc.) read musical patterns through musical lines read music written on the staff 101 MUSIC CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3.2 Movement Recognize Pitch movement Pitches can move Confidence in Pitches in a Sing, play Can students: Literature – of music by and play short helps a melody. by step and stay music melody can simple -write short step and stay melodies that the same. reading, move by step melodies that melodies that Poetry the same move by step playing and and stay the move by step move by step or stay the singing. same. and stay the and stay the Science – same. same – use same? (identification rhythms from and Level 7 comparisons) sight-sing 8.3.2 Movement Recognize Pitch movement Pitches can move Confidence in Pitches in a Sing, play Can students: Literature – of music by and play helps a melody. by skip and stay the music melody can simple -write short Poetry skip and stay short same. reading, move by skip melodies that melodies that the same melodies playing and and stay the move by skip move by step Science – (cont’d) that move by singing. same. and stay the and stay the (identification skip and stay same – use same? and the same. rhythms from comparisons). level 7 Sight-sing 8.3.3 Movement Sing Pitches can be Pitches can be Interest in Sing specific Sing and Can students: Language of pitches by pitches in sung in the sung in a specific and derive pitches which notate short -sing short Arts skip, step, leap a given order soh mi; order in simple pleasure from are played. ‘melodies’ melodies (dictation) or stay the order (e.g. soh mi la; ‘melodies’ singing using the using the same. soh mi, or Soh mi la do; simple Kodaly system Kodaly mi soh) Soh mi la do ‘melodies’ e.g. soh-soh- system? Re mi-mi soh -notate short melodies using soh-mi soh-la the Kodaly mi-mi system? 102 MUSIC CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3.4 Movement Recognize Pitch movement Pitches can move Confidence in Pitches can Play, sing and Can students: of pitches by short melodies affect a melody. by leap. music move by leap listen to simple -identify and leap that move by reading, within a melodies that perform leap. playing and melody. move by leap. different singing. melodic movements? -discuss the effects of melodic movement? 8.3.5 Write/sing/play Pitches are Melodies are Interest in Pitches can -Performance of -write the Maths Structuring the tetrachords as combined to written within a constructing be played or simple melodies scales? Major Scale a means of form scales. scale – in this scales using sung in a in C, F, G -sing and play constructing instance the Major. the tetrachord specific -Sing the scales melodies in C, Major scales. system. tonality. of C,F,G F, G? 8.3.6 Major Use the Semitones are Major scales follow An Writing, -Create short perform Art Scales recorder to the shortest a specific pattern or appreciation singing, phrases using any and/or create Patterns play the C, distance tonal relationship for music in playing in the of the scales. melodies in F, G scales between 2 (T T S T T T S) the major scales of C, any of the Identify the pitches (e.g. tonality. F, G scales? tonal E-F, A-A#) patterns of Wholetones wholetones combine 2 (T) and semitones semitones (e.g. E-F#, G- (S). A) 103 MUSIC CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3.7 Primary Identify the Chords have Chords provide An interest in The names Add chords to a Can students: - Art Chords ‘primary’ specific added musical and derive of the known melody -construct and chords in the names and interest to a tune. pleasure from ‘primary’ play any of the scales of C, F, functions harmonizing chords primary chords G The ‘primary’ melodies – (tonic etc.) within the given chords are adding Construct scales? I – tonic; chords. and play IV- the chords -harmonize Subdominant; Harmonize a melody? V – dominant a melody. 8.3.8 Dynamics Recognize Dynamics The effect of music An interest in Dynamics Listening play a melody the effects of refer to how depends on the and derive enhance a Add dynamics using dynamics loudly or dynamics of the pleasure from melody to the above dynamics? softly music melodies. using (begin with melody Play a is performed dynamics in p, f) Sing or melody using Dynamics music (p, f, compose using dynamics can be varied mf, mo,<.,>) objects such in a melody. as paper, wood etc. to give dynamic effect. 104 MUSIC CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3.9 Form Recognize Music has Music is composed An Composing Can students Can Art the structure (e.g. using different appreciation and playing demonstrate students: Drawing, structure of repeated forms/structures for musical selections through -compose an painting various rhythmic depending on its structure. (AB, ABA) in performances of AB/ABA form musical patterns, or purpose (e.g a any of the AB/ABA as well as melody? selections melodic calypso has a scales learnt compose in either (AB, ABA) movement are different structure so far. form? Visually combined to from a waltz) and aurally create a identify melody) structure in music. 8.3.10 Musical Recognize Music Music developed An The Discussions, Can History Eras music from developed and changed over appreciation Renaissance reading, singing. students: different over a period time. for various Era -identify and Social Studies periods in of time. styles of list time. music. composers Identify Various associated and list changes with the composers occurred at Renai-ssance associated different times Era? with the – polyphony, Renai- secular tunes, -outline the ssance Era madrigals. main musical Describe develop- the main ments of the musical era? develop- ments of the era. 105 MUSIC CURRICULUM TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION 8.3.11 Folk Describe Folk songs Music arises An Folk music Singing, playing, Can students: History Music folk songs arise out of the spontaneously from appreciation analyzing. - perform a as songs people to carry the experiences of for various selection of Social Studies of the messages, or people in a styles of folk songs? people by discuss their life particular locality. music. the people. experiences. Identify the types of folk songs – marriage, work etc. 106