1. Unit 4 – Resource Pack

2. Course Guide - Assessment for Unit 4
Outcome 1 – Analyse a selected group dance work –
Title: Sweet Charity
Choreographer: Bob Fosse
Section of work to be studied: ‘The Rich Man’s Frug’ (‘The Aloof’, ‘The Heavyweight’ and ‘The Big Finish’)
Publication: Sweet Charity, film, Bob Fosse (dir.), Universal Pictures, USA, 1968
Outcome 2 – Composition: choreograph, rehearse and perform a solo dance work and analyse the processes and practices used.
End of year performance examination: 50% of grade 
End of year written examination: 25% of grade

3. Terminology for revision:
Expressive Intention – the idea or story Cultural Influences – (background, era, dance training) Form - (narrative (ABC), Binary (AB), ternary (ABA), episodic etc.) Unified composition - (sections (beginning, development and resolution ABC), phrases and motif) Body Actions – (GLEFTS) Physical Skills – (BFACTS) Technical Skills – (Safe dance) Personal movement vocabulary Elements of Movement – Time, Space and Energy (Qualities of Movement & Laban effort actions) Group Structures – (Symmetry, asymmetry, unison, canon, contrast) Spatial Organisation – (direction, level, eye/body focus, dimension) Spatial Arrangement – how you set up / refine movement in terms of phrases / sequences / sections Spatial Orientation – (awareness of you and others in space) Choreographic Devices – (RAASSA DIET) Technical and Production Aspects – Lighting, Sound, Costumes, Projection etc. Dance Design – E.I, M.V & Form Choreographic Principles - (unified composition, spatial organistion, group structures, EOM, E.I) Movement Creation process - (ISARE) Dance making-process – (ISARE, rehearsal, pre-performance, performance) Learnt work processes – (learning , rehearsal, pre-performance, performance) (learning processes = imitation, memorization, repetition Choreographic Processes = Brainstorming ideas, creating shapes with the body, using the mirror, using EOM, BA, PS (rehearsing processes = movement memory, refine technique, refine EOM, seek feedback etc. (Pre-performance processes = warm-up /down, mental prep, visualisation, walk through space etc.) (Performance processes = (projection, dynamics, posture, strength etc.)

4. Composition Solo assessment Criteria
1: Skill in the varied use of level 2: Skill in the varied use of direction 3: Skill in the varied use of eye/body focus 4: Skill in the varied use of dimension 5: Skill in the selection of expressive movement vocabulary 6: Skill in the expressive arrangement of movement vocabulary 7: Skill in the expressive arrangement of choreographic devices 8: Skill in the use of performance processes, practices and artistry to communicate the expressive intention to the audience

5. Composition solo – Mind Map

6. Composition solo – E.I
General expressive Intention:

7. Composition Solo - Form
What is the form of your solo? (Binary, ternary, episodic etc.) What is the E.I for each section?

8. Composition solo – M.V – first section
Type of Movement:
Level Time
Dimension Energy
Direction Space
Focus Choreographic Devices

9. Composition solo – M.V – first section
Body Actions Physical Skills

10. Composition solo – M.V – first section
Floor pathway used:

11. Composition solo – M.V – second section
Type of Movement:
Level Time
Dimension Energy
Direction Space
Focus Choreographic Devices

12. Composition solo – M.V – second section
Body Actions Physical Skills

13. Composition solo – M.V – second section
Floor pathway used:

14. Composition solo – M.V – third section
Type of Movement:
Level Time
Dimension Energy
Direction Space
Focus Choreographic Devices

15. Composition solo – M.V – third section
Body Actions Physical Skills

16. Composition solo – M.V – third section
Floor pathway used:

17. Composition solo – Dance design
Describe with examples the dance design of your solo: (E.I, M.V & Form)

18. Dance making process – Choreographing processes
Movement creation process: Improvisation: Selection: Arrangement: Refinement: Evaluation:

19. Dance making process – Choreographing processes
Other Choreographic processes: Brainstorming of ideas – Trying out different music – Using the mirror to create shapes – Experimenting with EOM – Experimenting with BA & PS – Selection of an EI – Using the Choreographic Devices – Using formal structures -

20. Dance making process – Rehearsing processes
Practice / develop movement memory: Feedback: Refine (spatial accuracy, SAFE Dance, floor pathways, EOM): Video: Progress showing

21. Dance making process – pre-performance process
Warming up: Nutrition: Marking out the space: Mental preparation: Visualisation:

22. Dance making process – performance processes
Projection: Focus: Musicality: Safe dance / technical skills: Energy / dynamics:

23. Composition solo – technical skills
After speaking to your teaching and reviewing your solo, what technical skills and/or performance skills do you need to refine before your exam?

