Space Carving Slides The Choreographer's Canvas
Defining Space
In dance, space isn't just "empty air." It is a tangible medium that we move through, inhabit, and manipulate.
The Goal
To move with intentionality . Every level, every plane, and every pathway must serve the artistic intent.
Dimensions of Movement
Low
Ground-bound, crawling, rolling, floorwork.
Middle
Standing, walking, normal center of gravity.
High
Jumps, reaches, lifts, on relevé.
Floor Pathways
Linear
Direct, sharp, geometric, predictable.
Curvilinear
Fluid, organic, spiraling, expansive.
Ziz-Zag / Angular
Fragmented, erratic, energetic shifts.
Space-Carving Exercise
Imagine the air is like thick honey or soft clay . You are not just moving through it—you are sculpting it.
Focus on the negative space left behind by your body.
The Three Planes
Vertical
"The Door Plane"
Up and Down / Side to Side
Think: cartwheels, jumping jacks.
Sagittal
"The Wheel Plane"
Forward and Backward / Up and Down
Think: somersaults, kicks, lunges.
Horizontal
"The Table Plane"
Side to Side / Forward and Backward
Think: spinning, twisting, scanning.
Spatial Mapping Worksheet Spatial Mapping Guide
Lesson 1: Choreographic Design
Name: ________________________________
Date: ________________________________
1. Floor Pathway Design
In the grid below, sketch a floor pathway that utilizes at least three different types of lines (e.g., straight, curved, zig-zag). Mark your START (X) and END (O) clearly.
2. Spatial Constraints
Assign specific spatial elements to each segment of your pathway above.
Pathway Segment Level (H/M/L) Plane (V/S/H) Movement Type Segment A Segment B Segment C
3. Aesthetic Intent
How does your choice of levels and pathways change the "feeling" of this movement for an audience?
Spatial Awareness Teacher Guide Teacher Guide
Spatial Awareness Facilitation
Grade 12 PE: Dance
Lesson 1 of 5
Lesson Objective
Students will analyze and manipulate spatial elements (levels, planes, pathways) to design and execute intentional movement sequences with geometric precision.
Key Vocabulary
Negative Space Space-Carving Sagittal Plane Curvilinear Levels (H/M/L)
Pacing Guide
Hook: Floor Challenge10 min
Concept Instruction15 min
Space-Carving Lab20 min
Mapping Activity30 min
Peer Execution/Share15 min
Instructional Procedure
The Hook: Negative Space Navigation
Challenge students to cross the studio without touching the "negative space" (the floor's direct surface). They must navigate using only high and low levels.
High: Jumping, reaching, climbing (if barres are available).
Low: Rolling, sliding, crawling on mats or clothing.
Teacher Prompt: "How does removing the 'middle' level change your awareness of the air around you?"
Workshop: Space-Carving
Individual Sculpting: Students stand in their own kinesphere. Prompt them to "push" through thick honey, "slice" through paper, and "press" into heavy clay.Geometric Visualization: Call out shapes (triangle, spiral, zig-zag). Students must "draw" these shapes in the air with different body parts (elbow, knee, nose).Plane Isolation: Practice moving strictly within the Vertical plane (as if between two glass sheets), then Sagittal, then Horizontal.
Facilitating the Mapping Activity
Distribute the Spatial Mapping Worksheet . Students must translate their 3D movement ideas into a 2D diagram.
Look For:
Clear start/end points.
Deliberate level changes.
Consistency between diagram and execution.
Differentiation:
Challenge advanced students to include two plane changes.
Simplify for beginners by focusing on floor pathways only.
Time Manipulator Slides Temporal Elements
Tempo
The speed of the movement (fast, slow, accelerating).
Accent
Emphasis on a specific beat or moment.
Duration
How long a single movement or stillness lasts.
Rhythm
A pattern of sounds/movements in time.
The Power of the "Off-Beat"
Syncopation
Displacing the expected accent. Moving on the "&" counts or unexpected beats to create tension and surprise.
Stillness
"Stillness is not the absence of movement, but the peak of focus."
Stillness creates punctuation and allows the audience to digest the previous phrase.
Contrast Exercise
Perform a simple reach:
Organizing Time
Unison
Everyone moving at the exact same time.
Canon
The same phrase starting at different times (staggered).
Accumulation
1, 1+2, 1+2+3... building the phrase beat by beat.
"Time is a substance you can stretch, compress, or shatter."
As we move into the workshop, your challenge is to take a neutral phrase and use Timing to give it a completely new emotional weight.
Time Shift Worksheet Time Shift Notation
Lesson 2: Phrasing & Rhythmic Complexity
Name: ________________________________
Metronome BPM: ________
1. The Neutral 8-Count
Define a simple 8-count phrase (e.g., Step, Reach, Turn, Drop). Record the movements in their basic form below.
