CUADTM401

PLAN AND ORGANISE

DANCE CLASSES

STUDENT WORKBOOK
TRAINING MATERIAL

“Behind every dancer who believes in themselves is a teacher who believed in them first.”
Teaching is an honourable career. Always remember to be the VERY BEST version of
yourself.

Assessment Submission Note: Assessable tasks have been included in this booklet for your
convenience. However, all activities must be copied and pasted into the appropriate
moodle document in order to officially submit the assessment tasks.

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 Introduction to Teaching
It’s remarkable to witness your own dance students reach their full potential to grow and
develop into mature dancers. Observing an individual student achieve their goals is, for
many teachers, one of the greatest achievements. All of the organisational preparation
and precise planning culminates into a collaboration and
partnership of success. Both the teacher and the student share
that success.

Nevertheless, how do you progress the successful movement technique of a student, to an

achievable point of dancing maturity?

Planning: The method to plan for movement learning does not happen incidentally, it must
be carefully planned. Planning is an essential part of a teacher’s workload. Teachers need to
plan and create opportunities within each class for each individual member.

Organising: In each class both the learner and the teacher need to apply learner information
and progress towards the learning goals defined by the teacher at the start of the session.
“What are your goals? How do we get there?”

This teaching unit describes the performance outcomes, skills and knowledge required to
plan and organise dance classes and movement skills to a range of target groups, whether
it be syllabus or non-syllabus classes. Foundation skills learnt in this unit consist of
competent organisational and evaluation methods utilising relevant information material
obtained, researched and supplied.

Training teachers will also maintain effective time management skills and turn
observations into relevant document recording methods; you will identify and follow
procedures and expectations effectively in relation to your own role at the studio.
Competency will be effectively presented in the ability to interact with others, to discuss
and share ideas and formulate effective solutions within the oral communication context.

The teacher will need to understand within a session (class) plan the importance of
written and oral reflection for a group or individual. The teacher will need the full
understanding of the cultural background of an individual, whether it is a student or
colleague.

To show competency the teacher must adopt a methodical and logical approach to the
process and planning of organising dance classes. This also includes the organisation of
appropriate music choices and recognising appropriate movement skills taught for a basic
level dancer.

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 “I believe that we learn by practice. Whether it means to learn to
dance by practicing dancing or to learn to live by practicing living,
the principles are the same. In each, it is the performance of a
dedicated precise set of acts, physical or intellectual, from which
comes shape of achievement, a sense of one's being, a satisfaction
of spirit. One becomes, in some area, an athlete of God. Practice
means to perform, over and over again in the face of all obstacles,
some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired.”
― Martha Graham

Teacher Role
How can you clarify your personal role and responsibilities as a teacher?

 Make a list of what is required to teach

(eg; Breakdancing ages 9 to 11 years. 10 boys. 6 have experience, 4 are new to
breaking this year. 1 new boy has shortened right foot Achilles so has limited
movement but no injury. Add an assistant to the class with the understanding they
will help demonstrate steps. Mentor assistant during class. Get assistant to bring a
notebook to take notes. Make sure new students feel included and praise all for
teamwork. Add introduction games to the warm up. Let parents know their child’s
progress after class.)
 Add to your plan any relevant responsibilities undertaken by a teacher
(eg; open up studio on Tuesdays. Arrive 15 mins prior to opening time and sweep
floors and check for any hazards. Turn on air conditioner/heater on prior to the 1st
class).
 Check with relevant organisations/affiliations what requirements you need to obtain
as a teacher.
 Check your WWCC or any other relevant registrations and memberships are updated
and paid.
 Make a time to meet with your studio owner or relevant peers about any syllabus or
technical updates, renewals, extra PD training needed.
 Discuss and document weekly/daily teaching responsibilities with studio owner and
review in meetings.
 Define effective delivery of learning: analyse feedback from observations form,
discuss with studio owner or peer and review.
 Clarify your role and responsibilities if circumstances change with new class member
or change of dance style.

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 Learning Context
Let’s first establish: what is the learning context in dance?
Learning context is defined as the situation in which something is learned. (Eg: watch the
demonstration of a dance step or listen to instructions.)
Or, how it is understood:

 Where is the weight placement?

 What sequence do I move my body in order to correctly move through this
movement?
 What muscles are activated to execute this step?
It’s also defined as a situation that can impact on how something is learned or what is
taught:

 What type of learning is being used?

What effective teaching skills are needed for a great learning context?
This would include anything in the surrounding environment:

 Physical Environment – ask yourself these important questions when deciding on

context: Am I physically capable of teaching these movements? Am I fit enough to
teach these physical movements? Can I demonstrate movements correctly with my
own body? Do I understand what I am teaching though the expression of my body?
Can I translate verbally without demonstrating my intention through movement? Do
I have a confident teaching style? Can I present with confidence and
professionalism?

 Social Environment – is the recognition of your knowledge and training from the
studio and the greater dance community and organisations. It’s the recognition of
your talent for teaching from the Dance Community at your studio and beyond.
Always uphold a positive image of your teaching role in public and online. Question
yourselves: Am I being the best version of myself and always striving for better from
others with great classroom management and respectful relationships at my studio?
Use great mentors within your dance community to inspire you further with greater
learning context and organisational skills. Make strong and meaningful connections
with industry peers.

 Institutional – you are never too old to learn. Do I have Qualifications? Have I
obtained the theoretical knowledge to support the physical dance learning? Have I
been trained through a recognised syllabus or training accredited organisation to
support and assist my learning context of the class I teach? Do I have a syllabus
document as reference or an organised open syllabus plan of what I am teaching?

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 Can I create enough learning context valuable and engaging for my class, and if so,
know where I should source what else is necessary?

 Personal – Who inspires me to teach the best class I possibly can, and who
influences and inspires what I teach? As a teacher, you should never stop learning.
Speak openly to your students of how much you enjoy teaching them. Give them
your full attention the entire class and tell others how much you love teaching. Word
spreads fast.

Activity 1:1 :- List below two names of people or places that have influenced you
personally to teach dance and why? THIS ACTIVITY WILL BE ASSESSED -

Helen Hadden Helen is the principle and owner of my old dance school and one of
my first ever teachers since I was four. I have grown with her through
my dancing years, and she has always been really supportive of
everything I have achieved. I love working with her because she
knows how I dance and how I like to learn choreography, especially
when it’s her own. She has helped me through so many of my dance
exams and eisteddfods comps which I am very grateful for. I love her
teaching style and I definitely want to help pass on some of the
things she has taught me through the years.

Debbie Hansen I loved working with Debbie. Again, she was one of my first dance
teachers for our concert classes and I loved every second of class that
I had with her. She is such a kind and caring person and has been
extremely supportive of my dancing ever since I was little. I first
started assistant teaching with her, and she has taught me a lot of
tricks when working with children that I still carry with me.

