This lesson focuses on teaching 11th grade dance majors how to annotate their choreographic works through journaling. The objectives are for students to be able to clearly express their choreographic ideas and document elements like formations, rhythmic patterns and intent through legible annotation. Students will watch examples of choreographic journals and annotated works to discuss effective documentation strategies. They will then annotate short dance videos and their own movement phrases, discussing in pairs how their chosen method conveys information. The goal is for students to gain insight into preserving choreographic works through annotation, and to practice thoroughly documenting their ideas for giving clear instruction to dancers during rehearsals. A closing discussion will address how the process informs their understanding of choreography and

1. Part 1
Class Scenario:
● Instructional Location: High School - Dedicated Dance Space ● Grade: 11th grade ● Class: Dance
majors that have dance every day for 90 minutes for entire school year ● Level: Intermediate-Advanced ●
Class size: 16
The theme of this unit plan, for an intermediate/advanced 11th grade class, is based on the ethics
of professionally staging productions. This will be explored through topics of choreography and
participation in fellow peer’s work. Students are expected to choreograph a body of work that is at least
2:30 minutes to showcase at the department’s Spring show. They will manage the task of being a director
as well as a performer. It is about creating and understanding the full choreographic experience from both
spectrums. Choosing/cutting music, movement, costumes, and lighting are some of the tasks to consider
as a choreographer. Attentiveness, attendance, and effort are some of the basic qualities expected from
performers throughout the learning process.
The unit begins in January, after utilizing the beginning of the school year to familiarize ourselves
with choreographic concepts. By April, students will be able to create a body of work showcasing
dynamic range using these concepts. They will demonstrate clear instruction and expectation to their
dancers while making intentional artistic decisions, such as lighting, costuming and music. Finally, they
will maintain a progressive work environment through their focus and preparation, as both a
dancer/performer and choreographer.
During these 3 months, students will be assigned a rehearsal slot of 1 hour (1x week) in order to
produce their work. They will also be assigned to perform in at least 2 of their peer’s works. A
sophisticated and engaged level of technique is required for this experience. Dancers must be familiar
with choreographic ideas (time, space, retrograde, repetition, etc) and be comfortable with independently
directing their dancers with clear instruction. In this respect, the student must also show attentiveness and
care as dancers/performers in their peers’ rehearsals.
Within the choreography unit, a typical 5-lesson model can focus on various elements geared
toward creating, staging, and recording one’s body of work. One specific sub-topic, light design, can be
explored in the following 5 day lesson agenda:
Day 1 Lighting Tools and their Effects (low light, side light, gel, gobos, cue, etc.)
Day 2 Highlighting the Human Body (shadows, dimensionality, emphasizing costume textures)
Day 3 Establishing Mood through Color/Textures
Day 4 Deciding Light Cues
Day 5 Creating/Directing Light Design
This specific model emphasizes the importance of light design as a creative tool in the choreographic
process. It enables dancers to consider the development and portrayal of plot, mood, atmosphere, and
movement intention as audiences view the work.
Requirements include time management and self-accountability, as well as independence and
collaborative qualities- vital for success in careers both in and out of the arts. Since a majority of this
lesson is independent based, the 90-minute class period includes reviewing videos of notable bodies of
work, participating in guided choreographic activities, and continuing technique to propel inspiration.
Assessment is based on one-on-one discussions about the process and a rubric that outlines whether the
student reached the minimum length, used dynamic qualities, remained engaged throughout rehearsals,
and showcased a cohesive body of work. The information gathered at the end of the unit will determine
what areas need more elaboration and how to provide it.

