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Dancing - Teaching English through Body Movement

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Ninel Gasparyan

on 14 December 2016

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Transcript of Dancing - Teaching English through Body Movement

Dancing - Teaching English through Body Movement
Supervisor: Raichle Farrelly
Reader: Rubina Gasparyan
Presenter: Ninel Gasparyan
Date: 04/23/2014

Literature Review
Course Goals
Learning Plan
Lesson Plan
The Impact of Dance on 8 intelligences
(Chatura hastha)
Indian Hand Movement
Wetness, Sadness, Taste, Eye, Promise, Romance, Melted Butter, Oil.
To fight with others, rope, chain
Ss' self-confidence
Ss' motivation
Ss' creativity
Ss' anxiety
Ss' complexes
Dance Styles

Story Making

Paper Project Presentation of stories 1 – 20%
Presentation of stories 2 – 20%
Research project – 30%
Reflection journals – 20%
Attendance – 10%


Develop Ss’ knowledge about dances of different cultures.

Goal 1
Goal 2
Develop Ss’ receptive skills for the purpose of listening to the talks of choreographers, dancers, directors and dance critics and for reading about the histories of different dances.
Goal 3
Develop Ss’ productive skills, for the purpose of presentations, research, discussions and debates and for reflective and creative writing.
Goal 4
Develop Ss’ dance skills and dance terminology for the purpose of rehearsals and performances.
Email: ninel_gasparyan@edu.aua.am
Brinton, D. M., Snow, M. A., & Wesche, M. B. (2003). Conten-based Second Language Instruction. New York
Gardner, H. (1983). Frames of Mind. New York: Basic Book Inc
Hanna, J. L. (2008). The history of modern dance. New York, NY: Distributing by Insight Media.
Stryker, S. B., & Leaver, B. L. (1997). Content-based instruction in foreign language education: Models and methods. Washington, D.C: Georgetown University Press
develop Ss' creativity and imagination,
teach English in a meaningful context.
Significance of the course:

innovation in Armenia
involves learners intellectually, creatively and kinesthetically
Content Based Instruction defined:
as the integration of particular content with language-teaching aims, more specifically it refers to the concurrent teaching of academic subject matter and second language skills (Brinton, Snow and Wesche, p.2, 2003).
curriculum of CBI consists of authentic language and texts,
takes into consideration Ss' needs,
Stryker & Leaver (1997)
Main features of CBI:
enhances Ss' motivation,
accelerates Ss' acquisition of language proficiency,
broadens cross-cultural knowledge,
makes language learning process enjoyable and fulfilling,
leads Ss' to become autonomous and lifelong learners.
logical-mathematical intelligence
musical intelligence
bodily-kinesthetic intelligence
spatial intelligence
intra-personal intelligence
inter-personal intelligence
naturalist intelligence
linguistic intelligence
Gardner (1983)
Parallels between verbal & non-verbal languages
Hanna (2008)
develop Ss' cultural competence,
EEC students
Number: 35
Classes: 5
Gender: Female 26,Male 9
Age: 12-15
Level: Intermediate
14 Ss attend dance classes (5 professionally)
13 Ss consider dancing as their hobby
9 Ss are shy to dance in front of the audience (5 male, 4 female)
Ss need to develop their language skills for using them in real life.
18 students would like to be involved in other performing arts (e.g. dramas, musicals, etc.)
Lacks Wants Necessities
Ss need to develop their creativity and imagination.
19 students would like to learn English through dances.
Majority of the participants would like to make their own stories and perform them.
Participants: EEC Ss
Level: Intermediate
Location: American University of Armenia
Duration: 10 weeks/ once a week/2 hours

Introduction to dance
Dance Etiquette
Classical dances
Folk dances
Ballroom dances
Latin American dances
Skimming & Scanning
Predicting & Guessing
Reading & Performing
Jigsaw Reading
Video Watching
Listening & Performing
Gap Filling
Role Plays
Story Presentations
Movie Watching
Reflection Journals
Word Puzzle
Quick Response
Note Taking
Reading & Giving Instructions

T enters the classroom, greets the students tells about the outline of the lesson and asks Ss to come to the middle of the classroom. Ss are given instructions how to warm up their muscles. Each of the Ss reads one instruction and the others perform the movement.