Activity 1:2 :- Complete the table below by listing your current competencies in the
following teaching areas. THIS ACTIVITY WILL BE ASSESSED -

Statement of Not yet Working Competent Highly Support your

Competency competent towards Competent answer with
competency comments
Can I X I have taught
confidently beginner level
demonstrate dance for
all movements around 2 years,
I teach to my so I know I am
beginner very
level? competent.
Can I connect X As I am doing
with industry full time, I am

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 dance mentors working on
and affiliate familiarising
organisations myself with
to assist my different
learning teaching styles
context? of people in the
industry. I am
working on
seeking out
connections to
become more
competent.
Have I X I am currently
obtained the working on my
theoretical Dance Teaching
knowledge to cert IV and am
support my getting myself
learning to a more
context? competent
level.
Do I openly X I am very
express my interested and
love of passionate in
teaching dance and I find
dance to my watching
students and people I look up
my dance to very
community? inspiring. I want
to be that
person to my
students when
I’m teaching
and share my
love and
knowledge with
my classes.

Activity 1:3 :- Thinking from your own past teaching or assistant teaching experience,
list in detail two areas of further organisational improvement that could benefit your own
future teaching and why? THIS ACTIVITY WILL BE ASSESSED –

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 - From my previous experience, especially when I was younger, is that I never really
took the time to really get to know my students well enough. I think it’s extremely
important to get to know your students individually and their own learning styles
because you can then get to know them on a more personal level as well, and even
connect with them on various situations. Knowing how they are physically and
mentally can really help drive the lessons you’re teaching and it’s also nice for them
to know that you can be a supportive and comforting role model with them and
others.

- Lesson planning is a big idea that I have never really taken on. I always had a rough
idea of what to do during classes, but I never really connected them to anything long
term. Having this tool for future classes will definitely benefit the way each lesson
runs, and I will be able to see more improvement with students’ goals and
achievements over the period of time I have them.

Activity 1:4 :- Why do you think it is important for Dance Teachers to undertake a
teaching qualification course? Why is it personally important you undertake these
qualifications? Feel free to interview a peer for this answer or self-reflect. THIS ACTIVITY
WILL BE ASSESSED -

It’s very important for teachers to have a teaching qualification in order to adequately
teach dance. Knowing different strategies and ways on how to teach different students
according to their age and ability is very important when you’re wanting to teach any
class. Teachers have a responsibility to ensure that each individual student feels safe,
supported and encouraged when learning different skills as I can help push them to the
level you know they can succeed to.
I feel personally it’s important as I would like to extend my knowledge of dance and
teaching skills further so I can become a well informed and supporting teacher to students
that I may have in the future. I want to build upon my learning and experiences so I can
inspire children I teach just like how my teachers inspired me in dance.

Learning Environment
The external or physical learning environment, including the quality of equipment and
facilities and the training level of the teacher, are organised and arranged to obtain an
effective learning environment. Ideally the studio would have barres, mirrors, safe flooring,

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ventilation, quality sound and lighting equipment and be in a safe and easily accessible
venue.

Activity 1:5:- Conduct a risk assessment of your teaching space and identify constraints
and hazards and how you will minimise the risks to ensure the safety of your students.
Insert Risk Assessment – THIS ACTIVITY WILL BE ASSESSED -

Identify and list List current risk Risk rating: List additional
hazards: controls: controls:
Water spillage on the Having a set place to Minor injury could Having a box to put all
ground from drink put drink bottles happen drink bottles in so
bottles water doesn’t leak
onto the floor in the
studio
Students leaving their Having lockers for Moderate injury can Reminding students to
belongings in hallways students to put all occur only have essentials
and around the studio belongings into before with them and put in
class lockers or to the sides
of the room away
from where they will
be moving.
Having charging cords Ensuring they’re taped Moderate injury could Checking if the wires
or wires exposed down and out of the occur and cords are taped
way down properly and
retaping if necessary.
Keeping the cords
close to a wall in the
studio to prevent
tripping hazards.

Assessments
Below is an excerpt from The Common Inspection Framework for inspecting post-16
education and training (6 Ofsted/ALI (2001). The Common Inspection Framework for
inspecting post-16 education and training. Ofsted/Adult Learning Inspectorate).

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This excerpt is designed for classroom teaching, but take relevant tools and advice from it,
and implement them into your own dance program.
Assessing learning:
“the effective use of questioning no matter how well a teaching and learning session is
planned, or how well a teacher may feel at the conclusion to the session, it is not how well
the teacher has performed, but the reaction of the learners that matters.
The real test is whether learners have learnt and ultimately progressed against the learning
objectives defined at the start of the session. Testing learning is an important part of
classroom practice, and questioning is one of the most common methods of checking learner
understanding. Questioning is something teachers do naturally as part of their daily routine,
but developing the skills associated with questioning techniques presents many challenges
for teachers and is something that is developed over time.
Teachers need to review what is to be learnt in any one teaching and learning session and
plan for the inclusion of questioning accordingly. When to pose open and closed questions,
how to develop a question distribution strategy and when to use questions to check learners’
knowledge, comprehension and application are all issues that teachers should consider.
How well do learners learn, progress and ultimately achieve? It is therefore crucial that the
learning aims, and objectives are clearly defined and shared with the learner methods of
testing learning are appropriately identified. Questioning is a good way to develop an
interactional style of communication. They need confidence to develop questioning skills.
When they pose a question, they have no idea as to what the learner is going to say.
Despite their hopes they need to have the courage and confidence to deal with any answer,
no matter how bizarre.
When they ask learners questions, they must be prepared for the learner asking them a wide
range of searching questions in response. They must be confident in their subject matter and
be well prepared. One of the first stages of questioning is getting the learner to talk, which
may seem strange as teachers spend a lot of time trying to get the learner to be quiet. What
they are really trying to do is get the learner to think out aloud, check their learning and
share knowledge with their peers …….”

Activity 1:6:- What was relevant to your current teaching practises from this excerpt?
Which quote/s were helpful and why? THIS ACTIVITY WILL BE ASSESSED –

The things I found very useful is that “the reaction of the learner’s matter”. We need to
know if the students have understood the material that has been delivered to them.
“Questioning is one of the most common methods of checking learner understanding.” By
questioning them on the topics or material that have been covered, we can get a sense of

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 understanding by the responses they give. This can be consolidated by asking what
movements come next, what counts they’re on etc. When questioning students, its useful
to use terminology they understand and to help encourage them to work towards the
answers that they’ll be able to apply when dancing. “Questioning is a good way to
develop an interactional style of communication. They need confidence to develop
questioning skills… have the courage and confidence to deal with any answer, no matter
how bizarre.” This quote felt very relevant as its important for students to feel supported
and encouraged when answering a question or even doing a demonstration in class as
they might not be feeling completely confident. Opening up questions into a class
discussion can benefit various learners because we can get other people’s thoughts and
opinions on the matter which may open up the minds of learners.

As teachers, we can work up to this in classes by using a solid class plan to utilise very
similar steps and skills together from the start of class to the end. We can boost self-
esteem in students by praising them and acknowledging their improvement from the start
of working on a skill to when they have obtained correctly performed the skill. “How to
develop a question distribution strategy and when to use questions to check learners’
knowledge, comprehension and application” Asking the learners about the skill given and
how to improve or work on it can keep their minds feeling challenged and they can
become more open about wanting to achieve different goals for future classes.