2. Part 2
Unit topic/theme: Professionally staging/creating productions
Grade level/age level: 11th grade
Teacher name: Kayla
1. Expanding Choreographic Knowledge
Lesson Focus: Choreographic tools
Key Vocab: retrograde, fragmentation, repetition, motif, transitions, contrast, kinesphere
Learning Objective: Students will be able to build dynamic phrases of movement through the use of
various choreographic tools presented to them thus far (retrograde, motif, etc.). They will illustrate artistic
intention through the elaboration of choice-making.
National Core Arts Standards:
DA:Cr2.1.II Work individually and collaboratively to design and implement a variety of choreographic
devices and dance structures to develop original dances. Analyze how the structure and final composition
informs the artistic intent.
DA:Re.7.1.II Analyze dance works and provide examples of recurring patterns of movement and their
relationships that create structure and meaning in dance
DA:Re8.1.II Analyze and discuss how the elements of dance, execution of dance movement principles,
and context contribute to artistic expression. Use genre specific da
Learning Activities: Students will watch videos of notable bodies of work that exemplify complex
choreographic elements. After watching each video, students will write down at least three observations
that stood out from the choreography. The teacher will lead a discussion in which students share their
insights and are guided to further elaboration of such elements by their peers and teacher. Afterwards, the
students will individually create a short movement phrase to present to the class which depicts at least
three different choreographic elements. An open discussion will follow after each presentation.
Assessment Evidence: Participation in both classroom discussions and checklist (3 choreographic
elements) (assessing understanding of choice making/ assessing the use of structures in individual
choreography to enhance dynamic quality)
2. Perspective Taking (Formations and Facings)
Lesson Focus: Enhancing choreographic intention through the use of perspective as a choreographic tool
creating dimension and
Key Vocab: perspective, facing, dimension
Learning Objective: Students will be able to manipulate movement through perspective and formational
changes in their choreographic work. They will implement multiple choreographic devices and work
collaboratively to perform and observe differences in intention.
National Core Arts Standards:
DA:Cr1.1.II Synthesize content generated from stimulus materials to choreograph dance studies or dances
using original or codified movement.
DA:Re8.1.II Analyze and discuss how the elements of dance, execution of dance movement principles,
and context contribute to artistic expression. Use genre specific dance terminology.
DA:Cr3.1.II Clarify the artistic intent of a dance by refining choreographic devices and dance structures,
collaboratively or independently using established artistic criteria, self reflection and the feedback of
others. Analyze and evaluate impact of choices made in the revision process.

3. DA:Pr5.1.II Dance with sensibility toward other dancers while executing complex spatial, rhythmic and
dynamic sequences to meet performance goals
Learning Activities: Students will utilize their individual short movement phrase from the “Expanding
Choreographic Knowledge” lesson and manipulate its facings. They can choose to manipulate certain
movement within the phrase, or choose to manipulate the whole phrase. They will then get into groups of
two and combine their individual phrases to show to the class. The groups will perform their respective
solos together in the space and be given feedback, by the teacher and peers, in regards to the impact the
perspective change has.
Assessment Evidence: Checklist, peer discussion/feedback (assessing progress through use of prior
choreographic tools in conjunction with layering perspective uses/ assessing understanding of building
intent as well as personal artistry)
3. Translating Ideas into the Choreographic Workspace
Lesson Focus: Giving confident and thorough instruction of ideas in the workspace
Key Vocab: collaborative, directing, optimal, organization
Learning Objective: Students will be able to facilitate, and adhere to, a progressive work space through
clear objectives, thorough instruction, and respectful attitude. They will make decisions with regards to
the productivity of the workspace.
National Core Arts Standards:
DA:Pr6.1.II Demonstrate leadership qualities (for example commitment, dependability, responsibility, and
cooperation) when preparing for performances. Model performance etiquette and performance practices
during class, rehearsal and performance. Implement performance strategies to enhance projection. Post
performance, accept notes from choreographer and apply corrections to future performances. Document
the rehearsal and performance process and evaluate methods and strategies using dance terminology and
production
DA:Cr3.1.II Clarify the artistic intent of a dance by refining choreographic devices and dance structures,
collaboratively or independently using established artistic criteria, self reflection and the feedback of
others. Analyze and evaluate impact of choices made in the revision process
DA:Pr5.1.II Plan and execute collaborative and independent practice and rehearsal processes with
attention to technique and artistry informed by personal performance goals. Reflect on personal
achievements.
Learning Activities: Students will break into groups of 4, rotating who is the group “director” while the
remaining peers act as “learners”. The “director” will have 5 minutes to direct the bodies in space- using
any existing choreographic tools they are familiar with. The goal is for the “director” to effectively and
confidently communicate their ideas in a way that is fully comprehensible to the dancers, not to create an
elaborate and cohesive body of work, yet. They will have creative reign over what tools they choose to
utilize. After the 5 minutes are up, the “learners” will reflect on the experience and provide feedback in
regards to the director’s clarity, ability to answer questions, what they felt was successful in regards to
choreographic choice, and attitude before rotating to the next “director”and continuing.
Assessment Evidence: Student’s written feedback (assessing quality of instruction through student’s
experience/assessing collaborative abilities )
4. Choreographic Journaling
Lesson Focus: Annotating one’s choreographic work/progress
Key Vocab: annotating, legibility, symbols, structure

