Choreography and the Moving Body · Term 2

The Geometry of Movement

Understanding how space, levels, and pathways are used to create visual interest in choreography.

About This Topic

Dance has long been a powerful tool for cultural resistance and the preservation of heritage. In this topic, Grade 11 students investigate how marginalized groups in Canada and around the world have used movement to protest oppression and maintain their identity when their languages or religions were suppressed. This aligns with the Ontario curriculum's 'Reflecting, Responding, and Analysing' strand, where students explore the social and historical context of dance.

Students will examine examples such as the 'Potlatch' dances of West Coast Indigenous peoples, which were banned by the Canadian government for decades but kept alive in secret. They will also look at how African-diasporic forms like Stepping or Hip Hop serve as modern languages of resistance. This topic is best explored through structured discussion and collaborative research, where students can analyze the 'hidden meanings' in specific gestures and the political power of a community dancing together.

Learning Objectives

• Analyze how choreographers utilize negative space to highlight a principal dancer.
• Explain the emotional qualities evoked by vertical versus horizontal movement patterns.
• Compare geometric principles in choreography to mathematical patterns observed in nature.
• Design a short choreographic phrase demonstrating the use of varied pathways and levels.
• Critique a given choreographic excerpt based on its use of spatial design and geometric principles.

Before You Start

Elements of Dance: Space, Time, and Energy

Why: Students need a foundational understanding of how space, time, and energy are used as basic components of movement before exploring their geometric applications in choreography.

Introduction to Choreographic Devices

Why: Prior exposure to basic choreographic tools and concepts will help students grasp the more complex application of geometry within movement creation.

Key Vocabulary

Negative Space	The empty area around and between the dancers. Choreographers use this space intentionally to shape the overall visual composition and draw attention to specific movements or dancers.
Pathway	The route a dancer takes across the stage or performance space. Pathways can be direct, indirect, curved, or zigzagged, influencing the visual flow and energy of the choreography.
Level	The vertical distance of a dancer from the floor. Levels include high (jumps, leaps), medium (standing, walking), and low (crawling, floor work), which can convey different moods or ideas.
Geometric Shapes	The use of lines, angles, and forms (e.g., triangles, circles, diagonals) within the dancers' bodies or their arrangement in space. These shapes create visual structure and can communicate specific themes or emotions.

Active Learning Ideas

Inquiry Circle: The Forbidden Dance

Small groups research a specific dance form that was once banned or suppressed (e.g., the Ghost Dance or the Highland Fling). They present a 'digital timeline' showing how the dance survived and what it represents today.

⏱ 60 min·Small Groups

Generate mission

Think-Pair-Share: Gesture as Language

Pairs are given a specific gesture from a 'resistance' dance. They must discuss what that gesture might communicate (e.g., 'strength,' 'defiance,' or 'memory') and then share their interpretation with the class.

⏱ 20 min·Pairs

Generate mission

Simulation Game: The Cultural Preservation Pitch

Students act as 'cultural ambassadors' for a community whose traditional dance is at risk. They must create a short presentation for a 'grant committee' explaining why this dance is essential for their community's survival and identity.

⏱ 45 min·Small Groups

Generate mission

Real-World Connections

Architects use principles of spatial design and geometric forms to create functional and aesthetically pleasing buildings, considering how people move through and interact with the space.

Video game designers employ concepts of movement, pathways, and spatial arrangement to create engaging virtual environments and character interactions, guiding player experience.

Urban planners design city layouts and public spaces, considering traffic flow, pedestrian pathways, and the placement of landmarks to optimize functionality and visual appeal.

Watch Out for These Misconceptions

Common Misconception

Traditional dances are 'stuck in the past' and don't change.

What to Teach Instead

Traditional dances are 'living' forms that constantly evolve to reflect the current struggles and joys of a community. Discussing 'Contemporary Indigenous Dance' helps students see how ancient traditions are being used to address modern issues like climate change or urban identity.

Common Misconception

Dance is just 'entertainment' and can't really be 'political'.

What to Teach Instead

Dance is one of the most powerful forms of non-verbal communication. By analyzing the 'Haka' or the 'Jingle Dress Dance,' students realize that movement can be a profound act of sovereignty and a direct challenge to colonial power.

Assessment Ideas

Discussion Prompt

Present students with a short video clip of a dance piece. Ask: 'How does the choreographer use the space around the main dancer? Identify one instance where negative space emphasizes the soloist. What pathways does the soloist take, and how do they contribute to the overall message?'

Quick Check

Provide students with a worksheet containing simple geometric shapes (e.g., a square, a diagonal line, a circle). Ask them to draw a dancer's body in each shape, labeling the level (high, medium, low) and direction of movement. This checks their understanding of spatial representation.

Peer Assessment

Students work in small groups to create a 30-second choreographic phrase. After performing for another group, they provide feedback using a checklist: 'Did the phrase clearly use varied levels? Were pathways varied and interesting? Did the group use negative space effectively to create visual focus?'

Frequently Asked Questions

What is 'cultural appropriation' in dance?

Cultural appropriation is when someone from a dominant culture takes elements (like steps or costumes) from a marginalized culture without permission or understanding, often for profit or 'style.' It's important to teach students the difference between 'appreciation' (learning with respect) and 'appropriation' (taking without context).

How did the Canadian government suppress Indigenous dance?

For many years, the 'Indian Act' made it illegal for Indigenous people to perform traditional ceremonies and dances, like the Sun Dance or the Potlatch. This was part of a larger policy of 'assimilation' intended to destroy Indigenous cultures. Many communities kept these dances alive in secret, which is a powerful example of resistance.

Can modern dance forms like Hip Hop be 'resistance'?

Absolutely. Hip Hop originated in the Bronx as a way for marginalized Black and Latino youth to express their reality and protest social injustice. Today, it continues to be a global language for youth to speak out against racism, poverty, and police brutality.

How can active learning help students understand dance as resistance?

Active learning, such as a 'Socratic Seminar' on the ethics of cultural borrowing, allows students to grapple with the complex power dynamics of dance. By researching and presenting the 'story' behind a dance, they move beyond the 'steps' and begin to see the human struggle and resilience that the movement represents. This deepens their empathy and their understanding of dance as a vital social force.