Teaching Strategies
Activity 2:1 :- Give an example of how you use the following Effective Teaching
Strategies in your lesson plans:- (research the definitions to assist in your responses) THIS
ACTIVITY WILL BE ASSESSED –
1. Visual/ Verbal/ Kinaesthetic
2. Cooperative

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 3. Inquiry-based Instruction
4. Differentiation
5. Access and Use of Technology
6. Behaviour Management
7. Professional Development

 How do I use visual, verbal and kinaesthetic/practical learning in the studio?

Using this type of learning in the studio can be beneficial by knowing the order of
movements and how different dance styles are executed. A good way to do this is to get
students to verbalise the movements or use sound effects to help understand how long a
move is held for or how sharp a movement is going to be. Another useful tool is
describing how the movement feels and using imagery for movements. This is particularly
helpful for children as they can get a sense of how the move is executed. For example,
‘move your arms up and down like you’re flying like a bird’, or ‘kick your leg hard in front
of you as if you’re kicking a ball’.

 How do I use cooperative learning techniques and teamwork in the studio?

Using cooperative learning can be useful for the student’s creativity by getting them to
work together in partners or small groups. This can be to help decipher choreography or
make up different movements to then be brought altogether to create a routine or group
movement piece, which can be beneficial for some learners to gather and process
information.

 How do I use dance theory and Inquiry-based instruction in the studio?

This can help the students discover and create innovative movement. This can be done by
giving the students a stimulus to work off for improvisations and create curiosity and
learning about their own movement. An exercise that can spark this is ‘Channel 9’ where
the students chose different movements with any body part for each of the nine dots and
they then get connected together through their own transitions. These set movements can
then be explored further with up tempo songs and slow instrumental songs.

 How do I understand differentiation?

Differentiation can be handled by being able to tailor to the learner’s individual needs. For
example, if a student isn’t getting the choreography, you can group them with students
that have similar needs, and they can go through each step with an assistant teacher while
the others work on other parts of choreography. Another similar scenario could be that
there are some new students that have joined later on in the year and they haven’t learnt
the group choreography, so they can be grouped with another student or an assistant

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 teacher who can help them learn the routine.

 How do I access and use technology in the studio?

Playing different songs and different styles of music with exercises and combinations can
keep students engaged, especially if its music the students like. It can be used to show
visual aids like photos and videos of performances or musicals to give the students
inspiration and can be useful for them to know what the style looks like. For example, if
they were doing a Fosse number, I can show them footage of the cast from Fosse the
musical. Videoing can also be very beneficial as they can record themselves doing exercises
and can correct themselves on their techniques or styles thy need to focus on. It is also
handy to have videos of group choreography to help them practice the routine for a class,
performance or competition.

 How do I control behavioural management in the studio?

To control behavioural management, it’s important to set really clear rules and boundaries
from the beginning of classes and sticking to it throughout the lessons. If they’re younger
students, encourage them to use their manners and have techniques to use to get the class
to listen when they are misbehaving or being too loud. It’s also important not to draw
attention to a child who’s misbehaving as that can keep encouraging them to continue
acting that way. A way to elevate this is the teacher can give them something else to do or
work on to keep them distracted.

 What Professional development will further assist my teaching practises?

Something that can help assist my teaching is getting another, more experienced, teacher
to sit in on my class and give me corrections and feedback for next time. I can also include
sayings and characteristics from other teachers I have currently or have had in the past
and utilise their ways of how they structure a class and handle different situations.

How do I create great ideas for my teaching strategies?

What makes the difference between a good idea and a great idea? Good ideas are
generated many times over and help people solve minor problems in work scenarios and
daily life. Great ideas appear a little less frequently and require a little more work to
execute. Great ideas can be achieved in solo or in a group/partnership.

Observe: Think of new and creative ways. Commit time to specific sessions where you
stimulate your brain into thinking differently. Observe others work and analyse activity and
behaviour.
Connect: Find like minded peers, meet face-to-face or online to ask for inspiration. Have
regular meetings with a peer group sourcing ideas, sharing information and trialling
another’s formula. Find new perspectives to help surface new thinking. Collaborate with
others in the planning stage applying a basis of team knowledge.

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Read: Books are wonderful resource for creating new thoughts and stimulating great ideas.
You'll find plenty of thought stimulation.
Websites: Google is great when you know what you are looking for, but the best way to
generate new ideas is with unexpected learning. Take an hour each week and go on a web
journey.
Keep a Regular Journal: A journal is great for recording thoughts. It also is a great way to
structure and develop ideas.  If you don't keep a journal, start today.
Quiet time/Meditate: It's hard to come up with great ideas when your mind is crowded
with everyday thoughts and concerns. You need quiet space. Meditation will help you clear
your mind of daily business and stress.
Use Structured Exercises: Simple exercises can get your brain working in a focused manner
to produce great ideas. All of these methods require a commitment of time and energy, but
that's the key to great ideas. You need to give your brain the time and space to work for
you.

How do I apply the knowledge of learning principles and learning theories that my classes
require? Look at your own classes and consider what they require.
Age group – 8-10, year 3-5
Jazz style – skill level- recreational students
15 students in the class
Term 2

Observe:
- Student that is getting chorey can put them in groups or buddies and give them tasks
to do.
- Request an assistant teacher to help out if you’re unable to manage the class
efficiently
- Look at structure of classes – make changes

Connect:
- Create games with exercises that you want the students to achieve. This can help
engage the class more as well.

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 Individual Learners

As a dance teacher, you have a responsibility for teaching a lot of different skills to your
students.  There is technique, of course, and musicality, artistry, discipline and spatial
awareness.  You may also realise you have a role in building their emotional resilience as
much as you build their physical strength, flexibility and resilience.  How often do you think
about your role in facilitating and encouraging their individual learning needs? How do you
allow for Individuality?

It’s okay to present differently. When someone interprets the message in a different way,
we as teachers can support their learning journey minus the stress and crisis.

Who has experienced watching a dancer overwhelmed if they make a mistake in the eyes of
a teacher or themselves? Have you ever experienced watching a dancer forget a part of a
dance in the moment or alter
movement, and continue to learn,
or even flourish, from the
unexpected experience? How
many of you supportively guide the
learner back on track with little
stress? Who uses reflection in this
instance? The ability to adapt can
be well supported within the right
teaching environment.

Individual students are generally

expected to copy the demonstrated teacher’s movements exactly. Groups of dancers are
meant to all present movement identically at certain times in a dance, as per
choreographers’ instructions.  It’s true it’s important to learn to observe and copy, but in
only teaching students to learn movements identically, you send a message that being able
to ‘copy someone else exactly’ is the most important part of learning.  

To counter this, make sure you regularly give students a chance to incorporate something of
their own into a class.  It can be something as simple as asking students to set their own
arms to an exercise or giving them a chance to make up a combination for the class, and
include improvisation with free movement to music.