4. Learning Objective: Students will be able to express their choreographic ideas through legible
annotation. They will log distinct movement patterns, rhythmic patterns, and additional elements or ideas
(costumes, lighting) that convey intention. They will be able to keep track of ideas and progress within
their own bodies of work.
National Core Arts Standards:
DA:Cr3.1.II Develop a strategy to record a dance using recognized systems of dance documentation (for
example, writing, a form of notation symbols, or using media technologies).
DA:Re.7.1.II Analyze dance works and provide examples of recurring patterns of movement and their
relationships that create structure and meaning in dance.
Learning Activities: In class, students will be introduced to choreographic journals that utilize different
forms of documenting (writing, drawing). An open discussion will be held in regards to what students
find useful, successful, or particularly surprising. Afterwards, each student will be given 2 short videos
(30 seconds each) in order to observe and document choreographic elements they find to be key
(formations, counts, level changes, lighting, etc.). Their journal response can be drawn or written out, but
it must observe at least 4 different elements in a clear and legible manner. After familiarity is gained,
they will annotate the phrase they created from the “Perspective Taking” unit.
Assessment Evidence: Journal responses (assessing clarity in translating material cohesively, assessing
organizational skills)
5. Light Design
Lesson Focus: Designing lights for a body of work
Key Vocab: cue, blackout, color filter, color temperature, cyclorama, gel, gobo, key light, light board,
side light, low light, scrim
Learning Objective: Students will be able to design the lighting for their own works so that it is cohesive
with the movement’s intention. They will implement the use of lighting tools to achieve textured designs,
a color palette, and cue timing.
National Core Arts Standards:
DA:Re8.1.II Analyze and discuss how the elements of dance, execution of dance movement principles,
and context contribute to artistic expression. Use genre specific dance terminology.
Learning Activities: The teacher will introduce lighting elements and effects through powerpoint,
engaging in an open discussion throughout the lesson. They will be shown videos that showcase different
uses of light design. Afterwards, students will be given a 2-minute length work to study, evaluating what
they think the choreographer is trying to portray. They will design the light for the piece by documenting
when light transitions should occur (cues) and how the color palette/texture will alter and why. The
lighting should demonstrate intention and cohesively tie together the piece’s content.
Assessment Evidence: Rubric, peer discussion (assessing artistic interpretation and portrayal/ assessing
understanding of the importance of stage elements)

5. Class Scenario #2:
● Instructional Location: High School - Dedicated Dance Space ● Grade: 11th grade ● Class: Dance
majors that have dance every day for 90 minutes for entire school year ● Level: Intermediate-Advanced ●
Class size: 16
Date: To be taught in
December (in
preparation for the
first student
rehearsal)
Subject: Dance Grade: 11th grade
Lesson Topic: Choreographic Journaling Class/Group Size: 16
Instructional Location: High School
I. Learning Objectives
Lesson Objective(s): Students will be able to clearly express their choreographic ideas through personal
annotation. They will be able to log distinct formation changes, rhythmic patterns, as well as other
choreographic elements in order to express their intent in a legible manner. They will utilize this method
in order to keep track of ideas and progress within their own bodies of work.
Standards Addressed:
DA:Cr3.1.II Develop a strategy to record a dance using recognized systems of dance documentation (for
example, writing, a form of notation symbols, or using media technologies).
DA:Re.7.1.II Analyze dance works and provide examples of recurring patterns of movement and their
relationships that create structure and meaning in dance.
Key Vocabulary: annotation, legibility, intent, patterns, structure, translate
II. Lesson Consideration
Class Demographics Class Scenario #2:
● Instructional Location: High School - Dedicated Dance Space ● Grade: 11th
grade ● Class: Dance majors that have dance every day for 90 minutes for entire
school year ● Level: Intermediate-Advanced ● Class size: 16
Prior Academic
Learning and
Prerequisite Skills
Students must have a strong technical foundation and be familiar with basic
compositional elements (space, time, effort) in order to explore and implore new
choreographic structures, and further develop personal artistry.
III. Lesson Plan Details

