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Simple Rhythm Activities

Module by: Catherine Schmidt-Jones. E-mail the author

Summary:

Lesson plans for three activities that encourage students to perform rhythms accurately and consistently, and to be aware of the effect of rhythmic sounds on the style of the

music.

Strongly related link Rhythm

Here are three simple classroom activities that promote accuracy in two areas (rhythms and keeping time) that are fundamental for good musical performance: Rhythm

Imitations, Karaoke Percussion, and No Karaoke Percussion. The activities can also be used to develop awareness of the effect of percussion and rhythm on musical styles.

Goals and Standards

Grade Level - K-12 (adaptable for a wide range of ages and musical experience)



Student Prerequisites -

Any student who can clap along with a steady beat is ready for these activities. The activities will still have value for older students with more musical experience if the

rhythms are sufficiently complex and/or a discussion of musical styles is included.

Teacher Expertise - Teacher training in music education is not necessary to present this activity, but the teacher should be capable of presenting rhythms accurately and

consistently. (See Rhythm and Meter.)

Music Standards Addressed - National Standards for Music Education standard 2 (performing on instruments, alone and with others, a varied repertoire of music). If the

Karaoke activities include a discussion of percussion backgrounds as an element of style, this also addresses music standards 6 ( listening to, analyzing, and describing

music) and 9 (understanding music in relation to history and culture). If the students are reading written rhythms, standard 5 (reading and notating music) is also

addressed.

Evaluation -

For assessment, decide on a level of rhythmic complexity that the student should be able to achieve in echoing rhythms or in playing a consistent, independent percussion

part, then assess whether the student is succeeding at that level. If not, these activities may be repeated throughout the school year, with gradual increases in complexity as the

students get more practice.

Follow-up - Help develop basic rhythmic skills in the students by continuing to give them, throughout the school year, simple rhythm parts to accompany music they are

learning, and continuing to ask them to echo specific rhythms, particularly rhythms that they are learning to read or perform.

Activity 1: Rhythm Imitations



Objectives

Time Requirements - This activity works best as a short (5-15 minute) class warm-up done often in preparation for other musical activities (such as singing, playing

instruments, or doing the activities below).

Objectives - The student will perform specific rhythms accurately, either while reading them or immediately after hearing them.

Materials and Preparations

No preparation is necessary if you want the students to copy heard rhythms.

If you want the students to read written rhythms, write some short rhythmic figures, beginning with very simple rhythms and gradually adding complexity, or find

some music with rhythms of the appropriate complexity. Any single-line music will do for this; students should be encouraged to be capable of ignoring the melodic

information, when asked to convey only the rhythmic information in the line.

Procedure

* Clap (or play on a rhythm instrument) any short rhythm (or, for students learning to read music, have the student read a wr itten rhythm).

* Have a student clap or play the same rhythm back to you, at the same speed.

* For students who find this challenging (or if you have difficulty deciding whether or not they echoed your rhythm correctly), keep the rhythms short and simple. For students

who do well, give them longer, more challenging rhythms to echo.

Variations



1. Make the rhythm a collection of claps, stomps, and other sounds. (Keep it short unless the students are quite good at it.) Have the student copy it using the correct

sounds.

2. Make the rhythm a collection of sounds on any percussion instruments you have available. (See Percussion Fast and Cheap for suggestions.)

3. Make this a game, with students taking turns imitating your rhythm (change it often). Students have to sit down if they miss a rhythm, and the last student standing wins.

4. Let the students have their turn making up short rhythms for each other to imitate.

5. If you don't have very many students, you can make this a game in which each student gets more and more difficult rhythms until they miss one. Keep track of how many

each student got correct before they missed.

6. If you want the students to echo the rhythms as a group rather than individually, you will probably need to "count off" for them. Count 2 or 4 beats before you start your

rhythm, and then give them exactly the same count to start theirs.

Activity 2: Karaoke Percussion

Objectives

Time Requirements - Allow one (approximately 45-minute) class period if it will take the students some time to learn their rhythms. If the students can learn the

rhythms very quickly, this activity can be done as a 5-15-minute warm-up before other music activities, or as an active break between desk-work sessions.



Objectives - The student will perform a rhythmic ostinato (suitable to the student's age and musical experience) as an accompaniment to a recording, keeping an

accurate rhythm and beat.

Materials and Preparation

Be prepared for a noisy activity.

Have percussion instruments ready for the class to use or have the class make their own instruments ahead of time. (See Percussion Fast and Cheap.) Don't forget thepossibilities of "found percussion" (pots, lids, spoons, pencils, books, etc.) and "body percussion" (claps, slaps, finger snaps, stomps, etc.).

Select music that you will be adding karaoke percussion to. Cheerful, fast-tempo music that your students enjoy is best. If you are going to include a discussion of

percussion as an element of style, make sure you include music from a variety of styles (for example, various kinds of pop, rock, jazz, and world music). Have your tape

or CD player ready, and have tapes ready at the correct spot or know CD track numbers.

Unless you will have the students invent the rhythms to be played, you may want to decide on them ahead of time. Use rhythms of appropriate complexity: for

beginners, this may be simply playing on the beat, playing off the beat (harder!), playing only on alternate beats or only on the first or last beat of a measure;

experienced students will want something more complex and interesting.

Procedure

Usually you add the vocal parts when doing karaoke, but in this activity, the class is going to add percussion parts. For very young children, this will probably mean

simply adding noise. That is fine, although you can encourage them to add the noise on the beat or only during certain phrases in the music.

Encourage older students to add a particular repetitive rhythm to the music. Beginners may all need to be on the same rhythm. More musically experienced students

may each be given a different rhythm.

Have the students listen to the song first. Have them clap along, so that they feel the basic beat of the music. Children with some musical experience may be able to

identify rhythms that are already being emphasized in the music. Encourage older, musically experienced students to come up with a steady, patterned rhythm that

fits the music. For other students, teach them the rhythms that you have decided on, by letting them play each rhythm with you.



As much as possible, students should play different, complementary rhythms, instead of all playing the same rhythm. This activity is most fun for small groups, with

each student having a different instrument and rhythm so that everybody is contributing a unique sound. Break a larger class into small groups of students learning (or

agreeing on and practicing) the same rhythm on the same type of instrument. If possible, break the class into smaller performing groups (with one student from each

rhythm group) once the rhythms are learned, and allow the groups to perform for each other, giving each student a chance to play their rhythm independently.

Let the students experiment and settle on their rhythms with the music playing, then have a "performance" with everybody doing their chosen rhythms. This is even

more effective if students enter one at a time (you can point to a student when it is her turn to enter) and then steadily continue their chosen rhythm as more

students enter.

Students with some musical sophistication will enjoy the challenge of adding percussion in a "stylistically appropriate" way. Work with the students to come up with

"percussion tracks" for several pieces in very different styles. Discuss differences in choice of instruments and in rhythms for the different styles.

Activity 3: No Karaoke Percussion

* Time Requirements - If it w ill take some time to teach all the students their parts, allow one (approximately 45-minute) class period. If the students will learn and perform

their rhythms quickly, use this as a 5-15-minute class warm-up before other music activities, or as an active break between desk-work sessions.

* Objectives - The student will perform a rhythmic ostinato that complements other rhythmic ostinatos being performed simultaneously, keeping accurate rhythm and a

steady beat.

* Extension - Musically experienced students who succeed at this activity can be asked to provide both percussion and vocal parts for a song, with no recorded support. (You

may want to provide piano or other accompaniment.) Have the students decide on a variety of rhythmic ostinatos to accompany a song that they know well. Have them sing and

play the rhythm parts at the same time.




* If your students have a strong sense of rhythm, they can do this no-background-music version of the activity.

* Provide each student with a percussion instrument, or let them decide on their own "found" or "body" percussion.

*Decide whether you will provide and teach the rhythms, or let the students come up with their own, or use the same rhythms they have been playing in the previous activity.

Procedure

* Designate one student with a fairly loud instrument as the beat keeper. This student establishes the beat and plays steadily on the beat during the entire session.

* Other students enter one at a time, steadily playing their rhythms, to produce a complex rhythmic ostinato. If they do this well, the result should sound like the background

rhythm track to a pop, rock, or Latin tune.

* Once all students have been playing for some time, the beat keeper can end the session. Or, for more of a challenge, the be at keeper can name a student, who must then

play a different rhythm.

*For students ready for a challenge, teach them, or ask them to come up with, several very different "percussion tracks" (using different instruments and different rhythms

and meters). After playing each ostinato for some time, ask the students what style or genre of music it might be used for. Can they identify the elements (instruments? a

particular rhythm? meter?) that most strongly suggests that style or genre?

Other Rhythm Activities Available

You can find other activities that explore various aspects of rhythm in Music Conducting: Classroom Activities, A Tempo Activity, Musical Meter Activities, Talking Drums, and

Message Drums. For more about reading rhythms, see Duration: Note Length,

Duration: Rest Lengths

and Time Signature.



