Using a stimulus can clarify a theme for a dance, which should be linked to the children's movement learning needs, and may also reinforce topic work (for example, on minibeasts).
Once children have grasped the effect to be created, they can focus on developing possible movements and selecting the ones to be combined in a short dance sequence.
A dance composition may be constructed very simply:
* improvised between moments of silence to frame the piece
* a repeated pattern
* two or three contrasting sections
* a 'sandwich' with a central section that contrasts with the first and last sections.
Stimulating dance
Choose a stimulus to suggest certain actions, a type of movement or body shape. For example, bubbles may float-bounce-burst, and indicate a round starting shape and an open finishing position.
After introducing the movement idea, it is usually better to set aside the stimulus and encourage the children to develop their own responses.
The same movements may be revisited in a subsequent occasion through a new stimulus (for example, a balloon may float-bounce-burst) to consolidate movement skills.
Using objects within movements may help overcome self-consciousness with some children (for example, moving while balancing a ball of newspaper).
The risk is that the children lose focus on their movement and concentrate on the stimulus. Again, it is usually better to set aside the stimulus at some point during the session and encourage the children to move as if they were still using it.
Similarly, music can be a powerfully evocative but distracting stimulus for dance and children may again need to explore movement without the music.
Consider whether to introduce music as an accompaniment at the outset or part way through the session.
Pre-recorded music necessarily imposes a structure and beat; live percussion performed by staff may be more sensitive and flexible to young dancers in the act of performing.
The choice of music for dance is endless. Ideally, however, for young children extracts should be short with distinct contrasting sections.
Powers of concentration
Be sensitive to young children's concentration span. Sitting through a live dance performance may offer a tremendous sense of occasion, although the social pressures on behaviour and the formality may be challenging for some. However, short extracts of professional dance on video (commercially available or taped off TV) can be invaluable stimuli to inspire and inform children's own creative work. They have the advantage that images can be frozen, viewed close up and replayed to make a teaching point.
Children's choices
Children's creative input should be maximised through carefully constructed choices. Younger children may be able to participate in an adult-led, broadly improvised dance based on a follow-my-leader principle, with clear starting and finishing positions. Selected actions may be negotiated and agreed ahead, based on movements covered in the session and children's preferences.
The most experienced children may be able to devise their own short sequence to make a solo dance, and may fit their routine to accompaniment with distinct sections. Picture cues may help as a visual dance score and prompt. Older children may be able to participate in an improvised turn-taking/copycat dance with a friend, or else watch their friend and recall and describe something they remembered or that impressed them.
Children learn from observing one another, and can become used to sharing their work without fear of failure or ridicule. Let them observe and discuss:
* what is happening (actions, basic structure)
* how it is happening (use of the body, dynamics, space and relationships)
* how it makes them feel (their subjective interpretation and response).
Introducing young children to different dance styles and traditions also offers scope for their own work. While there can be some value in children copying and memorising set dance sequences, more can be gained from enabling children to make it 'their own'. Try:
* lifting an idea from the dance - copying one or two actions performed by a character, then making up a new one (perform the sequence over again until fluent)
* working with a step pattern creatively - learning a sequence, then choosing how to perform it (where, with whom)
* using steps to devise an original routine - learning several actions and then selecting certain ones to perform in sequence.