Count 1
Count 2
Count 3
Count 4
Count 5
Count 6
Count 7
Count 8
2. The Manipulation (Shift the Beats)
Now, rewrite the phrase using Syncopation (movements on the "&"), Stillness (blank counts), and Tempo Shifts (double-time vs. half-time).
1
&
2
&
3
&
4
&
5
&
6
&
7
&
8
&
1
&
2
&
3
&
4
&
3. Reflective Analysis
Original Mood:
Shifted Mood:
How did changing the duration of a single movement (e.g., from 1 count to 4 counts) alter the "urgency" of the phrase?
Rhythmic Complexity Teacher Guide Teacher Guide
Rhythmic Complexity Facilitation
Grade 12 PE: Dance
Lesson 2 of 5
Lesson Objective
Students will manipulate the element of Time (tempo, accent, duration) to alter the communicative power of movement phrases, utilizing syncopation and phrasing structures.
Essential Question
How does the timing of a movement change its urgency or emotional weight?
Pacing Guide
Hook: Metronome Shifts10 min
Rhythm Workshop20 min
Phrase Manipulation25 min
Phrasing Structures20 min
Exit Discussion15 min
Instructional Procedure
The Hook: Metronome Challenge
Use a loud metronome. Students perform a single gesture (e.g., a "reaching" arm) at four drastically different BPMs:
40 BPM (Adagio): Focus on sustained tension and gradual unfolding.120 BPM (Allegro): Focus on precision and clear start/stop.200 BPM (Presto): Focus on frantic energy and small range of motion.Variable: Accelerate from 40 to 200 to experience "crescendo" in movement.
Workshop: Syncopation & Stillness
Syncopated Walks: Have students walk across the room. Initially, every step is on the beat (1, 2, 3, 4). Then, shift it to the "off-beat" (&1, &2, &3, &4).Stillness Punctuation: Give students a 4-count movement. They must perform it on counts 1-4, then hold 5-8. Then, perform it on 1-2, hold 3-4, perform on 5, hold 6-8.The Breath: Remind students that stillness is not stopping . It is holding the breath/energy of the previous movement.
Advanced Phrasing: Canon & Accumulation
Divide students into groups of 3. They take their "Time Shift" phrases and organize them into:
Unison vs. Canon:
Contrast moving together with a staggered start (A starts, B starts on count 3, C starts on count 5).
Accumulation:
Student A does movement 1. Student B joins for 1+2. Student C joins for 1+2+3. Observe the rhythmic build-up.
Energy Dynamics Slides Defining Dynamics
Movement Energy
Dynamics (or Energy) refers to the how of movement. It is the combination of physical force and mental intent.
Weight
Strong vs. Light (Pressure)
Flow
Bound (tightly controlled) vs. Free (loose, liquid)
Time
Sudden (percussive) vs. Sustained (continuous)
Effort Actions (The "Eight")
Punch
Strong / Sudden / Direct
Slash
Strong / Sudden / Indirect
Press
Strong / Sustained / Direct
Wring
Strong / Sustained / Indirect
Dab
Light / Sudden / Direct
Flick
Light / Sudden / Indirect
Glide
Light / Sustained / Direct
Float
Light / Sustained / Indirect
The "Substance" Visualization
"Visualize the space around you as a physical element that resists or facilitates your movement."
1
Honey
High resistance, sustained, bound flow.
2
Electricity
Sudden, percussive, jittery, direct.
3
Water
Light weight, free flow, continuous.
Energy Lab Report Worksheet Energy Lab Report
Lesson 3: Dynamics & Movement Qualities
Name: ________________________________
Movement Scientist
1. Substance Exploration
During the hook activity, record the physical sensations and Effort Actions (Weight, Time, Flow) required to move through each substance.
Substance Effort Quality Physical Feeling / Observation Honey Strong / Sustained / Bound Soft Sand Heavy / Direct / Fragile High Voltage Strong / Sudden / Indirect Zero Gravity Light / Free / Sustained
2. The Eight Laban Efforts
Contrast two opposing effort actions. Perform the same arm circle using each quality.
Quality A: PUNCH
Strong, Sudden, Direct
Record observations on muscular tension here...
Quality B: FLOAT
Light, Sustained, Indirect
Record observations on joint fluidity here...
3. Reflective Conclusion
A dancer performs a simple "hand to heart" gesture. How does changing the quality from Glide to Slash change the story being told?