Music Conducting: Classroom Activities

Module by: Catherine Schmidt-Jones. E-mail the author

Summary:

Lesson plans for several conducting activities, to practice keeping steady rhythm, work on leadership and cooperation, learn about meter, and learn what a conductor does.



Introduction

Please see Conducting for an introduction to standard conducting techniques. The activities presented here, Watching the Conductor, Keeping a Steady Beat, The Conductor

Shows the Beat, The Conductor Counts the Measure, and The Conductor Gives Cues, simplify the concept and procedures of conducting a group of musicians, so that even fairly

young students can take turns "being in charge".

Goals and Assessment

Goals - The student will become familiar with the function of the conductor in a large ensemble. The student will demonstrate leadership skills and understanding of

standard music performance practices, by conducting a large group, using appropriate motions based on a simplification of standard conducting technique, and will

demonstrate ability to actively cooperate in a musical performance by following, with a group, a simplified conducting technique, and playing a percussion part at the

appropriate time.

Grade Level - K-12 (adaptable)

Time Requirements - Each student should get a chance to conduct every activity, so time requirements depend somewhat on the number of students. Unless the class

is very large, one (approximately 45-minute) class period should be sufficient for each activity. The activities may also be used as 5-minute warm-ups to other music

activities or as active breaks from desk-centered work. If you plan to use them in this way, have just one student conduct each time you do the activity, keeping track

of which students have already conducted each one.

Student Prerequisites - The activities are ordered from simplest to most complex. Do as many as you like up to the point that they become too complex for your

students, but it is recommended that you do them in order, as each activity builds on the skills developed in the previous one. To do the f irst activity, students should

be able to accurately mimic a rhythm, and should be able to independently clap a steady beat. (See Rhythm Activities i f they need to practice these skills.)



Teacher Expertise - The teacher should be familiar with basic conducting practices (see Conducting), and able to evaluate the students' success in conducting, staying

on the beat, and producing correct rhythms.

Music Standards Addressed - National Standards for Music Education standard 9 (understanding music in relation to history and culture, which includes awareness of

the role of various musicians in a performance). Some activities also explore one of the most common ways of expressing meter, a critical concept for understanding

time signature, addressing standards 5 (reading and notating music) and

6 (listening to, analyzing, and describing music). The activities also heighten awareness of a basic component of good ensemble performance, encouraging ability to

critique performances knowledgeably (standard 7, evaluating music and music performances).

Other Subjects Addressed - The activities also address

National Dance Standards standard 1 (includes ability to move to a beat and respond to changes in tempo).

* Follow-up - You can continue to help students develop an appreciation for conducting, meter, and good performance practice, by continuing to allow students a chance to

conduct their classmates.

* Evaluation - Assess students both on their performance as "conductor", performing the correct motions in the correct order with a steady beat, and their accuracy, as a

"musician", in following the conductor and playing "on the beat".

Skills Developed in Conducting and Following a Conductor



Music Appreciation - Understanding the purpose of conducting

Music Skills and Concepts - Rhythm, Meter, Tempo, Steady beat

Math Concepts - Counting, Grouping, Subdivision (in time) into Equal Parts (fractions)

Physical Skills - Large Motor Coordination, Ear/Hand/Eye Coordination

Social Skills - For the "conductor", leadership; for "musicians", following directions, paying attention, actively cooperating in a group


You will need a place and time when your classroom can be noisy. Children like this exercise, but it's only fun if they can be loud.

You will also need something that can be the "Conductor's Baton". A short pointer or long pencil (preferably not sharp) will do.

Both conductor and musicians will need objects, at around belly height, to beat time on. Desks, chair backs, or stacks of books will do. Modern conductors do notordinarily make an audible sound when t hey conduct. In the earliest days of the orchestra, however, conducting did of ten involve beating loudly on the floor with a



stick, and conductors (particularly teaching conductors) will still beat time aloud if they feel the ensemble is not watching the beat closely enough. This type of

conducting will be easier for young children to follow.

Some of the activities will require the students to have various instruments. Percussion is easiest; use whatever is available - drums, hand cymbals, maracas, jingle

bells - or make or improvise your own instruments. (See Percussion Fast and Cheap.)

Activities

Watching the Conductor

Objectives

* The student who is designated conductor will improvise a simple clapped or conducted rhythm and perform it in such a way that it is easy to anticipate and follow.

* The other students will pay careful attention to the designated conductor, clapping or playing on a percussion instrument at the same time.

Procedure



1. Setup: All students should be standing facing the conductor, who is standing facing them. Any instruments they will need or objects they wi ll be beating on with a baton

should be in front of them, within easy reach, at about belly height.

2. For this exercise only, the conductor does not have to keep a steady rhythm. The conductor claps whenever he or she likes. Encourage surprising rhythms, but discourage

the conductor from "faking out" the other students. A gesture that looks like the beginning of a clap should always be followed through with a clap. This is a cooperative

game, not a competitive one. All the students - conductor and "orchestra" alike - should be praised when the claps all sound at the same time.

3. The other students watch the conductor closely, and try to make their clap sound at exactly the same time as the conductor's.

4. Point out how loud and impressive it is when all the claps sound together.

5. To prepare for the rest of the activities, you can repeat the procedure with all the students beating on something (producing an audible sound) with "batons", or with theconductor beating with a baton and the others clapping or playing drums, bells, etc. Batons should be in the right hand.

Keeping a Steady Beat

Objectives

* The student who is designated conductor will clap and then conduct an audible steady beat.

* The other students will cooperate in keeping the beat chosen by the designated conductor, by clapping or playing on the indicated beat.



Procedure

1. Same setup. This time the conductor claps, then beats with the baton, a steady beat, which everybody follows as closely as possible.

2. Point out how much easier it is to anticipate the next clap when the beat is steady. The children should be listening for that "big clap" that sounds when they are all

together.

3. Encourage different conductors to pick different tempos. The tempo is how fast or slow the beat is going. Discourage accidental changes of tempo. Beats that

unintentionally get faster and faster, called rushing, or slower and slower, called dragging, are considered poor musicianship (unless the music specifically calls for changes

in tempo such as accelerando).

The Conductor Shows the Beat

Objectives

* The student who is designated conductor will conduct a steady beat using only a visual signal, as in standard conducting technique.

* The other students will keep the beat chosen by the designated conductor, by watching the conductor carefully and clapping or playing on the indicated beat.

Procedure



1. Same setup. Same procedure as previous activity, except the conductor beats on air at belly height, making no sound, rather than on an object.

2. Point out that the beat is easier to see if it remains a quick, bouncing motion as if they are still beating on something.

3. The "orchestra" still claps or makes sound when the conductor's "beat" hits the bottom, the same as before. Tell the students that this is called playing on the downbeat.

The Conductor Counts the Measure

Objectives and Extensions

* Objectives for Designated Conductor - The student will conduct an audible steady beat, demonstrating a particular meter by using movements based on standard

conducting technique.

* Objectives for other students - As a group, the students will keep the beat chosen by the designated conductor, and perform different sounds for each beat of the meter.

Extensions - The following instructions are for a very simplistic style of conducting that relies mostly on sound for cues to convey the beat and meter. A real conductor

working with trained musicians does not audibly beat out the time (except when frustrated). If you have older or more advanced students who are ready to conduct

and be conducted using visual cues only, you may use the instructions at Conducting as a guide.

Introduction



Ask the students if they have ever heard a conductor or band leader count off at the beginning of a piece of music. ("A-one-and-a-two-and-a-one-two-three-four", for

example)

Tell the students that music is divided into very short sections called bars or measures. Each bar is only a few beats long, usually two, three, or four beats. This helps

everyone keep track of where they are in the music. If you listen to the music, you can hear the bars and count along, one-two-three-one-two-three, or one-two-three-

four-one-two-three-four. (For activities on listening for meter, see Musical Meter Activities.)

The students that one of the conductor's main jobs is to show with the baton which beat (of the measure) is presently being performed.

Procedure for Measures of Two Beats

1. Same setup, with an object for conductor to beat on. The "orchestra" claps or plays on instruments.

2. The conductor holds the baton in the right hand.

3. The conductor beats measures, one-two-one-two-one-two, making two different kinds of motions:

4. On "one", the baton starts in front of the conductor (baton tip approximately in front of the middle of the chest), beats on the object, and bounces off to the right.



5. On "two", the baton starts off to the right (baton tip approximately in front of the right shoulder), beats on the object and bounces up to end up right in front of the

conductor again.

6. Point out how easy this makes it for the orchestra to keep track of where they are in the measure. Have them clap on one and stomp on two. Or divide the class into two

sections. One section claps on one, the other claps or stomps on two. Or drums play on one, bells on two, etc.

7. Once the conductors get used to the different motions, take away the object and have them "beat" in the air again.

Procedure for Measures of Three Beats

1. Same setup, but with three objects for the conductor to beat time on, one directly in front, and one in front and slightly to the conductor's right, one in front and slightly

to the conductor's left.

2. Beat "one" is on the object in front of the conductor.

3. Beat "two" is on the object to the conductor's left.

4. Beat "three" is on the object to the conductor's right.

5. This time, divide the class into three groups, or have the class do three different things on the different beats (clap, stom p, and slap thighs, for example).

