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PK: 
a. Improvise a dance that starts and stops on cue (e.g. shapes, active stillness). b. Engage in dance experiences moving alone or in relation to other people with our without props (e.g. scarves, bean bags). c. Identify production elements (e.g. music/sound, props). Describe the job of a dancer.
K: 
a. Improvise a dance that has a clear beginning and end. b. Express an idea, feeling, or image, through improvised movement alone or in relationship to a partner, with out without props (e.g. scarves, bean bags, ribbons). c. Identify production elements (e.g. music/sound, props) that support performance. Describe the job of a dancer versus that of a choreographer.
1: 
a. Improvise a dance phrase with a clear beginning, middle, and end. Describe the movement choices made, orally or in drawing. b. Choose and arrange movements that follow a musical phrase, express an idea or emotion in response to other people, objects, or the environment. c. Identify and explore production elements(e.g. music/sound, props) that support performances. Describe the job of a dancer, choreographer, and composer.
2: 
a. Improvise a dance phrase with a clear beginning, a middle that has a main idea, and a clear end. Describe the movement choices made, orally, or in drawing or writing. b. Choose and arrange movements that express an idea, emotion, or follow a musical phrase in response to other people, objects, or the environment. Explain the reasons for movement choices. c. Identify, explore, and select production elements (e.g. music.sound, props, costumes) that support formal or informal performances. Contrast the job of a composer and costume designer.
3: 
a. Identify and experiment with choreographic devices to create simple movement patterns and dance structures (e.g. AB, ABA, theme and variation). b. Develop a dance study that expresses and communicates an idea or feeling by exploring the elements of dance. Explain the artistic intent and effect of the movement choices. c. Identify, explore, and select production elements(e.g. music/sound, props, costumes) that support formal or informal performances. Contrast the various production jobs of the choreographer, composer, and costumer designer.
4: 
a. Apply a variety of choreographic devices (e.g. unison, canon, repetition) to expand choreographic movement possibilities, patterns, and structures. b. Develop a dance study that expresses and communicates a main idea. Discuss the reasons and effectiveness of the movement choices. c. Identify, explore, and select production elements (e.g. music/sound, props, costumes, video)that support the artistic intent of a dance for formal or informal performances. Compare and contrast the various production jobs of composers and costume, lighting, and set designers.
5: 
a. Apply a variety of choreographic devices(e.g. addition, subtraction) to expand choreographic possibilities and develop a main idea. Explain reasoning for movement choices. b. Develop a dance study by selecting specific movement vocabulary to communicate a main idea. Discuss how the dance communicates the idea non-verbally. c. Identify, explore, and select production elements (e.g. music/sound, props, costumes, lights, set, video) that heighten and intensify the artistry of a dance and are adaptable for various performance spaces. Analyze production and non-production dance jobs.
6: 
a. Explore choreographic devices (juxtaposition, shifting formations) and dance structures(e.g. ABA, solo, or duet with group) with teacher guidance to develop a dance study that supports an artistic intent. Explain the goal or purpose of the dance. Analyze why choreographers use exploration and experimentation. b. Determine artistic criteria to choreograph a dance study that communicates personal or cultural meaning. Based on the criteria, evaluate why some movements are more or less effective than others. c. Compare and contrast a variety of possible production elements (e.g. music, props, costumes, lights, set, video) that would intensify and heighten the artistry of the work. Analyze how the choreographer works with all production and non-production professionals.
7: 
a. Use a variety of choreographic devices(e.g. counterpoint, solo vs. group, accumulation) and dance structures (e.g. theme and variation) with some teacher support to develop a dance study with a clear artistic intent. Articulate reasoning for movement, music, and structural choices. Observe and describe peers' choreographic process. b. Determine artistic criteria to choreograph a dance study that communicates personal or cultural meaning. Articulate how the artistic criteria inform the choreographic process. c. Explore the possibilities of producing dance in a variety of venues and for different audiences, using production terminology to explain how production elements (e.g. music, props, costumes, lights, set, video) are handled in different situations. Analyze the impact of production and non-production professionals on the presentation of a dance.
8: 
a. Collaborate to select and apply a variety of choreographic devices(e.g. retrograde, inversion) and dance structures(e.g. rondo, narrative, ABA) to choreograph an original dance study or dance with a clear artistic intent. Research how different professional choreographers approach their creative process and apply some of these ideas. Use genre-specific dance terminology to articulate the group process for making movement, sound, and structural choices. b. Define and apply artistic criteria to choreograph a dance that communicates personal or cultural meaning. Discuss how the criteria clarify or intensify the meaning of the dance. c. Collaborate to design production elements (e.g. music/sound, props, costumes, lights, set, video) that intensify and heighten the artistry of a dance performed on a stage, in different venues, or for various audiences. Explain reasoning for choices using production terminology. Research the methodology employed by diverse professional choreographers when working with production and non-production partners during the creation of a dance.
HS Proficient: 
a. Collaborate to design a dance using choreographic processes and devices, and dance structures such as improvisation, observation, abstraction, randomization, rondo, canon, motif, retrograde, etc., to support an artistic intent. Explain how the choreographic devices, dance structures, and movement choices clarify, communicate, or effect the artistic intent. b. Develop an artistic statement tat communicates the artistic intent for an original dance study or dance. Select and demonstrate movements that support the artistic statement. c. Refine the process of selecting production elements that intensify and heighten the artistic intent of the work. Inhabit the various roles of lighting, sound, costume designers, and/or composers to design a comprehensive integration of movement and production elements. Explain the connection between the design, the artistic intent of the dance, and the artistic statement. Research how professional choreographers in a variety of genres work and have worked with other theatre professionals.
HS Accomplished: 
a. Work individually and collaboratively to design and implement a variety of choreographic processes and devices and dance structures to develop original dances. Analyze how the structure and final composition informs the artistic intent. b. Develop an artistic statement that communicates a personal aesthetic, motivation, and artistic intent for an original dance study or dance. Discuss how the movement elements, choreographic devices, and dance structures serve to support the artistic statement. c. Collaborate with theatre technicians and designers to create a comprehensive integration of movement and production elements that intensifies and heightens the artistic intent of the work. Document the design, and explain the connection between the design, the artistic intent of the dance, and the artistic statement. Using primary and secondary sources, research the role of non-dance theatre professionals in dance productions, and the technical expertise and various processes that are used to design the production elements in performance. Consider traditional and alternative performance venues.
HS Advanced : 
a. Demonstrate fluency and personal voice in designing and choreographing original dances. Justify choreographic choices and explain how they are used to intensify artistic intent. b. Construct an artistic statement that communicates a personal, cultural and artistic perspective. Discuss how the movement elements, choreographic devices, and dance structures serve to support the artistic statement. c. Research choreographers who have worked in alternative performance venues, focusing on site-specific pieces, and choreographers who have collaborated with theatre and/or visual and media artists, to create dances that were "outside the box" of the theatrical dance of the time. Using this knowledge, develop a plan for a work or works that are interdisciplinary or site-specific.