6. Lesson Introduction – “Before”
Begin by having 3 choreographic journals displayed on the tv screen as students walk into
class. As they get settled, ask them to consider the differences in annotation. Do they relay
information through drawing, writing, chronological order, or collages of events? Which feels
easiest to understand? Why?
Follow up their observations by asking about the importance of journaling a dance and its
progress. Introduce to them the importance of preserving an art form that is fleeting, meaning
it is performed and enjoyed in the movement- so when we keep record of it we are keeping
history alive. We are able to pass down these journals for others to learn from and perform
with. Ultimately, it allows for choreographers to keep track of their ideas so that they can be
related to his/her dancers thoroughly. It is an encompassment of legacy.
Show students video of the body of works that correspond to the journals presented at the
beginning of class. Did the journals accurately and efficiently detail key movement
information? Allow students to lead an open discussion about their observations and compare
them to the ideas introduced at the beginning of class. Explain to them that annotation is
unique to the choreographer, but it must be organized and legible in order to be interpreted by
readers. Ask them to think about which method of annotating feels useful to their process and
let them share why.
Number
of
Minutes
30 min
Learning Activities - “During”:
Provide each student with 2 short dance clips (30 seconds each) and ask them to annotate
their observations, keeping in mind the elements talked about in class (formation, spatial
changes, timing, etc.). These videos should be accessible through computer or phone.
Students are given the freedom to annotate through writing or drawing, but the final journal
log for each piece should effectively, accurately, and clearly portray the video observed.
Have students pair into groups of two and discuss their findings while explaining their
method of annotating. Remind students: Is the information presented in an organized and
legible manner? What are some key elements to you? Ask them to take note of the impact
such elements have from an audience’s perspective (intent). The teacher will walk around the
room and observe the discussion between peers.
Afterwards, students can choose to create a phrase to annotate OR use the short phrase they
created from the previous lesson (both must be a minimum of 24 counts). After annotating
their work, they will perform the phrase and share with their peers how they chose to annotate
the choreography and why. What insights did they gain? How will this tool help in giving
thorough instruction when directing dancers through a rehearsal process? The teacher will
provide insight and feedback, but the discussion will be lead by students.
planned supports- utilization of different teaching styles, room for both independent and
collaborative experiences; use of technology for visual accommodations; use of hands-on
40-45
min.

7. (tactile) learning; use of feedback from multiple perspectives; use of creativity and
observation
Closure - “After”: Restate teaching point, clarify key points, extend ideas, check for
understanding
Students will gather for an open discussion lead by questions provided by the teacher. Ask
students about the experience. How did it inform them of the choreographic process? Was it
difficult to translate onto paper? Did it make memorizing or creating choreography easier?
Does annotation help keep the legacy of dance alive? Are there any further questions in
regards to annotating the choreographic process?
Finally, ask about the different choreographic elements that the students observed throughout
their choreographic process. How did these elements help inform the audience? How does
choice making inform the intent of the dance? What did you find particularly successful?
Evocative? How does dynamic impact audience engagement?
15 min
Extension:
Students can swap annotations with a fellow peer and interpret it to try and re-create the quality of
movement that is journaled. Was the material clear enough to interpret? What about the process was
challenging? How was it beneficial?
IV. Spectrum of Styles Analysis
The Spectrum of Styles being used throughout the lesson includes Practice, Reciprocal Learning, and
Divergent Discovery, while the goal is for students to achieve the Self Teaching style. The Practice style
is evident within the first of the learning activities (annotating 30 second videos). The learner works
towards a task, individually and privately, while the teacher observes and answers any arising questions.
When the students pair into groups of two in this activity, they are utilizing Reciprocal learning. The
students take turns explaining their process and ideas while the other observes. When students are asked
to create/use their own choreography to annotate, they are participating in Divergent learning as they are
responsible for all of the choice making under the given guidelines. By the end of the lesson, the teacher
aims to instill the Self-Teaching style so that students utilize the strategies given to enhance their
choreographic processes outside of the classroom.
V. Assessment
Evidence and Formative Assessment of Student Learning:
Assessment Tool:
Individual journal entries and involvement in peer feedback/discussions
Alignment with Objectives: The individual journal entries allow for the assessment of clear and
concise choreographic annotation. Involvement in peer feedback/discussions allows for the assessment
of a thorough understanding of ideas based on communication and personal insights.
Evidence of Student Understanding: These strategies provide concrete examples and use of creative
thinking in individual students in regards to choreographic structure, annotation, and intent. It