6. Again, if the exercise is successful, repeat it with the conductor "beating" in the air rather than on objects.

7.

The Conductor Gives Cues

Objectives

* The student who is designated conductor will conduct the meter with the right hand while giving special cues with the left.



* The other students will watch the designated conductor carefully, playing the appropriate sound for each beat in the meter, or responding to left-hand cues.

Procedure

1. If you have older students who can handle all of the above and still want more, add cues.

2. Tell the students that with the left hand the conductor does other things like telling people to play louder or softer and giving cues.

3. Tell your students: holding the left hand out palm up means "louder"; holding it out palm down means "softer".

4. Let them experiment with this while conducting in two or three.

5. Tell your students that, with the left hand, the conductor may also give cues to people who don't play very often, like the cymbal or gong player, in case they have lost count

of the measures.

6. Give a couple of student’s special instruments and tell them only to play when the conductor cues them by pointing at them with the left hand. Point out that, when giving

cues, it is very helpful to make eye contact and to point with a dramatic gesture so that the players are not caught by surprise.

7. Rotate both the conducting and the special instruments so that everyone gets a chance both to give cues and to respond to cues.

Extensions and Related Activities

* Attend a conducted band, orchestra, or choir concert.

* View a video or television program of a concert in which the conductor can be seen at least some of the time.

* Following the concert or video, di scuss what the students noticed the conductor doing or not doing. Was a baton used or the hands? Pointing? Eye contact? Body language?

Vocal cues? If the program included pieces conducted by different people, did they notice differences in conducting style?



* Before the students attend the performance or watch the tape, tell them you will ask for a critique of the conducting aspects of the performance. Suggest that they listen for

whether the ensemble plays precisely together, and watch the players and conductor for signs of visual communication. Was there good communication between the conductor

and the performers? Did the ensemble have any problems playing "together"? Did the problems appear to be caused by inattention in the players? Errors or ambiguity in the

conducting? Lack of familiarity with, or difficulty performing, the music? Was any noticeable attempt made to "regroup"? If t he ensemble did a very good job of playing together

with precision, what practices did the students notice that might have helped them stay together so well? Were there any visual indications that they were together, such asbreathing or moving at the same time? This can be either a class discussion or an unusual essay assignment.

* Invite a local group of musicians that uses a conductor to perform for your class. Give the conductor a chance to demonstrate and talk about what he or she does. Or invite

just the conductor to conduct your class using the proper motions rather than beating on objects. Conductors of local amateur or youth music groups, or students of conducting

or of music education at a local music school, may be particularly willing to do this for you.

192 developmentally appropriate activities for fun and fitness

DESCRIPTION

In Rhythmic Activities and Dance, authors John Price Bennett and Pamela Coughenour Riemer, noted authorities on teaching dance, prove that dance is a great way

to help your students get fit and have fun.

This book makes it a breeze to select and teach developmentally appropriate dance and rhythmic activities to your students. No other book covers such a wide

variety of dances and rhythmic activities. With more than 192 activities to choose from, more than 95 illustrations to aid you in teaching basic steps, and a user-friendly format, Rhythmic Activities and Dance gives you the flexibility to introduce dance at a level appropriate to the individual skill levels of your students.

In chapter 1, the authors provide you with guidelines for developing K-8 rhythmic activities and dance programs, planning units and lessons, managing your classes,

and evaluating your students. This introductory chapter lists cognitive, affective, and psychomotor characteristics as well as the needs and expectations of children

in grades K-2, 3-5, and 6-8. You'll also find sample 15-day unit and lesson plans for each grade level.

Subsequent chapters contain up-to-date activities that focus on a specific type of dance or rhythmic activity, including



• rhythmic games and activities (28 activities), • rhythmic aerobics and dance (18 routines), • line dances (32 activities), • mixers (30 activities),

• Big Set (circle) figures, square dances, and clogging (52 activities), and

• folk dances (32 activities).

To help you individualize your instruction, the activities in chapters 2 through 7 are divided into a progression of three developmentally appropriate skill levels:

beginner, intermediate, and advanced. Plus, the cognitive, affective, and psychomotor characteristics of students are included at each level to help you decide aboutcontent and determine which skill level is most appropriate for your students.

Rhythmic Activities and Dance follows the guidelines for developmentally appropriate physical education described by the Council on Physical Education for

Children for the National Association of Sport and Physical Education (an association of the American Alliance for Health, Physical Education, Recreation andDance).

Rhythmic Activities and Dance helps you lead your students to fun and fitness through high-quality, developmentally appropriate rhythmic activities and dance.

AUDIENCE

Reference for K-8 physical educators and recreation specialists who teach dance and rhythmic activities within their curricula. Text for college courses in dance and

rhythmic activity methods and physical education teaching methods.

CONTENTS

Preface

Chapter 1. Starting Your Rhythmic Activities Program

Planning Your Program • Unit Planning • Lesson Planning • Rhythmic Terms • Abbreviation Meanings and Formation Diagrams • Management • Evaluation •

Summary

Chapter 2. Rhythmic Games and Activities



From Old to New • List of Activities in This Chapter • Music Selection • Large-Group Activities • Small-Group Activities • Circuits • Games • Summary

Chapter 3. Rhythmic Aerobics and Dance

Tips for Quality Aerobics • Selected Exercise Components for Aerobic and Dance Routines • Selected Warm-Up and Cool-Down Exercise Descriptions • Low-Impact Sample Workout • High-Impact Sample Workout • List of Eight Routines Within a Sample Workout • Creating Rhythmic Aerobic Routines and Dances •Sample Aerobic and Dance Creations • Create-A-Dance Cards: The "CDC" System • Summary

Chapter 4. Line Dances

List of Line Dances in This Chapter • Line Dance Descriptions for the Beginner Level • Line Dance Descriptions for the Intermediate Level •Line DanceDescriptions for the Advanced Level • Summary

Chapter 5. Mixers

List of Mixers in This Chapter • Mixer Descriptions for the Beginner Level • Mixer Descriptions for the Intermediate Level • Mixer Descriptions for the AdvancedLevel • Summary

Chapter 6. Square Dance and Clogging

History of American Square Dance • Basics of Teaching Square Dance • Appalachian Big Set • List of Western Square Dance Figures in This Chapter • SquareDance Descriptions for the Beginner Level • Square Dance Descriptions for the Intermediate Level • Square Dance Descriptions for the Advanced Level • Clogging

• Summary

Chapter 7. Folk Dance

Description of Folk Dancing • List of Folk Dances in This Chapter • Folk Dance Descriptions for the Beginner Level • Folk Dance Descriptions for the IntermediateLevel • Folk Dance Descriptions for the Advanced Level • Summary

Suggested Resources

Professional Organizations • Records, Cassette Tapes, CDs, Videos, Equipment • Books and Other Written Materials



ABOUT THE AUTHOR

or more than 25 years John Price Bennett has taught dance to students at every level, from preschool to adult. Both his teaching and work as an administrator at thepublic school and state levels has given him the opportunity to view hundreds of dance programs and develop the activities detailed in this book. Since 1992, he has

worked as an associate professor in the Department of Health, Physical Education, and Recreation at the University of North Carolina at Wilmington, where most of his efforts are focused on teacher preparation.

John received his master's degree from Virginia Commonwealth University in 1972 and his doctoral degree from Northern Illinois University in 1980. He is inconstant demand as a speaker at the international, national, regional, state, and local levels on topics including dance, wellness, K-12 health and physical education

programs, and fitness development for all ages. John is a life member of the American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD)and the National Dance Association.

Pamela Coughenour Riemer has been a physical education teacher since 1969. She chairs the physical education department at Sycamore Lane Middle School inLaurinburg, North Carolina. Her tenure there has enabled her to develop and test her ideas about children and dance education in real-life situations.

In 1990 Pam was named the North Carolina Physical Education Teacher of the Year. She also has served on the professional committee for revising the PhysicalEducation Curriculum Standard Course of Study for North Carolina. Her extensive curriculum background has enabled her to help maintain Sycamore Lane Middle

School as a North Carolina President's Council on Physical Fitness Demonstration Center for seven years. The school also has received the North CarolinaGovernor's Youth Fitness Award for three consecutive years.

Pam received her bachelor's degree in health and physical education from Appalachian State University in 1969 and did graduate work at the University of Oregon

in 1972. Pam has made many presentations at the national, regional, state, and local levels on topics related to dance and physical education programs for all agelevels. She is the founder and director of the Sycamore Lane Dance Company and a member of AAHPERD and the National Education Association.

WORDS OF PRAISE

"The authors' expertise and love of teaching dance is evident throughout this book. Experienced teachers will be reminded of things they have forgotten and of a

different way of approaching some ideas. Inexperienced teachers will f ind many helpful ideas for planning lessons and units. It truly should be a resource guide forany physical educator who is teaching K-12."

Betty L. Toman

Distinguished Professor Emerita Iowa State University



"Developmentally appropriate approach and content is very appealing. GREAT package useful to all educators(physical education, dance, classroom, and recreationspecialists."