24. Composition solo: practice questions:
1:When choreographing your Unit 4 solo (compostion solo) you used the five movement creation processes. Identify and discuss how you used two of these movement creation processes.
2: Pick a phrase from your solo.
Desribe the phrase in detail.
Discuss how you used two Body Actions in that phrase.
Discuss how you used two Physical Skills in that phrase.
3: List three physical skills. For each one of these three skills outline one way that it can be safely developed by a dancer.
4: Define one element of spatial organisation. Briefly describe two contrasting examples from your Unit 4 composition solo which show manipulation of this element.
5: When choreographing your Unit 4 solo (Composition solo) you used the structure of a unified composition.
a. List the parts that form the structure of a unified composition.
b. Briefly explain how the expressive intention in your Unit 4 solo created a unified composition.
6: Describe how you manipulated the Element of movement Space in regards to the form of your compositional solo. Discuss with regards to 3 different examples of that EOM.

25. The Richman’s Frug

26. Prescribed Work – The Richman’s Frug
General Expressive Intention:
The expressive intention of Bob Fosse’s “The Richman’s Fug” is predominantly a 60’s
Jazz dance piece that is broken down into three distinct sections; The Aloof,
The Heavyweight and the Big finish. The Aloof explores the social etiquette in high
Society through notions of gender roles. The Heavyweight identifies the battle
between the sexes as symbolic of a ‘boxing match’ and finally the Big finish allows
The upper class to let their hair down, shake off the social etiquette limitations.

27. Form: Narrative ABC
The Aloof
The heavyweight
The big finish

28. Prescribed Work – The Richman’s Frug
Form & Expressive Intention for each section: Narrative ABC A - The Aloof explores the social etiquette in high society through notions of gender roles. B - The Heavyweight identifies the battle between the sexes as symbolic of a ‘boxing match’ C - Big finish allows the upper class to let their hair down, shake off the social etiquette limitations and express themselves.

29. Prescribed Work – The Richman’s Frug Cultural Influence
Background of the era: Fosse’s life: Fosse’s dance training:

30. BODY ACTIONS:

31. Body Actions - Gesture Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Two men right hand on back hip, leaning chest forward with a straight spine, left hand is held to the roof with a bent elbow with fingers holding a ‘cigarette’
Link to expressive intention: Aloof – the social norms and behavior of the upper class, looking down on those below them.

32. Body Actions - Locomotion
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

33. Body Actions - Elevation
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

34. Body Actions - Falling Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

35. Body Actions - Turning Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

36. Body Actions - Stillness
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

37. Physical Skills

38. Physical Skills - Balance
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

39. Physical Skills - Flexibility
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

40. Physical skills - Alignment
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

41. Physical Skills – Coordination / control
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

42. Physical Skills – Transference of weight
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

43. Physical Skills - Stamina
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

44. Elements of Movement

45. Element of Movement – Time (Accent)
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Hands clasped above the head, knees bent, pump hands on the accent (bell sound)
Link to expressive intention: Heavyweight – the bell sound (accent) signifies the beginning of the battle or boxing match between the genders

46. Element of Movement - Time
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

47. Element of Movement – Space (Direction)
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
In small groups the performers mover diagonally across the space, leaning back in the torso, arms by their sides, heads focused forwards in the direction they are travelling.
Link to expressive intention:
Aloof – this portrays the aloof type atmosphere as they fail to acknowledge each other, move past without looking.

48. Element of Movement - Space
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

49. Element of Movement – Energy (force and flow)
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Soloist dancer, moves to the front of the stage with little footsteps, swinging her arms/wrists behind her back in a flowing manner.
Link to expressive intention: Aloof – the dancer maintains her social status, by moving exactly the same as everyone else, just presenting small detailed feminine movements.

50. Element of Movement - Energy
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

51. Qualities of Movement Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

52. Quality of Movement Section A = The Aloof Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

53. Laban Effort Actions Section A = The Aloof Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

54. Laban Effort Action Section A = The Aloof Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

55. Spatial Organisation

56. Spatial Organisation: Direction
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

57. Spatial Organisation: Level
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

58. Spatial Organisation: Focus
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

59. Spatial Organisation: Dimension
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

60. Group Structures

61. Group Structures: Canon
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

62. Group Structures: Unison
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

63. Group Structures: Contrast
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

64. Group Structure: Symmetry
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

65. Group Structures: Asymmetry
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

66. Choreographic Devices

67. Choreographic Devices
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

68. Choreographic Devices
Section A = The Aloof
Section B = The heavyweight
Section C = The big finish
Example of movement:
Link to expressive intention:

69. Dance Design

70. Dance Design Section A = The Aloof Section B = The heavyweight
Section C = The big finish
Expressive Intention:
Movement Vocabulary:
How they link:

71. Production Aspects

72. Production Aspects Section A = The Aloof Section B = The heavyweight
Section C = The big finish
Lighting:
Sound:
Costumes:

73. Prescribed work – practice questions
1: Describe the Expressive intention of ‘The rich man’s frug’ in terms of the formal structure of the piece. 2: Discuss how one cultural influence has impacted the movement vocabulary and the expressive intention of ‘The rich man’s frug’. 3: Pick one Body Action and discuss how it has been manipulated to explore the expressive intention of the piece for each section. 4: Describe the Dance design of ‘The rich man’s frug’. 5: Describe the manipulation of Group structures to explore the expressive intention of the piece. 6: Discuss how one cultural influence has impacted on one production aspect in ‘The rich man’s frug’.