Dynamics Movement Teacher Guide Teacher Guide
Dynamics & Movement Qualities
Grade 12 PE: Dance
Lesson 3: The Element of Energy
Lesson Objective
Students will intentionally engage and release muscular tension to achieve specific dynamic qualities (Laban Effort actions), contrasting percussive/sustained and bound/free movement.
Preparation
Clear the floor of all equipment. Soft ambient music for the hook; percussive, high-energy music for the Effort Action workshop.
Workshop Flow
Substance Hook15 min
Weight/Flow/Time Intro15 min
Effort Action Lab30 min
Narrative Dynamics20 min
Reflection/Log10 min
Instructional Procedure
The Hook: Substance Simulation
Call out the following environments. Students must move through the entire room as if the air has been replaced by these substances:
Cold Water:
Continuous, free flow, buoyant, resistive but fluid.
Deep Mud:
High resistance, strong weight, bound flow, difficult to lift limbs.
Strobe Light / Electricity:
Fragmented, percussive, jittery, sudden time shifts.
Warm Oil:
Sustained, indirect pathways, smooth transitions.
Workshop: The Eight Effort Actions
Laban Effort is the "Internal Motivation" for movement.
The Direct Path: Compare Pressing (strong/slow) with Gliding (light/slow). The intent is to arrive directly.The Indirect Path: Compare Wringing (strong/slow/twisting) with Floating (light/slow/drifting). The intent is exploratory.Impact vs. Flick: Compare Punching (strong/fast) with Dabbing (light/fast). One impacts a target, the other touches and releases immediately.
Teacher Tip: Encourage students to make sound effects (shh, pow, whoosh) to help find the dynamic quality in their bodies.
Narrative Check: "The Story of the Arm"
Ask students to perform a simple "hand reaching out" gesture. Give them three different dynamic prompts and ask the class what the 'story' is for each:
Floating: A ghost reaching out? Searching in the dark?Slashing: An angry rejection? A defensive strike?Dabbing: Checking if something is hot? Hesitation? Connection Fundamentals Slides Shared Center of Gravity
Counterbalance
Using a partner's weight to find a new point of equilibrium. If one partner lets go, both would fall.
Weight Sharing
Transferring a portion of your physical mass to a partner or receiving theirs through a specific point of contact.
The "Rules" of Engagement
Eye Contact
Always acknowledge your partner before engaging weight.
Soft Focus
Listen with your skin, not just your eyes. Stay responsive.
Safe Points
Hands, shoulders, hips, and back are primary contact zones.
"The number one rule is mutual trust. If a partner says 'stop' or shows discomfort, disengage immediately."
Kinesthetic Conversation
Initiation
One dancer proposes a movement shift (a lean, a pull, a level change).
Response
The partner absorbs the energy and reflects it back or alters the trajectory.
The Loop
Movement in contact is a feedback loop. There is no 'leader' or 'follower,' only the 'dance' in between.
Contact Improvisation Cards Contact Prompt Cards
Lesson 4: Kinesthetic Listening
Teacher: Print, cut, and distribute to pairs for exploration.
The Magnet
Maintain a consistent 2-inch gap between your hand and your partner's shoulder. As they move through space, you must follow the 'magnetic pull' without ever touching.
Focus: Sensitivity Level 1
Sticky Points
Choose one point of contact (e.g., elbow to elbow). Move together through the room, exploring all levels, without ever breaking that 'sticky' connection.
Focus: Constraint Level 1
Table & Lean
Partner A creates a stable 'table' (low level, 4-point stance). Partner B gradually leans 20% of their weight onto A's back. Breathe together for 3 cycles, then switch.
Focus: Weight Sharing Level 2
Counter-Tension
Grasp wrists securely. Slowly lean away from each other until your arms are fully extended. Find the balance point where you are both suspended by the tension.
Focus: Balance Level 2
Action/Reaction
Partner A performs a 4-count movement. Partner B must react to the 'energy' of that movement by moving their body in response (pushed, pulled, or mimicking).
Focus: Improvisation Level 3
The Dialogue
Combine 3 contact points into a continuous flow of movement. One person always 'initiates' and the other 'supports'. Rotate roles seamlessly.
Focus: Synthesis Level 3
Contact Improvisation Teacher Guide Teacher Guide
Improvisation & Contact Fundamentals
Lesson 4 of 5
Safety & Trust Focus
Lesson Objective
Students will explore the physics of weight sharing and counterbalance through contact improvisation, developing kinesthetic listening skills and safe partnership protocols.
Essential Question
"How does another body's presence change my own center of gravity?"