Marcia L. Lloyd, EdD

The Physical Activity Area

Introduction

In the Elementary Physical Education Curriculum Guide, a wide variety of physical activities are grouped into five activity areas. The Physical Education

Curriculum recommends that we provide opportunities for students to engage in a variety of movement experiences related to each activity area every year. Itprovides a recommended yearly range of time to be allocated to each activity area.

The five activity areas are:

Alternative Environment Activities

Rythmics and Dance

Educational Games

Educational Gymnastics

Individual and Dual Activities

http://www.sasked.gov.sk.ca/docs/physed/physed1-5/ep_activityarea.html#alter


http://www.sasked.gov.sk.ca/docs/physed/physed1-5/ep_activityarea.html#dance


http://www.sasked.gov.sk.ca/docs/physed/physed1-5/ep_activityarea.html#games


http://www.sasked.gov.sk.ca/docs/physed/physed1-5/ep_activityarea.html#gym


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Each activity area provides opportunities for the development of students that the other activity areas do not provide or do not provide as effectively. For example,activities associated with the Rhythmic and Dance area provide opportunities for the development of expressive and rhythmic movement skills and concepts that the

other activity areas do not offer. Gymnastics activities provide opportunities for the development of upper body strength and flexibility that the other areas do notprovide. Games provide opportunities for learning certain game strategies that are not available in the other activity areas.

Activities within each area also vary in terms of what they contribute to the development of students. Within the Educational Gymnastics activity area, for example,

Springing activities will contribute more to the development of leg strength than Swinging activities. Swings, however, contribute more in terms of upper body

strength and flexibility. Within the Educational Games activity area, bat and ball games provide opportunities for learning strategies that are different from thoselearned when playing territorial/invasion games.

The time allotments suggested for each activity area are an attempt to ensure that students are provided a balanced program.

Teachers are encouraged to provide opportunities for students to engage in:

activities from each activity area in accordance with the suggested time allotments

a wide range of activities within each activity area

The Saskatchewan Physical Education Curriculum emphasizes the importance of enjoying a variety of physical activities. Participating in a variety of physicalactivities associated with each activity area increases the likelihood that:

students will have an adequate number of opportunities to develop each of the Basic Movement Patterns

students will have an adequate number of opportunities to develop each of the components of physical fitness-muscular and cardiovascular endurance, strength and

flexibility

students will have an adequate number of rhythmic and expressive movement opportunities

students will enjoy an increased number of physical activities from other cultures and, consequently, increased opportunities for cultural awareness

students will find an activity that they enjoy and will engage in outside of school

students will develop a positive attitude toward physical activity

students will have a wide range of contexts and environments in which to apply their movement skills

students will have a balanced movement "diet"

there will be something for everybody

Participating in a variety of physical activities associated with each activity area decreases the likelihood that:

students will be required to participate in programs that are dominated by a few traditional sports and games and a few skilled athletes



a one-size-fits-all model will be used

Rationale for Classification

The five activity areas are groupings of physical activities that share certain common characteristics, objectives and Basic Movement Patterns.

1. Alternative Environment Activities are similar to one another in that they take place primarily in aquatic and outdoor environments away from school. A shared

objective of aquatic activities is that of having students learn drown-proofing skills. Most outdoor activities share the common objective of having students developan appreciation for the natural environment and awareness of the potential for physical activity in the out-of-doors.

Alternative Environment Activities incorporate a wide range of Basic Movement Patterns.

2. A common characteristic of Rhythmics and Dance activities is their focus on rhythmic and expressive movement.

The Basic Movement Patterns that are most common in Rhythmics and Dance activities are Locomotions and Accompanying. Rhythmics and Dance often involve step-like locomotions and accompanying a rhythm, partner or group.

3. Most Educational Games involve at least two people and the manipulation of an object. They usually are played according to rules and strategy is important.



Sending, Receiving, Accompanying and Evading are the Basic Movement Patterns that are most common in Educational Games. Accompanying in the

context of games involves accompanying an object (e.g., dribbling a ball with the hands or the feet) or another player (e.g., passing a puck or a ball while moving toward the opposing team's goal).

4. Educational Gymnastics activities generally involve moving one's entire body in a controlled manner in relation to fixed equipment such as mats, bars, ropes,boxes, etc. Educational Gymnastics is sometimes referred to as "body management" because the activities provide opportunities for students to learn to manage their

own bodies. A major contribution of Educational Gymnastics to the physical education program is the development of the components of physical fitness-muscular

strength, muscular endurance and flexibility.

The Basic Movement Patterns most commonly associated with the activity area of Educational Gymnastics are Locomotions, Landings, Statics, Rotations, Swings and Springs.

5. Individual and Dual Activities are alike in that they are performed alone or with a partner.

As with Alternative Environmental Activities, the range of Basic Movement Patterns that can be developed in and through Individual and Dual Activities

is broad.

Suggested Time Allotments for the Physical Activity Areas

Each of the five activity areas provides children with particular and sometimes unique developmental opportunities. It is important that we as teachers appreciate

these categories and recognize that a balance of movement experiences leads to the development of physically educated persons. The following diagram i llustratesthe recommended time allotment for activities in school physical education programs.



The 15% optional time allotment may be used to increase the time devoted to one or several of the other activity areas. For example, the entire 15% may be addedto the Rhythmics and Dance area, thus increasing the percentage of time spent in this area to 30%. Another possibility would be to add 5% to the Individual and

Dual Activities area, 5% to the Rhythmics and Dance area and 5% to Alternative Environment Activities.

The 15% optional time allotment may also be used to provide learning experiences that will contribute specifically to the attainment of the objectives of the ActiveLiving and Personal-Social-Cultural perspectives.

Three Examples of Curriculum Adaptation

The three graphics illustrate how the physical education program may be adapted to meet the needs of students by varying the emphasis placed on each perspective.



Incorporating the Physical Activity Areas

Alternative Environment Activities

Physical education in many schools is restricted in scope to gymnasium activities and to the use of sports fields and running tracks. However, we know that thescope of the physical education activities pursued by children and youth outside of school is huge. Some schools recognize this dichotomy and have broadened andenriched their curriculum through the introduction of aquatic programs and outdoor education. Such initiatives must become commonplace rather than the exception

if we are to meet the needs of children and become more than a nation of indoor, domesticated people concerned more with comfort and convenience than we arewith adventure and a love of nature.

The Active Living perspective, which permeates this document, also calls for us to explore and utilize the outdoors far more extensively than we do at present. The

essential notion here is that we integrate physical education into our daily lives.

"It's More Than A Game" is a popular poster slogan found on the walls of many gymnasiums and classrooms around the province. The inclusion of a newperspective on physical education, which includes a significant amount of learning in alternative environments, will make this slogan more of a reality in the lives of

children. Too often, children take their physical education lessons indoors except in ideal, mild weather conditions.

Another vital reason for the inclusion of alternative educational environments is that students need to develop a critical awareness of the environment. If they, as

well as we, are to become good stewards of the environment, there is a need to engage in experiential learning in natural settings.

Educational Rhythmics and Dance

Rhythmics and dance are vital parts of all cultures. There is a heritage of dance in Canada. These forms of physical activity encourage children to gain an awareness

of their own and other cultures, to enhance self-esteem and to learn to solve problems, express feelings, improve communication and cooperative skills. Studentsprogress from basic to more complex movement sequences that manifest themselves in different dance forms such as folk, square, multicultural and jazz as well as

in rhythmic gymnastics.

Rhythmics and dance provide excellent opportunities for bridging between physical education, arts education and social studies.

Educational Games



Games have traditionally occupied a large part of the physical education curriculum and many school programs are dominated by group games to the exclusion of other important curriculum experiences. This heavy reliance on the games component of physical education is not surprising given the fact that Canada is

predominantly a games-oriented physical culture and given the relative ease of conducting low-organization games. The present curriculum guide acknowledges thecentral place that games occupy in our culture by the allotment of from 25% to 40% of time to this activity area. There is a need to shift the emphasis, however,

from merely playing games to an educational games approach in which the learning of games has the main goals of learning skills and strategies and understandingabout game principles. Students use game principles to design their own games and to adapt or modify pre-designed games. In this new approach games are the

medium in and through which concepts are explored, revisited and applied.

In the day-to-day practical work of the teacher, this means that rather than having a high waiting time and no specific objectives, many traditional tag games

emphasize fun instead of a movement skill or concept. It means that the teacher would focus upon the strategies common to "tag" games. The following strategiesdrawn from Teaching Children Games, Belka, (1994) suggest the kinds of approaches that are used to replace the goal of simply running and getting ti red:

Stay balanced at all times, ready to move in any direction.

Use a variety of fakes when tagging and when avoiding tags.

Change directions and speeds quickly in dodging.

Be aware of what is happening to the sides and to the back, too.