Strategies for Building Resilience: (The Road to Resilience- American Psychological

Association https://www.apa.org )
Avoid seeing crisis as insurmountable problem Accept that change is a part of living
Move towards your goals Take decisive actions
Look for opportunities for self-discovery Nurture a positive view of yourself
Keep things in perspective Maintain a hopeful outlook

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Activity 2:2:- Describe briefly a situation in your dance class where you can build
emotional resilience in a dance student. THIS ACTIVITY WILL BE ASSESSED -
I believe it’s very important to be supportive and persistent with each student. Each
individual learner has varying styles of comprehending and understanding information, and
some can also have different reactions to the way they’re taking in the material. For
example, when students are learning a new skill, some may be having trouble deciphering
the movements, picking up choreography or understanding the coordination. They can get
easily frustrated and flustered about the situation and sometimes upset they can’t complete
the task. So, giving the student the encouragement they need and identifying what they’re
doing wrong or struggling with the most, the teacher can work through the problem by
breaking down movements with the whole class and giving praise to the learner when they
correctly execute the movements.
Having high expectations of your class can help the teacher work towards higher
achievements and push their students to increase their skill levels at their own pace.
Knowing the standard of the students can help achieve and build resilience with them. By
knowing the different class levels, you can push them that little bit further and encourage
them to work harder because you know they have the potential to achieve goals that have
been set. This can be consolidated with the learners as the teacher can talk with each
student and let them know how they think they’re going throughout classes and what the
teacher feels they need to improve on for the next class.

“All you can do is be your best self. I'm representing more than just me. I think everyone
should be like that.”  ― Misty Copeland

“I may not be there yet, but I am closer than I was yesterday” ― Misty Copeland

Praise and Positive Reinforcement

The conscious choices you make when you choose to praise another, and the things you
choose to criticise, send strong messages to students about what is valued.  If the only
praise given is when someone is doing exactly what they are told to do or repeating
something demonstrated exactly as you visually and verbally asked them to, then the
student will think this is the only thing that is important. 
Make sure that you take notice when a student experiments a little, it is brave and bold
when they take a risk; celebrate this vocally and let them know you are supporting this stage
in development.
Implement positive praise into your weekly planning when they show initiative, when they
are curious and ask questions, or when they use imagery to describe something. Plan how
you will react to all of these wonderful developmental stages in learning.
Children have their own individual strengths.  Some may be creative, while others may be
technical, or may have a great memory.  The important part is to ensure that you provide

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some reinforcement for each of these types of skill sets.  By praising creativity in one child
who is particularly creative, you send a message to all the children that creativity is valued.

Encourage your students to experiment. Allow them to explore, find new ways to do things,
take reasonable risks, and be prepared to fail sometimes.  Of course, physical and emotional
safety is paramount in dance training, and I would never recommend encouraging students
to do anything that could result in a physical injury or emotional scar.  You can allow
students to experiment through an improvisational exercise, asking them to try different
things in executing a movement to see how it effects the execution of the movement, or
asking them to share an image or an idea that they use.  Again, it’s about communication. In
this case, communicating that trying something new is good, that trying something and
failing is fine, and that when you fail you use it as a learning experience, and keep on trying.

Activity 2:3:- Support your effective teaching and planning practises by researching
successful ways to verbally praise your student. Choose 4 positive phrases/sentences that
resonate well with your teaching style.
Eg: “Well done Mandy, I really like your choice of opening arm port de bras positions in your
ballet improvisation. I really like elegant, graceful arms. Congratulations. You’ve inspired me
to want to join in the next improvisation and use beautiful arms like yourself.” THIS
ACTIVITY WILL BE ASSESSED -

1. “Yes, well done Beth! You have really been working hard on your alignment and arm
positioning in your pirouettes. I can really see an improvement and I can tell that the
more you hold this form and continue spotting quickly, you will be able to get more
and more turns in.”
2. “Fabulous work on your battements Nicky! You really focussed on squaring your hips
and keeping your arms still and shoulders down. You had very nice control out of
your battements too!”
3. “Great job Charlie! Your lyrical improvisation was very beautiful to watch. You really
had a sense of the flow in the music and I really felt a connection with your
movements and musicality.”

4. “Liam that was amazing! I could really hear all the beats you were performing in your
tap dance and they were very crisp and clean. Your arms were very strong and
complimented each step perfectly. Keep up the great work!”

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 Learner Needs and Characteristics
“To be a great teacher, you need to do more than just provide content and instruction in the
classroom.  Aim to inspire your students to be self-directed in their learning and to seek out
information in an area where they have a special interest – it could be music, technique,
choreography, or anatomy.  By expanding their knowledge independently, students will
develop a rich bank of knowledge and experience to draw on when it comes to coming up
with new ideas or new ways to do things. Give them an individual learning platform as well
as creating collaboration within group experiences. You can do this by making sure your
students know about dance performances they can see live or can find on the Internet. 
Encourage them to look beyond dance, to theatre, visual art, photography, architecture, and
literature.  It can be as simple as letting them know about something outside of class but
will be even more effective if you provide time for them to share their experiences, or if you
organise group outings to performances and events, or you set them engaging and creative
dance homework.” (Jo McDonald, Dance Informa Magazine)

Understanding that students can contribute to learning in various ways is a key point to your
ability to plan and organise dance classes. By identifying individual learning characteristics,
teachers can plan to create further opportunities to translate their individual strengths into
practical experience. (Eg: A dancer may be skilled in editing music or creating programs for
concerts. Another dancer may understand theory very well. Or a dancer is gifted at creating
his or her own choreography for a dance.)
Ask yourself:
 At what pace/standard is each of my students learning at?
 What identifiable characteristics do I see in my students that help me assess what
type of learner behaviour they possess?

What type of learning style is most effective for their individual and group learning
experiences?

You must also understand that there are various theories about learning and learners.
Some of these may or may not apply to you as a dance teacher, but it is important that
you realise that there is not a single theory about teaching and learning; there are, in fact,
many individual ways to learn and many ways to educate.

17
18
What are the 5 Characteristics of the Learning Environment?
1. Active Learning
2. Collaborative Learning
3. Constructivism
4. Authentic Learning
5. Goal- Orientated Learning

Activity 3:- Research and define below the 5 Characteristics of The Learning
Environment.
1. Active learning –
- Ensuring that the students are actively engaged within the class and understand
the material being taught. Interacting and participating in the learning process
can help the students perform better in the tasks that they’re given. Active
learning can provide great opportunities for creative collaboration, problem
solving and risk taking, and a boosted confidence, motivation and self-esteem.
2. Collaborative learning –
- Involves a group of learners who are working together to complete a task,
problem solve, or create a product. Students who’re engaged in this learning can
benefit from others by becoming engaged in other people’s diverse thoughts and
skills. An example of this is grouping students together who they may not know
well to work together to create an improvised piece, or short dance piece to
perform to the class.
3. Constructivism –
- This learning involves the learner being able to construct the knowledge and
information themselves rather than taking the information straight from the
teacher. An example is pairing the students together and getting theme to teach
each other different combinations and routines for classes.
4. Authentic learning –
- This approach can allow students to explore, discuss and construct concepts
which involve real world problems relating to the learner. This can be
accomplished with personal journals and portfolios for the student to note down
goals they want to achieve, important class corrections or write how they felt in
various classes, which can be beneficial to the student over time as they will be
able to reflect on these notes and their learning during that time.
5. Goal orientated learning –
- Involves the learner making efforts to improve their own skills and abilities that
are set during a lesson and getting their mindset to understand and accomplish
an exercise or combination. We want to further better their abilities and

19
 positively push them to be able to reach what they’re set out to achieve.