Pacing Guide
Mirror/Magnet Hook15 min
Center of Gravity Lab20 min
Contact Task Cards35 min
Improv Jam/Circle15 min
De-brief5 min
Safety & Consent Protocols
The 'Opt-Out' Rule: Students may opt out of any physical contact and perform the prompts in the "Negative Space" (mimicking contact without touching).Points of Contact: Explicitly define safe zones: Shoulders, upper back, hips, hands, elbows. Avoid neck, head, and knees.Non-Verbal Stop: A double-tap on the partner's body or stepping away is an immediate signal to stop and reset.Weight Progression: Never jump into weight. "Pour" weight gradually (5% -> 20% -> 50%).
Instructional Procedure
Hook: From Mirror to Magnet
Traditional Mirror: Facing partners, mirroring movement perfectly.The Magnet: One dancer is the magnet, the other is the metal. The magnet moves a hand; the metal is "pulled" toward it, maintaining a fixed 2-inch distance.The Touch: Introduce the "Finger-to-Finger" contact. One finger touch is the only point of connection. Move through the room without losing the touch.
Facilitating Task Cards
Divide the class into pairs. Distribute the Contact Prompt Cards . Encourage students to spend 5-7 minutes on each card before rotating.
Look For:
Locked joints (Encourage "soft" knees).
Held breath (Remind to exhale on leans).
Dominance (One person leading too much).
Guiding Questions:
"Where do you feel your partner's weight in your own feet?"
"How do you signal 'I am ready' without speaking?"
Choreographic Recipes Worksheet Choreographic Recipes
Lesson 5: Compositional Synthesis
Teacher: Assign one 'Recipe' to each group. They must include all 'Ingredients' in their 32-count phrase.
Recipe A
The Geometric Surge
■ Space: Start Low, end High.
■ Time: One segment of double-time (accelerando).
■ Energy: Must include a "Slash" Effort Action.
■ Structure: A 4-count canon at the beginning.
Recipe B
Suspended Architecture
■ Space: Move strictly on the Sagittal Plane.
■ Time: Include 4 counts of absolute stillness.
■ Energy: Predominantly "Glide" or "Float" qualities.
■ Structure: Must feature one counterbalance moment.
Recipe C
Percussive Pathways
■ Space: A zig-zag floor pathway.
■ Time: Heavily syncopated rhythm (moving on the "&").
■ Energy: Contrasting "Punch" and "Flick" actions.
■ Structure: 8 counts of perfect unison.
Recipe D
Fluid Fragmentation
■ Space: Utilize a curvilinear (circular) pathway.
■ Time: A sudden shift from very slow to very fast.
■ Energy: Bound flow transitioning to Free flow.
■ Structure: Include one shared-weight lift or lean.
The "Chef's" Note
How did your group decide to transition between your 'Energy' requirement and your 'Time' requirement?
Plan your transitions here...
Performance Critique Worksheet Movement Critique Log
Aesthetic Analysis & Peer Feedback
Observer: ________________________________
Date: __________________
As you observe each group's performance, look for their intentional use of the three core elements. Provide constructive feedback focused on clarity of intent.
Performance Group: ____________________
Recipe Assigned: _______
Element Evidence (What did you see?) Space (Levels/Pathways) Time (Tempo/Rhythm) Energy (Effort Action)
Feedback for the Choreographers: One thing that was clear was... and one thing that could be more distinct is...
Performance Group: ____________________
Recipe Assigned: _______
Element Evidence (What did you see?) Space Time Energy
Feedback for the Choreographers: One thing that was clear was... and one thing that could be more distinct is...
Compositional Synthesis Teacher Guide Teacher Guide
Compositional Synthesis & Critique
Lesson 5 of 5
Culminating Project
Capstone Objective
Students will synthesize their knowledge of space, time, and energy to choreograph and perform an original 32-count phrase. They will also demonstrate critical analysis skills by providing peer feedback using formal dance vocabulary.
Success Criteria
• Use of all 'Recipe' constraints.
• Intentionality in movement quality.
• Clear start/end focus.
• Constructive critique language.
Project Pacing
Planning
15 MIN
Group recipe selection & conceptual mapping.
Creation
35 MIN
Choreographing the 32 counts. Polishing transitions.
Performance
25 MIN
Showing the work. Formal audience etiquette.
Critique
15 MIN
Peer feedback & self-reflection logs.
Facilitating the Performance
Set the stage. Dim the lights if possible. Remind the audience that their job is to detect the recipe ingredients . They are detectives of intent.
The "Why":
Synthesis isn't just about doing the steps; it's about seeing how Space, Time, and Energy interact to create meaning. A "Slash" at "Double-Time" is very different from a "Slash" in "Slow-Motion".
Critique Framing:
Encourage the LIZ LERMAN critique method: 1. Statement of Meaning (What did you see?) 2. Question from Choreographer. 3. Feedback (I noticed...).