In moving from the widespread practices of merely organizing and refereeing children's games or in changing an approach that emphasizes skill teaching and drill,there are other important considerations. These include:

the introduction of a much wider array of games and activities

approaches that recognize in very practical ways the students' different abilities and interests

increased opportunities for students and teachers to design their own games

game modifications that foster inclusion and positive relations

the use of more common and generic language for teachers and students

an emphasis on individual, partner and small group work

using games as a medium in and through which the major concepts of physical education are taught

the teacher as educator and guide rather than organizer and referee

Educational Gymnastics

"Gymnastics" is a term that is intimidating to many elementary school teachers. The image of highly skilled people working on vaulting boxes, uneven bars, ringsand other sophisticated equipment is what quickly springs to mind. These images may be a good representation of the sport of Olympic gymnastics but they are notwhat educational gymnastics is about. Rather, in educational gymnastics, we see youngsters learning to use and manage their bodies in safe, efficient and creative



ways. Instead of a series of gymnastics stunts, they select, refine and perform the six Basic Movement Patterns of Landings, Locomotions, Statics, Rotations,Swings and Springs in a variety of contexts and environments. Emphasis is on challenges and problem-solving. The Movement Variables of Body, Space, Effort

and Relationships are used to design movement learning experiences. Students work individually, in pairs and in groups to create movement sequences andstructures. Elaborate facilities are not required in this approach. In fact, many good educational gymnastics programs are conducted out-of-doors in natural settings.

While large-scale gymnastics equipment is not essential for providing students with quality movement learning experiences, such equipment can certainly be used togood advantage.

When considering why 25%-40% of the physical education curriculum should be given over to educational gymnastics, it is important to bear in mind theopportunities that educational gymnastics activities provide.

· Opportunities for the development of the upper body. It is much easier and more common to develop strength in the lower body than in the upper body. Manyeveryday events such as walking and running and jumping enhance lower body strength. Most team games and sports emphasize lower body strength with a

tendency to neglect upper body development.

· Opportunities for the development of components of physical fitness that are not developed-or not developed as efficiently- in physical activities from the otheractivity areas. These include upper body muscular endurance, strength and flexibility.

· Equal development of both left and right sides of the body. Most gymnastics activities involve simultaneous use of both arms (e.g., rolls, hangs, swings, supports)

or both legs (e.g., springs, tumbling). By contrast, many game activities that involve the use of an implement (e.g., bat, racquet, stick) or object (e.g., beanbag, ball,

Frisbee) tend to favor the development of one side of the body more than the other side.

· Fitness development in lieu of traditional exercises such as push-ups and sit-ups.

If educational gymnastics experiences are to be truly "educational," then we must ask in what ways are they educational? In short, these experiences are educational

because they start with the needs of students. Movement problems are provided which the students must solve, questions are asked to gain the cognitiveinvolvement of students, various solutions in the form of movement sequences are offered as answers to problems and teachers guide students to reflect upon and

synthesize their experiences. Students gain knowledge and understandings of the mechanical principles associated with the Basic Movement Patterns of gymnasticsand they increase their ability to apply these principles.

Individual and Dual Activities



Many of the physical activities listed in the category of Individual and Dual Activities could well be incorporated in the other categories of activities. However, wehave chosen to provide them under a separate heading because too often they are overlooked as bona fide activities in schools. It is hoped that by profiling

individual and dual activities as a main activity category, they will receive the attention that is their due.

There are sound educational reasons to focus on individual and dual activities in the physical education of children. One is that increasingly it appears to be difficultto assemble a group of children for play and physical activity in after-school hours. In our complex world it seems more feasible to take part in physical recreation

alone or with a friend or two than it does to get a group or team together-particularly for the elementary age group. As well, the varied learning styles of children

suggest activities other than games, dance and gymnastics should be offered in the program. The inclusion of individual and dual activities in the curriculumrecognizes this diversity of interests and learning styles.

The individual and dual activities proposed in this guide also afford a number of advantages not found as readily in the more mainstream activity areas. Some of these are:

incorporation of physical activities found in current popular culture (e.g., skateboarding, in-line skating)

opportunities to integrate individual with special needs

intergenerational education, play and leisure opportunities

relaxation and stress management programs

emphasis on dialogue, one-to-one relationships and the building of self-esteem

a precursor to adult forms of recreation which are often individual and dual in nature

183; many gender-free opportunities to develop personal fitness programs

The foregoing reasons coupled with the fact that children's early learning usually involves extensive amounts of individual and partner work suggest the need toemphasize the importance of individual and dual activities in the physical education curriculum.

The activities in each Activity Area are the vehicles used to teach and learn the major concepts of the physical education curriculum.

The activities are a means to an end,

Rather than an end in themselves.



The Activity Areas

The following chart provides a list of some of the physical activities that are associated with each of the five activity areas.



THE ELEMENTS OF DANCE/FUNDAMENTALSOF MOVEMENT

by Morwenna Assaf, Director

Based on works by Robert Cohan "The Dance Workshop"

When you start dancing, it is important to recognize the tools a dancer needs. There are eight (8) elements in dance that are most vital. As you progress your understanding willchange as you discover what they mean to your body. The total sum of these elements is what is meant by technique.

CENTERING:

This is fundamental to your ability to dance well. This is maintaining a sense of your own body center that holds you together as you move. It allows you to move gracefully andfreely. This means you have to have the ability to move, to hold, to organize yourself around your own physical body. If you are centered you can eventually learn how to doanything. If you are not centered you may develop beautiful looking arms and legs but never be able to move well. Liken your center to home. If you don’t have a sense of homeyou will probably get lost every time you go out.Your body needs to be balanced like a see-saw. Position fluctuates between individuals. Center for Middle Eastern Dance is in thesolar plexus. Every movement has to go through center. This is what makes it Orientale or eastern. Your natural base is approximately just below the navel but the movements forthis dance form come from the solar plexus. Everything emanates from there. Start by feeling how your arms and legs work from the same central point in the back. Moving fromyour center will make movements easier to control.

GRAVITY:

This is the force that holds you to the earth. It is a force you have to work with because it constantly inhibits movement. Try to become aware of the pulls in your own body. What

points are taking the most weight? When you push on these points can you feel a rise up from them? You should be holding yourself better. When you dance you want to feel as ifsomeone is pushing you under your buttocks and the base of your spine and directing the energy up through your breastbone.

BALANCE:

Balance is concerned with more than balancing on one leg. Your aim is to achieve and constantly maintain an inner balance of the whole body. It is tension of mutual supportamong all parts that brings the whole together in a new way. It is an inner relationship between all the points of your body which you hold in your awareness. It is not somethingyou do once in awhile. It is constant. A sense of balance whether you are moving or standing. In the actual act of balancing, if you can find inner balance , you are nearly there. Ifyou are aware internally the need for the sensation of balance, you should be able to get it. * Remember, balancing in both states is an active state.

POSTURE:

To achieve this element you need to change your perception of your body, there is often a wide discrepancy between what feels right and what looks right. Dancers work all theirdance live on their posture, also called alignment. It is the key to balance and movement. Your posture not only reveals your feelings but can also reveal feelings in you. Learn

how to stand properly. You will actually feel brighter and more aware.

GESTURE:



Gesture involves using the body as an expressive instrument to communicate feelings and ideas in patterns of movement. With subtle gestures and postural attitudes we showcooperation, give confidence to friends or display aggression to enemies. Arms crossed over chest are a protective wall. Hands on hips mean "show me", fists on hips is evenmore challenging. Anger patterns are depicted very differently form joy or sadness. Weight on one hip -waiting. Hands out in front you ready to give or receive. Raising shouldersis a gesture of not knowing or caring. Shoulders forward expresses pain. Tapping foot boredom. Observe! Recognize what the body is saying.

RHYTHM:

Finding rhythm is largely a matter of paying attention. It is something everybody has, though, some people are not as aware or sensitive to it. Our hearts beat to a rhythm, our

lungs breathe to another. Rhythm is essential for a dancer. Pay attention! Generally the beat is carried by the drum. Make sure you are right on the beat, not slightly late. All thework going into making a beat has already been completed by the time you hear it. In fact to get it right, you have to anticipate the beat slightly. Feel as if you are making the beatwith your body as well as hearing it. Try to be at one with it, rather than dancing to it. It is the rhythm and the beat of the dance that form the "threads" which allow you tomemorize the structure of the dance.

MOVING in SPACE:

You need to be as aware of the space around you as a cat. You have to move with care and awareness, gauging the space. Space is not just empty air but a tangible elementthat you move through. Consider the space an area you must go through. Consciously go through space. Feel your accomplishment as a journey through space. You will expressthoughts and emotions. Actually press your feelings out through your torso and limbs in such a way as to show other people how we are feeling and to satisfy our desire ofmovement. Our muscles feel better when they are used, and once we get used to moving them, the whole body will respond by working in harmony with itself; to dance.

BREATHING:

Breathing is crucial to dance. Not only does it bring oxygen to the body but it also gives your movements fluency and harmony. It is an expressive tool. Calm slow breathingsuggests a certain degree of self-control. Denotes a specific quality of movement. A movement with breath has a controlled and considered extension of time, a clear beginningand ends no matter how fast or slows the phrase. A phrase without breath looks stiff and mechanical. It is important to learn how to do two or three things at the same time. Youfrequently have to divide your attention while dancing. You must learn to breathe deeply expanding your ribs at the back of the body rather than from the front. This will also give amore emotional, organic look.