Follow processes to identify learner support requirements. Ask yourself: -

 How do I identify the learning needs of individuals?

 How do I assess their learning needs?
 What is the initial assessment stage?
 Why is it important to identify and meet individual learner needs?
 What is the process to identify learner support requirements for effective teaching?
Teachers should be able to:

 identify stages of development and preferred learning styles

 select, sequence and present content for the learner
 obtain knowledge of how students develop and learn
 understand implications for teacher expectations and teaching strategies employed.
A dance teacher needs a thorough knowledge of:
• Development Stages (Physical, Psychosocial and Cognitive)
• How students learn movement (Perceiving, Thinking and Doing)
• Different Learning Styles
• Motor Learning Stages (Attempt, Correct and Perfect)
• Selection, Sequencing and Presentation of Content for the Learner
• Motivation

Development Stages (Physical, Psychosocial and

Cognitive)
As a dance teacher, it is important to understand the stages of Physical, Cognitive and
Psychosocial development so that students are provided with the most effective way of
learning suited to their individual needs. In the following tables, Kassing and Jay (2003: 92-
94) summarise the distinguishing characteristics of different learning age groups. The early
ages of 3 to 8 year olds are often the ages that are most common as basic technique dancers
in a class. This is what we will focus on below.

Physical Development
“Physical development includes the growth of the body and its organs during childhood, the
appearance of physical signs of aging during adulthood and the gains and losses in motor
abilities that occur over the years.”
(Sigelman & Shaffer, 1995)

Two major influences play a part in the physical development of an individual:

• Genetics (what we inherited from our parents and family)

20
 • Environment (the external forces that impact our lives)

The tables shown below focus on the early stages of Physical Development for students 3
years to 8 years old. Possible teaching strategies for each stage of physical development
have also been included. Many of these strategies, however, are not restricted to the one
stage; instead, they can be common to all.

Stage Age Physical characteristics Teaching Strategies

Pre 3–8 • Children at this age are extremely • Lessons should be activity
School years active. Involvement in activity is based
important; they may experience
• Use alternate sides
difficulty standing still for long
periods. •Plan for a variety of activities
• Gross motor skills are more • Progress quickly from one
developed than their fine motor skills activity to the next
(small hand movements, hand-eye
• Gross motor movements
coordination)
should form the basis and
•Bodies are flexible and resilient, yet lead to simple fine motor
their bone growth is not yet complete activities
(their bodies cannot stand heavy
• Show caution with
pressure)
stretching exercises
•Children become more confident as
• Play games such as Simon
their fine motor skills develop, but
Says, Freeze, and Follow the
they may not understand their
Leader to develop the
physical limitations.
ability to stand still and
•Significant percentage of students follow directions
may experience reduced hearing due
to build-up of fluid in the narrow
tubes running from their ears (a
consideration when giving
instructions to children).
•Right or left-handedness is
established.

Distinguishing characteristics of 3 to 5 year olds

Learn by Need to have Relate to Motor skills Dance activities

• Imitation/ • Structure in the class • Lively music • Loco motor • Body

21
Following • Repeated practice • Stories and tales movement: awareness
with following walk, run,
• Leading • Bright colours • Spatial
instructions jump and
awareness
• Manipulating • Familiar objects gallop
• Repetition of the
• Discovery and
• Watching and activity • People and • Non-loco
exploration
listening occupations motor
• Praise (positive dances
movement:
• Exploring and reinforcement) • Animals
bend, • Dance making
discovering the
• Smiles • Machines stretch, (know that
elements of
twist, turn, there is a
dance • Short activities • Songs/ Chant
jump in beginning,
balanced with rest songs
• Using senses place, fall middle, and an
periods
(touch, taste, • Fantasy, end)
hear, see, feel) • Gross motor activity pretend
(arms and legs)
• Practicing respect • Props, ribbons,
for property and • Class work as a group scarves etc.
equipment

22
 Distinguishing characteristics of 6 to 8 year olds
Learn by Need to have Relate to Motor skills Dance activities
• Imitation • Short activities • Animal • Horizontal and • Non-Loco motor
(movements vertical jumps
• Watching • Rest periods. • Loco motor
and activities)
Vigorous activities • Hop
• Listening • Body awareness
(gross motor) • Modes of
• Slide
• Exploring transportation • Spatial awareness
• Body awareness
(elements of • Skip
• Environments: • Use of space
dance) • Personal space
zoo, farm, • Gallop
• Quality of
• Creating • Instructions for forest, jungle
• Leap movement
(improvising 3-4 steps
• Variety of music
and short • Directional • Relationship of
• Adult attention
dance • Self-expression movements body to other objects
and approval
making) and steps
• Movement • Dance making
• Structure
• Working as a (exploration • Physical fitness
• Dance performing
group, later in • Prop using dance (leg strength,
partners manipulation vocabulary) flexibility and • Dance appreciation
abdominal
• Problem • Repetition • Performing
strength)
solving steps
• New challenges
through
• Props
group • Short skill
activities in practice
which
• Self-discipline
children take
turns • Cooperation

23
 Distinguishing characteristics of 9 to 14 year olds
Learn by Need to have Relate to Motor skills Dance activities
• Exploring • Peer activities • Variety of • Loco motor • Performing steps,
learning activities dance patterns,
• Movement- • Listening and • Non-loco motor
and combinations
language observation skills • Motivation to
• Training
connections to contribute to learn • Dance making in
concepts,
activities small groups
• Executing • Dance making conditioning
• Interest in topics • Choreography
• Performing • Developing and • Develop upper-
(teacher and
• Action, practising skills body strength
• Creating student)
enthusiasm, and and steps
• Agility, balance,
• Observing opportunities to • Performing dances
• Variety of music and speed
participate fully
and props • Dance class for
• Emotional fun, enjoyment,
• Personal
outcomes met or personal
appearance
will not participate development, or
• Peers enrichment
• Respect, fairness,
and understanding • Dance as a career
of responsibility to
• Dance as education
feel mature
• Interest in
• Praise and
attending
reinforcement
performances and
• Problem-solving learning about
situations dance
• Dance appreciation

Distinguishing characteristics of 15 to 18 year olds

24
Learn by Need to have Relate to Motor skills Dance activities
• Observing • Skills and • Social activities • Loco motor • Perfecting steps,
creative dance patterns, and
• Exploring • Activities that • Non-loco motor
problem-solving combinations
motivate them
• Improvising situations • Training
• Participate in group
• Peers more than concepts,
• Creating dances • Emotional activities
teachers conditioning
support
• Executing and • Dance making in
• Music • Develop upper-
performing •Accommodation groups
body strength
for differences in • Topics/issues
• Discussing, •Choreography
maturity and important to • Agility, balance,
evaluating, and (teacher and
development them as and speed
developing student)
individuals or as
aesthetics • Structure in class
a group • Performing dances
•Encouragement
• Dance class for fun,
and positive
enjoyment,
feedback
personal
• A part in decision development, or
making enrichment
• Dance as a career
• Dance as education

25
 Psychosocial Development

“Psychosocial development refers to changes in personal and interpersonal phenomena such

as motives and emotions, personality traits, interpersonal skills and relationships, and roles
played within the family and the larger society.” (Sigelman & Shaffer, 1995)

In considering psychosocial development, as described above, it is influenced by two

important factors: 1. Personality and 2. Psychological Issues (such as self-esteem, self-image
and physiological stress).

