Unit 1 — Elements of Dance and Kinesthetic Movement

• Reflection and discussion after improvisation dances about how movements felt.
• KWL Chart used to identify prior knowledge of cultural dance.
• Self-assessment giving students opportunity to evaluate their own learning and performance against curricular objectives.
• Peer critique using rubrics, checklists, and protocols with constructive feedback such as 'I noticed,' 'I like the way,' and 'Have you thought of.'
• Hand signals indicating understanding of specific concepts (thumbs up, thumbs down, wave hand).

Performance rubrics evaluating dance technique, composition, and execution of choreographed and improvised sequences.

A movement task requiring students to execute weight shifts, demonstrate symmetrical and asymmetrical shapes, and perform a short sequence incorporating transitions. Teacher observation and a checklist assess control, balance, shape recognition, and application of conditioning principles covered in Unit 1.

Students may demonstrate understanding of balance, weight shift, and body shapes through guided movement response with teacher observation and verbal description of movements rather than full choreographed performance. Visual demonstrations, movement cards with pictures, and one-on-one practice time may be provided as needed.

Students with IEPs may benefit from visual supports such as diagrams or physical demonstrations that illustrate spatial concepts like symmetry, levels, and movement pathways before they are expected to replicate them. Teachers should offer alternative modes of response — such as verbal description, gesture, or drawing — when students are asked to reflect on how movements felt or self-assess their performance. Breaking multi-step movement sequences into smaller, clearly numbered parts and providing additional practice time will support students who need more repetition to build body control and coordination. When peer critique protocols are used, pre-teaching the language frames and offering sentence starters can help students participate meaningfully.

Students with 504 plans should be given preferential placement within the dance space to ensure clear sightlines to teacher demonstrations and reduced environmental distractions during movement exploration and performance tasks. Extended time or additional attempts may be provided when students are working to demonstrate balance, transitions, or choreographic sequences on a summative performance rubric. Written or visual reminders of key movement vocabulary and spatial concepts can be kept accessible throughout class.

Multilingual learners benefit from consistent use of visual and kinesthetic cues — such as teacher-modeled demonstrations, spatial diagrams, and labeled movement vocabulary displayed in the room — to support understanding of concepts like symmetry, pathways, and energy qualities without relying solely on verbal explanation. Directions for movement tasks and choreographic structures should be given in short, simple steps, and students should have opportunities to demonstrate understanding through physical participation before being asked to verbalize or write reflections. When possible, connecting dance vocabulary to movement in the student's home cultural context can build engagement and background knowledge.

Students who need additional support should be offered entry points that connect new choreographic concepts to familiar, everyday movements — such as linking weight shifts or balance to actions students already do — to reduce cognitive distance and build confidence. Choreographic structures like echoing and following a changing leader are naturally scaffolded for these learners, as they allow participation through observation and imitation before independent creation is expected. Teachers should check in frequently during practice time, provide specific positive feedback on observable growth in control or coordination, and allow students to work with a supportive partner during improvisation and peer critique tasks.

Students who demonstrate early mastery of foundational movement concepts should be encouraged to explore the choreographic and compositional dimensions of the unit at greater depth — for example, by experimenting with how time, space, and energy can be deliberately manipulated to shift the meaning or quality of a sequence rather than simply executing it correctly. These students can take on leadership roles within structures like Follow the Changing Leader that challenge them to make intentional, varied movement choices and observe the impact on the group. Encouraging them to analyze the relationship between conditioning principles and artistic intention — or to begin developing a short original composition that integrates multiple elements of dance — will provide meaningful challenge without simply adding repetition.