Here then are the elements of dance which make up the word TECHNIQUE.

A dirty word in a lot of circles. This is the sum total of the tools of DANCE.



Creative Rhythms

LUMMI STICKS

LUMMI STICKS: 90 - 100 BPM. Partners sit cross-legged facing each other. Described in 3/4 time. If duple music (4/4) is used, repeat beat 1, making the first sequence "floor,

floor, own sticks, partner's R"

4X (Beat 1) hit the floor

(Beat 2) hit own sticks

(Beat 3) hit partner's right stick

(Beat l ) hit floor

(Beat 2) hit own sticks

(Beat 3) hit partner's left stick

4X Same as above, except hit both of partner's sticks on 3rd beat

4X Same as above, except toss stick to partner on 3rd beat

4X Same as above, except toss both sticks on 3rd beat

4X Hit floor, own sticks, partner's right, partner's left, partner's right, partner's left

4X Same as above, except toss on 3rd beat



4X Floor, flip sticks to self, floor, hit own sticks, partner's right stick; partner's left stick

GSRC Archive Games

Page 3

Lummi Sticks

Lummi Sticks is just one name for this type of activity.

Carol Greene

Los Gatos, California / Girl Scouts of Santa Clara County

When I was twelve; I attended Camp Lone Tree, a Girl Scout camp in Michigan. The activity that stands out most in my mind was Lummi Sticks. We each searched

the woods, found two straight sticks about 1 x 14, and made them smooth with our pocket knives and sandpaper. Then we practiced the various moves with apartner until we got quite proficient at them. As I look back on this activity, we certainly had some brilliant camp directors to find such a popular activity that would

keep us busy in our spare time for two weeks!

Currently, much emphasis is being placed in the schools on exploring many different multi-ethnic cultures. Lummi Sticks is a game that originated with the LummiIndians who are the farthest north of the Puget Sound tribes. (Lummi is generally pronounced with a short u, but the tribe name has a long u sound.) Other

Polynesian and New Zealand cultures have similar games with different songs.

Since it is an activity that appeals to all ages, why not try this activity with your troop. I have even taught this game to groups of sixty children at a time. Thethrowing moves are the only moves that I do not teach first graders. Lummi sticks can easily be made by cutting 3/4 x 36 dowels in half, but that can get costly for

big groups. Here is a way to make them by recycling your old newspapers. The finished sticks are also safer since the children will be less likely to get hit with aflying stick: therefore, the children become more daring.

Supplies:

12 sheets newspaper approximately 14 x 24 each2 sheets butcher paper, fadeless, or wrapping paper approximately 8 x 14



masking tape

permanent penswhite glue

Directions:

1. Place 6 sheets of newspaper on top of each other.2. Make a fold on the bottom of the pack of newspaper about 1/4-3/8. Fold over twice more until it rolls easily. Then roll into a tight tube as straight and even as possible.

3. Wrap strips of masking tape around the top, bottom, then 1/4, 1/2, and 3/4 of the way down the tube.

4. Make the second tube the same way.

5. Glue the sheets of butcher paper as you roll the paper around the tubes.

6. Decorate the tubes with the permanent pens.

I demonstrate the stick movements by first hitting the sticks on the floor 4x, then flipping them one hand at a time 4x, then tossing sticks to the other hand 4x, then

flipping both sticks at the same time.

The children are always impressed with the flipping movements, even though they are quite easy to do. Have fun becoming skillful at Lummi Sticks!

Playing the game:

Learn the song first since it is the glue that keeps everyone together. Then partners sit cross-legged facing each other no more than two stick lengths apart, verticallyhold lower half of the sticks.

Do each verse twice: (Change the move for #3 in each new verse.)

Rhythm: 1-2-3- Lummi stick pattern for verse one.

Ma koo ay 1. Hit bottom of both sticks down on floor

G G E 2. Hit top sides of both sticks together

1 2 3 3. Hit tip of right stick on floor.

Ko tay o 1. Hit bottom of both sticks down on floor

G G E 2. Hit top sides of both sticks together

1 2 3 3. Hit tip of left stick on floor.



Ay koo ee 1. Hit bottom of both sticks down on floor

G F E 2. Hit top sides of both sticks together


tah -- nah 1. Hit bottom of both sticks down on floor

F D 2. Hit top sides of both sticks together


Mah koo ay 1. Hit bottom of both sticks down on floor

F F D 2. Hit top sides of both sticks together


Ko tay o 1. Hit bottom of both sticks down on floor

F F D 2. Hit top sides of both sticks together


Ay -- koo-ee 1. Hit bottom of both sticks down on floor

F E D 2. Hit top sides of both sticks together


tah -- nah 1. Hit bottom of both sticks down on floor

E C 2. Hit top sides of both sticks together


Other verses -- the same moves for 1 & 2, then the new move for 3 beat:

2. Tap the tips of both sticks on the floor.3. Hit tip of R. stick to partner s R. stick, then tip of L. stick to partner s L. stick.

4. Partners hit both sticks together at the same time.

5. Turn the R. stick toward your body, let go when it is straight up, and it will fall right into your upturned palm. Do the same with the L. stick.

6. Flip both sticks at the same time.

7. Point both sticks flat toward your partner, toss both sticks to your opposite hand by throwing the left stick over the right stick.

8. Partners throw R. sticks to each other at exactly the same time, then L. sticks9. Partners throw both sticks at the same time. (One throws sticks through the center, the other throws outside, carefully keeping the sticks vertical.)



LOCOMOTION AND REPETITION - COOPERATION

Physical Activity Area: Educational Rhythmic & Dance

Basic Movement Pattern: Locomotion / Accompanying

Level: (Beginner / Intermediate / Advanced)

Materials: sound system (cassette or CD); music selections, streamers, hula hoops, scooter boards, lummi sticks

Warm Up: (to develop cardiovascular fitness review some skill from the previous day or discover something new).

a. Warm Up #1

Music Examples - slow music: Forrest Gump Suite [(Red CD #16) Forrest Gump Soundtrack]; Canon in D Major, Pachelbel; Creative Dance Keys; or Under the

Stars from the Lion King soundtrack.

This warm up activity is called Mirror Dance and allows students to develop body awareness through isolation of body parts.

· Ask the students to work with a partner. Tell them to imagine that they are dancing with their image in a mirror. Partners stand 3 m apart, standing in a neutralstance. The Mirror Dance progresses slowly with one partner leading the movements, and the other partner following. The goal of having someone lead and

someone follow is to make all transitions without break in the flow. The teacher calls out the occasional "change" of leadership

· Tell students to start by focusing only on the movements of the face and its expressions. Gradually add shoulders, arms, hand and the entire body. Change levels,move into open space.

· Refining Cues: An observer should not be able to tell who is leading and who is following. Cooperation to create a constant flow of slow movements is the goal.

· Extend/Adapt/Challenge/Apply: Have the students use streamers which can be made by fastening two streamers of different lengths to a cardboard paper towel roll

or to sturdy paper.

b. Warm Up #2



Music Examples - slow and fast music: Forrest Gump Suite (Red CD #16), Raindrop Keep Falling On My Head (Red CD #9), and Hound Dog (Blue CD #1) allfrom the Forrest Gump soundtrack; Air No.3, Bach; The Four Seasons - Spring, Vivaldi; or YMCA by the Village People.

This warm up activity is called Flocking and allows students to further develop body awareness. Space awareness is another important variable enhanced through

this activity, as students will need to focus on the direction of their movements.

· In groups of four or five, ask the students to imagine being part of a flock, a pack, a tribe, etc. which is going on an adventure. The person most up front of the

visual line is the leader. The leader moves clearly and develops repetitive movement phrases before passing leadership to another. To change leadership, the leaderturns his/her whole body to face another person.

Idiosyncratic Movements:People add spontaneous, personalized gestures within the general movement of the flock.

Criss-Cross Flocks: Flocks stay unified but mesh through other flocks. Emphasize moving on different levels.

Flick Flocking: Any member of any flock may join another flock at any time. Flocks may become small or very large.

· Refining Cues: Students are to move clearly and develop repetitive phrases before passing on leadership.

· Extend/Adapt/Challenge/Apply: Have the students use streamers and/or develop a repetitive movement phrase including two different levels before passing on

leadership.

Skill Development: (to develop a skill that is appropriate for their skill level so that they can then use in a modified rhythmic/dance situation.)

Music Examples - Fast music; dance music will work: Fast music from The Creative Dance Keys; Joy to the World [(Red CD #7)] Forrest Gump Soundtrack;Celebrate by the Fun Factory.

· This skill development activity is called The Freeze Dance and allows students to work together to create interesting movem ent patterns to lively music.Cooperation is the goal. Space awareness is the movement variable.

· Play music for short periods of time while students dance, but once the music stops, students freeze.



· Have students freeze in different ways: while balancing, with a partner, up high, down low, on their side, etc.