1. Personality is the organised combination of attributes, motives, values and behaviours

unique to everyone. Carl Erikson, a Neo-Freudian theorist, believed that social and cultural
influences are critical to shaping personality. Eriksson defined eight stages of psychosocial
development, as it relates to personality: from birth to 65 + years.

Stage Age Description Teaching Strategies

Birth Infants learn to trust their • Praise and support
Trust versus – 1 yr. caregivers to meet their needs.
• Smiles
Mistrust Responsive parenting during
this stage is critical. •Responsive support
1-3 Children learn to be • Encouragement
yrs. autonomous – asserting their
Autonomy versus • Allow time for children to express
will and doing things for
Shame & Doubt their ideas
themselves, or they will doubt
their own abilities. •Encourage approximations
3-6 Children learn to develop •Encourage approximations
yrs. initiative by experimenting and
• Allow children to make choices
exploring. If this is
discouraged, they will feel • Play down any bursts of anger
guilty about showing initiative.
•Try not to respond to a child angrily
Initiative versus Children are concerned with
them but must learn not to • Provide understanding and set limits,
Guilty impinge on the rights of not punishment
others. They express their
• Use students to demonstrate “good
emotions openly.
work” for the group
•Ensure all children succeed in an
activity
Industry versus 6-12 Children need to attain • Praise (including praise for trying)
Inferiority yrs. feelings of accomplishment
• Encouragement to persevere
and competence, be praised
for trying and helped to

26
 persevere (or they will feel •Play down comparisons
inferior and lack confidence in
• Be aware of teasing and insist on
their ability). They are
respectful interactions between
sensitive to criticism, have
students
difficulty with failure and are
generally eager to please the • Use students to demonstrate “good
teacher. They are becoming work” for the group
sensitive to others but may be
•Corrections should be worded in a
prone to teasing without
positive way
realising how hurtful it can be.
12-20 Adolescents are concerned • Promote positive body images
yrs. about what type of person
• Be aware of signs of psychological
they are becoming and need
issues such as eating disorders,
to develop a sense of self,
depression etc.
integrating the various roles
they undertake in different •Help learners evaluate which
Identity versus situations. They are heavily movement, music, design etc. best
Role Confusion concerned with their peer meets expressive needs.
group and what others think of
• Challenge learners’ ideas
them. Peer group pressure
constructively
may replace eagerness to
please the teacher. Identity • Provide group corrections
conflicts can cause stress and
•Make individual corrections in a
turmoil.
private manner
20-40 Young adults seek to form an • Encourage students to share problems
yrs. intimate relationship (or and discuss solutions as a group
shared identity) with another
Intimacy versus • Coordinate social events
person – but may fear intimacy
Isolation
or may not want to give up
their independence. Loneliness
and isolation may result.
40- 65 Adults must feel that they are •Encourage social discussions about
yrs. producing something of value- family, friends and work
something that will outlive
Generativity •Coordinate social events, including
them – either by successfully
(concern for the family and friends
raising their children or by
future) versus •Organise community performances
contributing to society through
Stagnation
their work. Otherwise, they •Encourage involvement in the dance
may feel stagnant and self- community
centred.
Integrity versus 65 Older adults must come to •Encourage social discussions about

27
 yrs. + view their lives in a meaningful family and friends
way, in order to face death
•Coordinate social events, including
without worries and regrets.
Despair family and friends
•Encourage involvement in the dance
community

2. Psychological Issues to consider when planning and organising dance classes.

There are many psychological issues facing the dance student today. These include:
• Self Esteem
• Eating Disorders and Nutrition
• Substance abuse
• Physiological Stress (including performance anxiety)

Self Esteem: Self-esteem is a person’s overall evaluation of their worth as a person. It

develops as children compare themselves with others and as they receive feedback on their
competence from those around them, including parents, peers and teachers. It is important
that teachers consider in advance how dance activities and our actions can impact our
students’ self-esteem. Teachers need to encourage students to believe in their own abilities,
therefore building their self-confidence (a student’s belief in how they can learn and
execute a skill). This is often critical to a student’s ability to perform. For example, if a
student believes they are a great dancer, then this will lead into a great performance. On
the other side of this self-confidence spectrum, if a student believes they are an awful
dancer, a poor performance will result.

Activity 3:1:- What strategies can you promote for a high self-esteem within your
studio? THIS ACTIVITY WILL BE ASSESSED -

Give the student praise for accomplishing a movement or exercise

Commend student for achievements and not push them to the next level until they feel
confident enough to try it again
Non stressful environment and achieve at own pace re assure that it’s okay to not to
achieve goal immediately, takes time and is different for everyone and ask for help when
they need it
Encouraging growth mindset – challenge and failure is good and its somewhere to work
from

Eating Disorders and Nutrition: As an art form, dance seems to highly value a particular
body shape for its ability to create the most aesthetically pleasing line. Warren (1989:64-65)
describes the ideal body structure and proportions for classical ballet dancers, stating that it
is “never acceptable to be overweight, awkward, extremely ‘turned in’ or inflexible, or to
possess certain exaggerated physical characteristics that do not conform to the traditional

28
classical look”, and that often “auditioning dancers are simply asked to stand in a line, and
first eliminations are made based solely upon the look of their bodies”. Schnitt & Schnitt
(1991)

Listed below are x4 identifiable reasons a learner’s circumstance could affect their ability to
present the desired learning content.

Activity 3:2:- List specific circumstances why this could influence the learner’s delivery.
Why had the learner not achieved what had been delivered? Describe ways in which the
program can be modified to cater for individual differences and provide an inclusive
environment. THIS ACTIVITY WILL BE ASSESSED -

 Anatomical/physical movement constraints, injury

 Cultural beliefs and background, religion

 Emotional wellbeing

 Financial circumstances

29
 Learning Programs
Prepare session plans- refine specific learning objectives and assessment activities
according to learning program requirements, and specific needs of individual learners or
target groups.
Learning programs should document a well-planned, cohesive and
integrated learning process for the student. They should include the learning outcomes or
the learning objectives (derived from the Competency Standards in VET- Certificates or
Diplomas, VCE or other Accredited Syllabus criteria) and outline the content, sequence and
structure of learning and the delivery and assessment method/s to be used.
Planning is an essential part of a teacher’s workload. Refining and evaluating your lesson
plans to individually suit each member of the class is also important. Refining assessment
activities to match the skill base of each learner accordingly is an effective way to support
individuals or groups. Teachers must ensure clear goals are set and communicated well to
the learner. Of equal importance is that the teacher checks to ensure that the learner not
only understands their goals, but also understands the assessment criteria, which will be
used to assess their technique/ work.
How to create your effective class learning plans
The learning plan consists of an order to deliver content. How the order is created will
affect your organisation of the class and how effectively it will run. The learning plan
consists of ideas, including lesson plans and resources, knowledge, observations,
assessments and evaluations.
The Process for preparing for and planning lessons
Teachers need to:

 decide what is going to be learnt in a session

 define the learning goals and learning objectives
 communicate the learning goals to the learners and why they must achieve them
 compile questions and design tasks to check learner understanding of the learning
goals
 explain to the learners the criteria which will be used to assess their work
 decide how feedback is going to be provided