8. emphasizes individual interpretation, understanding, and ideas through personal writing and feedback.
The teacher is able to use these sources to validate what the student’s gain in knowledge.
Student Feedback: Feedback will be provided based on individual journal entries as well as
participation in class discussions. Students can opt. for the feedback to be written or to have an in-person
discussion if any further questions or concerns need to be addressed.
Assessment Tool:
The assessment of skills/knowledge/understanding will be based off the returned individual journal
entries and involvement in peer feedback/discussions. The journal entries take place during the learning
activities and are discussed with peers within this time. Three entries should be submitted upon the end of
class, two in regards to the 30 second clips provided and one in regards to the student’s own
choreography. The teacher will review the structure and clarity of the annotation and provide written
feedback on the journal entries. Students will also have the option of receiving feedback on their journal
entries in person, if preferred.
Students will also be assessed based on their involvement in peer discussions/feedback. The teacher will
utilize personal insights shared amongst the class and use it to assess the understanding and acquisition of
knowledge of individual students in regards to the lesson topic. The teacher will make note of such
insights and share them with the student on the returned journal entries, or personal discussions.
Journal Entry Assessment: organized, legible, thorough, provides key elements/insights, accurately
portrays the movement observed
Student Discussion/Feedback: involvement, engagement, provides insight into various mini-topics within
the lesson (portrayal, intent, choice making, choreographic tools). Journal Examples below.

9. .

10. Part 3
Movement is visible throughout nature, allowing one to feel its liveliness. The
world itself refuses to stand still, dancing on its axis as a means of sustaining life. When
it transitions to face the sun, it knows a new day has begun and embraces the future.
When it turns to face the moon, it reflects on the day that was, accepting and letting go
of the past. Movement acts as a bridge to to our past, our present, and our future which
is why I believe in the efficacy of dance education. Dance’s ability to exercise cerebral
qualities through physical explorations is ancestral, celebratory, and expressive by
nature. It ultimately showcases the raw self through past, present, and future
perspectives. Utilizing intrinsic qualities, such as creativity, to guide the extrinsic
experience allows for meaningful learning, adaptability, and relatability- which is why
dance should be implemented and accessible to students K-12.
Embodied Simulation Theory explains how the exploration of movement can
stimulate and enhance cognitive, emotional, and social functioning. This framework
assumes that cognition is essentially grounded in bodily states, emphasizing the
connection and attunement between body and mind in humans (Hildebrandt, 2016, p.
3). Exposing students to different genres of dance and cultures, layering technical
concepts in a chronological/organized matter, and allowing opportunities for the
implementation of these concepts through student-lead activities guides students
towards the acquisition of autonomy. Dance education uses embodiment to
independently expand upon empathy, problem solving skills (creativity), navigation of
time and space, and intention while simultaneously refining motor skills and
performance comfortability. The classroom experience should utilize a collaborative
learning environment so that both the teacher and student learn from each other
through active involvement.
It is fundamental for dance educators to be expertly familiar with student
variability. Considering and integrating lesson plans based on age, anatomical
composition, and technical experience are fundamental for optimal student experience.
It is vital to understand the developmental progression of children in dance because of
the young age at which most dancers begin training. Differences in flexibility, bone
structure, puberty, and memorization can have different impacts on movement
performance. Other factors such as anxiety and malnutrition could also impede growth. I
believe that educators are responsible for getting to know their students so that they are
able to support their health and career longevity. Educators who support, provide, and
make an effort to understand their students establish safe classrooms with confident
students who value community.
It is through dance education that broadening knowledge of the human
experience occurs. Through efforts of self expression, exploration of space, and
exposure to the expressiveness of others, one becomes capable of assessing the past,
the present, and the future. The individuality of tactility encourages authenticity, and
introduces the raw simplicity of movement. I notice that gestures don’t have to be grand
in order for them to feel timeless. I notice how movement speaks when words fail us.
Appreciating life in all of its pursuits, no matter how big or small, is emphasized
throughout dance education; revolutionizing our approach to living life fully.

11. Sources
Hildebrandt, M. K., Koch, S. C., & Fuchs, T. (2016). "We dance and find each other":
Effects of Dance/Movement Therapy on negative symptoms in Autism Spectrum
Disorder. Behavioral Sciences (2076-328X), 6(4), bs6040024.
doi:10.3390/bs6040024