· Next, students get in partners and focus on developing their own creative repetitive movement patterns while music is playing, as well an interesting frozenposition when the music stops. Showcase partners who are cooperating.

· Now suggest different themes that students can dance and freeze to, such as: aerobics instructor, tae kwan do instructors, etc.

· Refining Cues: Students are to work together developing their movement patterns, rather than individually. Cooperation, repetition, and creativity are keys tosuccess.

· Extend/Adapt/Challenge/Apply: Have students use materials to enhance their dances such as hula hoops, scooter boards or balls.

Culminating Activities: (to practice their skills in a modified game situation.)

Virginia Reel with 3 variations (beginner, intermediate and advanced)

Music Examples - rock music in 4/4 time: I Can't Help Myself (Blue CD #8) or Respect (Blue CD #9) from the Forrest Gump Soundtrack; Coca-Cola Song or PopGoes the Weasel

This activity allows students to focus on cooperation and to develop space awareness. Attention to direction of movement and anticipation of the difference betweensteps are an important part of this activity.

Modified Virginia Reel

Beginner

Formation: Students stand in two line facing on another with an alleyway between them.

1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8

Steps:



1. All partners take three steps towards each other, hit their hands in a "high five" fashion on the fourth count then walk back three steps and clap on the fourthcount.

2. Repeat step #1.3. Partners #1, who are at the front of the line, grab hands and slide down the alley and back to the front again while the rest of the group cheers them on.

4. Next, just partners #1 "peel the banana" (circle around the outside of the line of partners) and meet up at the end of the line. Partners #2 are the new leaders.5. Repeat the entire dance.

Intermediate

Follow the same formation and the same steps as with the beginner version, but note the following change in step #4.

Step #4: Next, partners #1 "peel the banana" (circle around the outside of the line of partners) and all the other partners follows. Once at the end of the line, partners

#1 form an arch while the rest march through the arch and skip down the alley so that the leaders are not at the end of the line and line has new leaders (partners #2)

2 3 4 5 6 7 8 1

2 3 4 5 6 7 8 1

Advanced

Follow the same formation and steps as in the intermediate version, but in step #3, instead of having leaders grab hands to slide down their alleyway, one of thepartners creates an original move which their partners must mimic while following down the alleyway. This is good for challenging them to create interesting moves

and is also a good solution for those who do not want to hold hands

Refining Cues: (for all levels)

·Partners are to be in straight lines (Easier said than done! Lines on the floor will help)

· "high five" is to be hit on the fourth count

Extend/Adapt/Challenge/Apply: (for all levels). Have students hit Lummi sticks together rather than clapping or performing high fives. They can also be used to

make the archway at the advanced level.



Closure: (to review the lesson while checking for knowledge and understanding).

Gather students around you and ask:

·What types of locomoter movements were used in the Modified Virginia Reel? (walking, skipping, side shuffle) (Beginner Level)·What types of locomoter movements did we combine in the Modified Virginia Reel? (walking and hopping) (Intermediate Level)

·In this activity running and jumping were combined (high five). In what other sports/activities do we perform a similar combination? (lay up, smash/spike involleyball) (Advanced Level)

Assessment Strategies:

· To assess knowledge the teacher could use the questions from the closure and have the students answer them in their journals.· To assess movement variables, the teacher could make up a checklist or rubric for space awareness, body awareness or rhythm.

· To assess the personal, social, cultural perspective, the teacher could observe the students during the class and record their interactions with a partner or smallgroup setting on a checklist in anecdotal records.



RhythmFrom Wikipedia, the free encyclopedia

Jump to: navigation, search

Rhythm, a sequence in time repeated, featured in dance: an early moving picture demonstrates the waltz.

Simple [quadr]duple drum pattern, against which duration is measured in much popular music: divides two beats into two Play (help·info).

Compound triple drum pattern: divides three beats into three. Play (help·info) Contains repetition on three levels.

For other uses, see Rhythm (disambiguation).

Rhythm (from Greek ῥ υθμός – rhythmos, "any regular recurring motion, symmetry"[1]) may be generally defined as a "movement marked by the regulatedsuccession of strong and weak elements, or of opposite or different conditions." [2] This general meaning of regular recurrence or pattern in time may be applied to awide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to millions of years.

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In the performance arts rhythm is the timing of events on a human scale; of musical sounds and silences, of the steps of a dance, or the metre of spoken languageand poetry. Rhythm may also refer to visual presentation, as "timed movement through space."[3] and a common language of pattern unites rhythm with geometry.

In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston,[4]

Fred Lerdahl and Ray Jackendoff , Jonathan Kramer, Christopher Hasty,[5] William Rothstein and Joel Lester.

[edit ] Anthropology

Percussion instruments have clearly defined dynamics that aid the creation and perception of complex rhytms

In his series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk and the heartbeat we heard in thewomb. London writes that musical metre "involves our initial perception as well as subsequent anticipation of a series of beats that we abstract from the rhythmsurface of the music as it unfolds in time" (London 2004, 4). The "perception" and "abstraction" of rhythmic measure is the foundation of human instinctive musical

participation, as when we divide a series of identical clock-ticks into "tick-tock-tick-tock".[6]

Neurologist Oliver Sacks states that chimpanzees and other animals show no similar appreciation of rhythm yet posits that human affinity for rhythm isfundamental, so that a person's sense of rhythm cannot be lost (e.g. by stroke).[7] Human rhythmic arts are possibly to some extent rooted in courtship ritual.[8]

The establishment of a basic beat requires the perception of a regular sequence of distinct short-duration pulses and, as subjective perception of loudness is relative

to background noise levels, a pulse must decay to silence before the next occurs if it is to be really distinct. For this reason the fast-transient sounds of percussioninstruments lend themselves to the definition of rhythm. Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneousrhythms in more than one t ime signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the

Indonesian gamelan.

For information on rhythm in Indian music see Tala (music). For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and

Usul - Rhythm in Turkish music and Dumbek rhythms.

[edit ] Terminology

[edit] Pulse, beat and measure

(See main articles; Pulse (music) , Beat (music))

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Metric levels: beat level shown in middle with division levels above and multiple levels below.

Most music, dance and oral poetry establishes and maintains an underlying "metric level", a basic unit of time that may be audible or implied, the pulse or tactus of the mensural level,

[9][10] or beat level, sometimes simply called the beat. This consists of a (repeating) series of identical yet distinct periodic short-duration stimuli

perceived as points in time.[11] The "beat" pulse is not necessarily the fastest or the slowest component of the rhythm but the one that is perceived as basic: it has a

tempo to which listeners entrain as they tap their foot or dance to a piece of music (Handel, 1989). It is currently most often designated as a crotchet or quarter note in western notation (see time signature). Faster levels are division levels, and slower levels are multiple levels (Wittlich 1975, chapt. 3). "Rhythms of recurrence"

arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups (Yeston 1976, 50 – 52)."Once a metric hierarchy has been established, we, as listeners, will maintain that organization as long as minimal evidence is present" (Lester 1986, 77).

[edit] Unit and gesture

Rhythmic units: division level shown above and rhythmic units shown below Play (help·info).

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A durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. These may be classified as; metric -even patterns, such as steady eighth notes or pulses - intrametric - confirming patterns, such as dotted eighth-sixteenth note and swing patterns - contrametric - non-

confirming, or syncopated patterns and extrametric - irregular patterns, such as tuplets.

A rhythmic gesture is any durational pattern that, in contrast to the rhythmic unit, does not occupy a period of time equivalent to a pulse or pulses on an underlyingmetric level. It may be described according to its beginning and ending or by the rhythmic units it contains. Beginnings on a strong pulse are thetic, a weak pulse,

anacrustic and those beginning after a rest or tied-over note are called initial rest . Endings on a strong pulse are strong, a weak pulse, weak and those that end on a

strong or weak upbeat are upbeat .[12]

[edit] Alternation and repetition

Rhythm is marked by the regulated succession of opposite elements, the dynamics of the strong and weak beat, the played beat and the inaudible but implied rest

beat, the long and short note. As well as perceiving rhythm we must be able to anticipate it. This depends upon repetition of a pattern that is short enough tomemorize.

The alternation of the strong and weak beat is fundamental to the ancient language of poetry, dance and music. The common poetic term "foot" refers, as in dance,to the lifting and tapping of the foot in time. In a similar way musicians speak of an upbeat and a downbeat and of the "on" and "off" beat. These contrasts naturally

facilitate a dual hierarchy of rhythm and depend upon repeating patterns of duration, accent and rest forming a "pulse-group" that corresponds to the poetic foot. Normally such pulse-groups are defined by taking the most accented beat as the first and counting the pulses until the next accent (MacPherson 1930, 5; Scholes

1977). A rhythm that accents another beat and de-emphasizes the down beat as established or assumed from the melody or from a preceding rhythm is calledsyncopated rhythm.

Normally, even the most complex of meters may be broken down into a chain of duple and triple pulses (MacPherson 1930, 5; Scholes 1977) either by addition or

division. According to Pierre Boulez, beat structures beyond four are "simply not natural".[13]

Western rhythms are usually arranged with respect to a time signature, partially signifying a meter usually corresponding to measure length and grouped into either two or three beats, which are called duple meter and triple meter,

respectively. If the beats are in consistently even or odd groups of two, three, or four, it is simple meter, if by admixtures of two and three it is compound meter.