30
 define how learners will take an active part in the assessment or movement process,
and define what the assessment is
 plan opportunities for learners to use the feedback provided on the assessment
decision to further progress
 check learners’ understanding
 document what learners have done well and what they need to do to improve on

31
Learners need to:

 understand the learning goals

 comprehend what they must do during the task
 understand what they must learn from doing it
 observe how others respond to learning content
 understand why they must learn it
 apply the assessment criteria to their own work.
Often learners do not understand why they have to undertake a task and
how it fits into the curriculum; if they did, they would be more inclined to
do it.
The learning outcomes, in terms of the work that learners must produce,
must:

 be clearly communicated to learners

 come from the learner themselves
 involve the learners in the learning process
by Unknown Author is
 be effectively communicated, to allow the student to learn and licensed under
achieve.
During the ‘Passover or Inheritance’ stage of the class (the beginning of your time teaching
the class, whether is the beginning of the year or you’re taking over the class from
someone else), collect relevant data and available information regarding each student in
the class from previous class documentation (such as medical history on enrolment
forms), from the studio owner and/or class teacher or from the concert footage for
reference.
Do this prior to your commencement of teaching the class. Don’t walk into a class for the
first time without knowing as much as you can about your students first.
At that point, you can begin forward planning with development sessions. Lesson planning
can be a helpful way to ensure you cover everything you need to, especially for less
experienced teachers. Assess and organise specific goals for the students and the class,
with reference to time management (What can you teach in the specific time period
available?). Make sure you utilise self-evaluation techniques to refine this these goals. Are
they suitable for your student’s skill levels? Work to your students’ strengths; be aware of
their technical ability and at what stage they are at in the execution of the movement.
Ensure you set up the studio ready for optimum effectiveness. What equipment do you
need to ensure a smooth lesson? Make the most of the resources and teaching tools
available to you. Ask for advice or assistance from colleagues or mentors if you need it.

Session Introduction is the opportunity to capture the participants' attention right from the
start. The introduction of a session: describes what is going to be covered, checks what they
already know, describes what they will do in the session and identifies how the training will
assist the participants in their job. To assist in your introduction some key points have been

32
provided as examples only:

Interest/Motivation Why the topic might be of interest to participants  

Need Why the participants need to know

Topic What the session is about
Range What topics will be covered
Outcomes What the participants will learn by the end of session

Assessment How will the participants be assessed

Set clear expectations at the beginning of every lesson and monitor their technical
performance. For instance, a junior or beginner dancer may still be at the preparation
stage of an exercise and repetition is necessary, whist those with more strength and
aptitude in skill may understand and demonstrate the full movement.
As a teacher, you need to be equipped to teach both levels of a dancer, and give both the
attention that they need to progress further through the step and be challenged at their
own pace. With students who don't possess as much core strength or turnout ability, you
would perhaps do exercises at the barre as opposed to in the centre, and slowly bring
them into the centre, whereas the other students may start in the centre.

Pace yourself and your students. Do not rush through the exercise without ensuring that
the students have established some skill in it. Ensuring that your class is paced
appropriately, it can make a huge difference to how the information you present is
absorbed. When you have a mixed ability class, working methodically to allow all levels to
understand the requirements is key. You might choose a less technical exercise to teach
next, to allow freedom of expression and to keep the pace of the class moving. This ebb
and flow process will allow you to concentrate on certain exercises to improve technique,
without losing your students' interest.

Whilst it is important to maintain a positive and encouraging environment for your

students to learn in, giving honest, constructive feedback will give them the best chance of
success. Your students might experience frustration with areas that they find difficult but
approaching this in the right way will make a huge difference. Students are generally quite
responsive to corrections. Explain everything in a way that they can see the benefits of it,
as opposed to thinking of it as a negative. You need to approach it in a constructive
way. Eg: “Let’s start it at the barre and then bring it into the centre". It is also important to
tell them when they need to improve, and in what way or why it will benefit their pathway
to the next stage in learning.

All learners should be treated fairly, with respect and dignity, regardless of gender, race, and
place of origin, athletic potential, physical conditions, colour, sexual orientation, religion,
political beliefs, socio-economic status, mental health and anxiety, and other conditions. It’s

33
important to identify, understand and follow procedure when factoring the above needs
with the effective support required.

Be organised. Create and structure strong organisational skills; sequence in order what to do
and make lists; define objectives and goals, and self-evaluate your context often. Some
teachers over plan and then use what is necessary in the time allotment. They may use the
remainder next time or redevelop their plan in the future. Teachers take notes post class
about what successes they had in class today. They also take observation notes on class
dynamics and areas of improvements for themselves, the content and the student’s
progress.
Content, content, content! Make it relevant and useful. Make it inspiring and progressive.
A great studio owner philosophy to adopt is to put your best planner/organised teachers in
the junior classes. The strongest learning foundations of movement are taught in the junior
classes. If we, as teachers, develop greater understanding of the individual and group
learning needs of a student, and the age and skill development structure, we can aim for
correct learning content and organisational skills.
Conclude the class. The purpose of the conclusion is to: reinforce the key points (outcomes)
of the training, provide feedback and link the training to work or to the next session(s)
Expand. Thrive. Succeed - “It won’t happen overnight, but it will happen.”
To develop a successful weekly plan for your whole teaching year, teachers need to allow
time for mistakes, reviews, collaboration with peers and time to share the success of ideas.
In essence, time to mature.
Confirm overall teaching plan with relevant personnel. Start with your studio owner. You
should have regular meetings with your employer to confirm your overall teaching plan is
intact and on course for effective learning. This meeting should be supportive of your needs
as well as highlighting the specific needs of the individual or group. The more regular the
meetings are the more efficient you will become in planning and organising. That’s a WIN-
WIN situation for Student, Teacher and Studio Owner.
Registered Syllabus Organisations have regular or Annual Syllabus Refresher days and
workshops with syllabus examiners and peer industry and medical professionals. These
organisations are responsible for making sure you have relevant and current up to date
syllabus plans/information and methodologies to use for learning. We have many in
Australia such as Cecchetti, A.T.O.D, R.A.D, C.S.T.D, A.D.A, A.C.B, BBO, BAL, SFD and
Acrobatic Arts to name a few.

34
Activity 3.3: - Discuss (robustly) with the group and find an effective order from number
from 1 to 22. (At present these dot points are jumbled). Place the number next to the
relevant statement and explain as a group why the order is effective?

3 Establish learning intentions/outcomes

22 Evaluation section for the teacher: what did or did not work well in class and why?
Methods of feedback
2 Duration of class time
1 Age and standard of the class you are teaching
4 Details of the differentiated range of learners making up the group
13 List the different teaching and learning materials to be used to meet individual
learning specifications (eg; syllabus notes, music, props, equipment etc.)
21 Cool down exercises
11 Consider how to deliver the learning?
6 How is the information is shared with learners?
5 What methods check learner understanding?
15 Barre work exercises
7 Assessment opportunities in class
8 Information on the assessment criteria and marking
20 Unseen work/improvisation
9 How review times are to be used
12 Information on teaching and learning styles incorporated into the session
10 Individual learner needs and create effective learning opportunities
14 Warm up exercises
16 Centre work
17 Corner work/ around the room work
19 Individual work
18 Group work

35
 Activity 4.1 :- Design a format for Lesson Planning that you would like to adopt. Attach
your lesson plan format here. THIS ACTIVITY WILL BE ASSESSED –
8-10yrs jazz class
Lesson plan 1:

Time of Description – Music Resources/equipment Changes/adjustments/notes

activity or details of what
task you’re doing

Activity 4.2:- Complete a minimum of three Lesson Plans using your format. You may
wish to complete more than three Lesson Plans during your training.
Record these or attach in the space below. THIS ACTIVITY WILL BE ASSESSED –
Lesson Plan 1:
Jazz class, 10-12 y.o, beg/inter level, an hour class
First week of term, kids have never met

Time of Description – details of Music Resources/ Changes/adjustments/

activity what you’re doing equipment notes
or task

4:00- - Welcome/intro, laying Class role, pen,

4:10pm down class rules – planner/notebook
where drink
bottles/bags go
- Setting goals, what you
expect for the class
4:10-4:25 - Warm up in the centre Spotify playlist Phone/laptop for
– add description – for kids – pop music
isolations, fun high music suited Stereo system
energy cardio for the age
movement dance warm group, disco
up-grape vines, star
jumps, running then
adding arms, runs in a

36
 circle
- Working through skills
that will be needed
within rest of class
- Isolations, active
stretching,
strengthening-5 mins
4:30-4: Centre work/learning a
routine
Cool down – 5-10 mins

Turning prep one lesson

Next week working on rising turn prep and turning

One week maybe challenge them a bit to gauge where theyre at – basics and harder stuff-
work in levels
Lesson plan 2:

Lesson plan 3:

Activity 4.3:- Evaluate one of your lesson plans using the Lesson Plan Evaluation Criteria
provided on the next page. THIS ACTIVITY WILL BE ASSESSED –

37
Criteria Please circle
Title Does the lesson plan have an appropriate title? Yes No Unclear
Duration Is the duration of the lesson plan included? Yes No Unclear
Does the lesson contain enough content for Yes No Unclear
the amount of time allocated?
Grade Level Is the grade level indicated? Yes No Unclear
Specific Are the specific objectives/outcomes Yes No Unclear
Objective/ appropriate?
Outcomes
Warm Up Does the warm up include a cardiovascular Yes No Unclear
component?
Are all the exercises and stretches detailed? Yes No Unclear
Are all the exercises and stretches safe? Yes No Unclear
Introduction Does the introduction focus the students on the Yes No Unclear
specific objective?
Content and Are the instructions clear? Yes No Unclear
Teaching
Strategies
Are the teaching strategies sequenced Yes No Unclear
appropriately?
Are the questions included appropriate? Yes No Unclear
Is the correct technique included? Please Yes No Unclear
make comments on the lesson plan if
necessary.
Are links made with prior knowledge? Yes No Unclear
Are the resources appropriate? Yes No Unclear
Are opportunities for feedback included? Yes No Unclear
Is the type of feedback used developmentally Yes No Unclear
appropriate?
Does the plan allow sufficient practice time? Yes No Unclear
Does the lesson plan have enough variety to Yes No Unclear
keep students motivated?
Is the room organisation included and Yes No Unclear
appropriate?
Are different types of grouping used? Yes No Unclear
Does the lesson allow for all types of learners? Yes No Unclear
Does the lesson progress appropriately? Yes No Unclear
Cooldown Are all the exercises and stretches appropriate Yes No Unclear
for the lesson?
Are all the exercises and stretches safe? Yes No Unclear
Evaluation Does the evaluation relate to the specific Yes No Unclear
objective?
Are the methods of evaluation appropriate? Yes No Unclear

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Activity 4.4:- After teaching your 3 lesson plans your assessor will complete 3
observation forms which you can upload here –

Learning Resources

We will focus on basic dance for pre-schoolers/beginner and junior levels as an example of
understanding for this section of the unit.
Learning resources for students are important because they allow the student to explore
creative play through learning and gain greater confidence through physical expression of
the given object, eg; fabric, wands, instruments, finger puppets etc.
Learning resources for teachers are effective, alternate ways of delivering learning through
visual, audible and kinaesthetic experiences. Use a diverse range of learning resources such
as: photos, flash cards, white boards, syllabus notes, music sources, books, fabric, dolls, soft
toys, hats, soft play pretend tools, buckets, wands and spell books, audio/visual equipment,
walls, non-tuned instruments (drums, triangle, tambourines) and so much more.

Activity 5.1:- List what are your favourite, most effective learning visual resources are
for pre-school dance or beginners (5 – 7 years of age). Give examples of where they are
utilised best in your class and why they are effective? THIS ACTIVITY WILL BE ASSESSED -

To show competency the teacher must adopt a methodical and logical approach to the
process and planning of organising dance classes. This also includes the organisation of
appropriate music choices and recognises appropriate movement skills taught for a basic
level dancer.

 Lesson plan

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  Syllabus notes
 Music/sound system/ devices for filming
 Props
 Class roll/pen
 White board/markers
 Dance shoes
 Any relevant support notes – picture handouts, wall mounted pics or from
audio/visual equipment
Modify and contextualise existing learning resources and learning activities to cater for
individual learners and groups.
Identify and organise additional resourcing to meet identified learner support as required.
Observe and Be Proactive. Don’t be alone in finding additional resourcing needs of the class.
Meet with other knowledgeable staff to discuss how you can specifically assist further the
learning of an individual. Make specific connections with dance /medical professionals such
as Podiatrists and Physiotherapists and make time to gain further knowledge from their
skills and experience. Take the time to observe your individual. Use an assistant to
demonstrate whilst you observe and verbally teach. Take notes on the individual and
analyse your observations. Seek guidance and specific training if additional equipment or
methods of learning are being implemented into the class for the individual. Allow all
students to learn from this additional information so as not to highlight one individual. Ask
questions, have a learned peer observe you implementing additional resources if you are
still unsure. Confidence and knowledge mark a good sign of a great teacher. Ask yourself-

 Where else do I find resources to support individual learning?

 Once I’ve found them how do I implement them into my lesson plans to support the
learner?
 How do I know if they are going to work for me?
Peer support groups- always ask for ideas. Fellow teachers have so many fantastic ideas and
activities to explore and they have modified their ideas to effectively work for individuals
and groups. Gain confidence to share ideas and pass on relevant information. Test, analyse
and modify. Be proud of your work and open to suggestions. Keep learning x

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