[edit] Tempo and duration

(See main articles; Duration (music) , Tempo)

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The tempo of the piece is the speed or frequency of the tactus, a measure of how quickly the beat flows. This is often measured in 'beats per minute' (bpm): 60 bpmmeans a speed of one beat per second, a frequency of 1Hz. A rhythmic unit is a durational pattern that has a period equivalent to a pulse or several pulses.[14] The

duration of any such unit is inversely related to its tempo.

Musical sound may be analyzed on five different time scales, which Moravscik has arranged in order of increasing duration;[15]

:

Supershort: a single cycle of an audible wave, approximately 1/30-1/10,000 second (30-10,000 Hz or more than 1,800 bpm). These, though rhythmic in nature, are not

perceived as separate events but as continuous musical pitch.

Short: of the order of one second (1 Hz, 60bpm, 10-100,000 audio cycles). Musical tempo is generally specified in the range 40 to 240 beats per minute. A continuous

pulse cannot be perceived as a musical beat if it is faster than 8-10 per second (8-10 Hz, 480-600 bpm) or slower than 1 per 1.5 – 2 seconds (0.6-0.5 Hz, 40-30 bpm). Too

fast a beat becomes a drone, too slow a succession of sounds seems unconnected.[16] This time-frame roughly corresponds to the human heart rate and to the duration

of a single step, syllable or rhythmic gesture.

Medium: ≥ few seconds, This median durational level "defines rhythm in music"[17] as it allows the definition of a rhythmic unit, the arrangement of an entire sequence

of accented, unaccented and silent or "rest" pulses into the cells of a measure that may give rise to the "briefest intelligible and self-existent musical unit",[18] a motif or

figure. This may be further organized, by repetition and variation, into a definite phrase that may characterise an entire genre of music, dance or poetry and that may be

regarded as the fundamental formal unit of music.[19]

Long: ≥ many seconds or a minute, corresponding to a durational unit that "consists of musical phrases"[20] which may make up a melody, a formal section, a poetic

stanza or a characteristic sequence of dance moves and steps. Thus the temporal regularity of musical organisation includes the most elementary levels of musical

form[21]

Very long: ≥ minutes or many hours, musical compositions or subdivisions of compositions.

Curtis Roads[22] takes a wider view by distinguishing nine time scales, this time in order of decreasing duration. The first two, the infinite and the supramusical,

encompass natural periodicities of months, years, decades centuries and greater, while the last three, the sample and subsample, which take account of digital and

electronic rates "too brief to properly recorded or perceived", measured in millionths microseconds, and finally the infinitesimal or infinitely brief, are again in theextra-musical domain. Roads' Macro level, encompassing "overall musical architecture or form" roughly corresponds to Moravcsik's "very long" division while hisMeso level, the level of "divisions of form" including movements, sections, phrases taking seconds or minutes, is likewise similar to Moravcsik's "long" category.Roads' Sound object (Schaeffer 1959, 1977): "a basic unit of musical structure" and a generalization of note (Xenakis' ministructural time scale); fraction of a

second to several seconds, and his Microsound (see granular synthesis) down to the threshold of audible perception; thousands to millionths of seconds, aresimilarly comparable to Moravcsik's "short" and "supershort" levels of duration.

[edit] Metric structure

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Notation of a clave rhythm pattern. Each cell of the grid corresponds to a fixed duration of time with a resolution fine enough to capture the timing of the pattern, which may be

counted as two bars of four beats in divisive (metrical or symmetrical) rhythm, each beat divided into two cells. The fi rst bar of the pattern may also usefully be counted

additively (in measured or asymmetrical rhythm) as 3 + 3 + 2

The study of rhythm, stress, and pitch in speech is called prosody: it is a topic in linguistics and poetics, where it means the number of lines in a verse, the number of syllables in each line and the arrangement of those syllables as long or short, accented or unaccented. Music inherited the term "meter or metre" from the

terminology of poetry.[23]

The metric structure of music includes meter, tempo and all other rhythmic aspects that produce temporal regularity against which the foreground details or

durational patterns of the music are projected (Wit tlich 1975, chapt. 3). The terminology of western music is notoriously imprecise in this area (Scholes 1977).MacPherson (1930, 3) preferred to speak of "time" and "rhythmic shape", Imogen Holst (1963, 17) of "measured rhythm".

Dance music has instantly recognizable patterns of beats built upon a characteristic tempo and measure. The Imperial Society of Teachers of Dancing (1983) defines

the tango, for example, as to be danced in 2/4 time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a"slow", so that a full "right-left" step is equal to one 2/4 measure.[24]

Notation of three measures of a clave pattern preceded by one measure of steady quarter notes. This pattern is noted in double time relative to the one above, in one instead of

two four-beat measures Four beats followed by three Clave patterns (help info).

The general classifications of metrical rhythm, measured rhythm, and free rhythm may be distinguished.[25] Metrical or divisive rhythm, by far the mostcommon in Western music calculates each time value as a multiple or fraction of the beat. Normal accents re-occur regularly providing systematical grouping

(measures). Measured rhythm (additive rhythm)also calculates each time value is a multiple or fraction of a specified time unit but the accents do not recur regularly

ithi th l F h th i h th i ith (C 1973 30) h i Ch i ti h t hi h h b i l b t f h th lik th h th f

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within the cycle. Free rhythm is where there is neither (Cooper 1973, 30), such as in Christian chant, which has a basic pulse but a freer rhythm, like the rhythm of prose compared to that of verse (Scholes 1977) See Free time (music).

Finally some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be

considered ametric (Karpinski 2000, 19). Senza misura is an Italian musical term for "without meter", meaning to play without a beat, using time to measure howlong it will take to play the bar (Forney and Machlis 2007,[ page needed ]).

[edit ] Composite rhythm

Bach's Sinfonia in F minor BWV 795, mm. 1-3 Play original (help·info) Play with composite (help·info).

A composite rhythm is the durations and patterns (rhythm) produced by amalgamating all sounding parts of a musical texture. In music of the common practiceperiod, the composite rhythm usually confirms the meter, often in metric or even-note patterns identical to the pulse on a specific metric level.

[edit ] Rhythm in linguistics

Narmour [26]

describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), orcounter cumulative (long-short). Accumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are

open-ended and repetitive. Richard Middleton[27]

points out this method cannot account for syncopation and suggests the concept of transformation.

[edit ] Rhythm notation

Worldwide there are many different approaches to passing on rhythmic phrases and patterns, as they exist in traditional music, from generation to generation.

[ dit] Af i i




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[edit] African music

In the Griot tradition of Africa everything related to music has been passed on orally. Babatunde Olatunji (1927 – 2003), a Nigerian drummer who lived and workedin the United States, developed a simple series of spoken sounds for teaching the rhythms of the hand drum. He used six vocal sounds: Goon Doon Go Do Pa Ta.

There are three basic sounds on the drum, but each can be played with either the left or the right hand. This simple system is now used worldwide, particularly byDjembe players.

It is noteworthy that the debate about the appropriateness of staff notation for African music is a subject of particular interest to outsiders, not insiders. Africanscholars from Kyagambiddwa to Kongo have for the most part accepted the conventions — and limitations — of staff notation and gone on to produce transcriptions

in order to inform and to make possible a higher level of discussion and debate. — Agawu (2003: 52)[28]

John Miller Chernoff 1979 has argued that West African music is based on tension between rhythms. A set of moral values underpins a full musical system based on

repetition of relatively simple patterns which meet at distant intervals and call and answer schemes. Values also show up in collective utterances such as proverbs orlineages appear either in phrases that translate as drum talk or in the words of songs. People expect musicians to stimulate participation of all present, notably by

reacting to people dancing the music. Appreciation of musicians is related to the effectiveness of their upholding community values.[29]

[edit] Indian music

Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them. Sheila

Chandra, an English pop singer of Indian descent, made performances based on her singing these patterns. In Indian Classical music, the Tala of a composition isthe rhythmic pattern over which the whole piece is structured.

[edit] Western music

In the 20th century, composers like Igor Stravinsky, Béla Bartók , Philip Glass, and Steve Reich wrote more rhythmically complex music using odd meters, andtechniques such as phasing and additive rhythm. At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the

sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity. This use may be explained by a comment of JohnCage's[where?] where he notes that regular rhythms cause sounds to be heard as a group rather than individually; the irregular rhythms highlight the rapidly changing

pitch relationships that would otherwise be subsumed into irrelevant rhythmic groupings.[30]

LaMonte Young also wrote music in which the sense of a regular beatis absent because the music consists only of long sustained tones (drones). In the 1930s, Henry Cowell wrote music involving multiple simultaneous periodic

rhythms and collaborated with Léon Thérémin to invent the Rhythmicon, the first electronic rhythm machine, in order to perform them. Similarly, Conlon

Nancarrow wrote for the player piano.




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simple rhythm activities

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