Ss are shown pictures of three different folk dances – Italian, Indian and Greek. They look at three pictures and discuss the differences and similarities between dance settings.

Ss are divided into three groups in each group there are four people. The 1st group gets a text about Italian folk dance, the 2nd group about Indian folk dance, the 3rd group about Greek folk dance. Ss in their groups read their texts and write down the peculiarities of the given dance. Then Ss change their groups. Now there are four groups with three people in each. Each S presents his/her dance in new groups. (The speaker is recorded). After finishing, Ss with T discuss the differences and similarities between 4 dances.

One S is given the instructions of Italian Folk dance Tarantella. He/she reads the steps and others try to perform them.

Prepare for Story presentations

Writing a reflection

Warm Up
Tarantella Steps
Class objectives:
During the lesson Ss will:
• develop Ss’ reading skills,
• develop Ss’ speaking skills,
• develop Ss’ dancing skills,
• activate Ss’ schemata.
• retell the read material,
• produce comprehension skills,
• revise the stuff covered during the previous lesson,
• reinforce the knowledge of how to warm up the muscles,
• identify the differences and similarities between Italian, Indian and Greek folk dances.

Look at the pictures and discuss the differences and similarities between three folk dances.

Stretch your neck upwards, gently, then turn your head slowly to the right and then to the left.

Lift your shoulders up and down - then roll each shoulder round.
Relaxed shoulders are a must for dancing.

Free your hip joints by gently swinging each leg back and forth - you will probably need to hold onto something for this one.

Knee joints take quite a lot of pressure when dancing - loosen the joints by lifting each one in turn.
This is good for circulating the fluid around the joint

Extend your foot and move your ankles round - work each one in a gentle motion.

Give your toes a little workout - rise onto them then gently lower until they are flat on the floor.

Stretch your arms out and circle each wrist. Wiggle your fingers to release tension

Warm up Instructions
Read and perform the instructions.

In Italian culture, the word “tarantella” evokes images of a frenzied spinning dance traditionally played at weddings. It is considered unlucky to dance the Tarantella alone so it is often danced by couples or by two women. However, this popular native dance of Southern Italy has a history and myth spanning several centuries.
The dance, originally an Italian folk dance of the lower- and middle-classes, has been labeled as a dance to cure sickness and as a dance of courtship. In the courtship version of the dance, the woman uses rapidity and liveliness to excite the love of her partner. In turn, the man tries to charm her with his agility, elegance and demonstrations of tenderness. The dance is one of unity and separation, which sees dancers flying into each other’s arms only to bind away again.
Three possible sources of origin for the dance are given. The first originates with the bite of the Tarantula, Arania or Apulcian Spider. The dance itself was used to cure the poison from the bite of the spider. Town folks would play music and the afflicted person would dance non-stop to avoid succumbing to the poison.
The second origin lies in the religious story of the St. Vitus Dance, which is commonly referred to as the outbreak of dancing in the Middle Ages. The myth begins with the young people of Saxony dancing in the churchyard of St. Magnus. Fifteen youths and four girls were dancing and singing so loudly that they disturbed the priest. Angered, the priest prayed to God and St. Magnus to make the youth dance for a whole year. The outbreak of dancing went unexplained until the realization that the dancers had been bitten by the Tarantula Spider.
The final possible origin for the dance is said to be in the villages of Toranto and Tarantum. Women working in the fields would use frenetic dancing when they were bitten by spiders in order to sweat the venom out through their pores.
The Tarantella-type of dancing is not limited to just Italy. In Buzabatt, Persia, there is a Tarantella dance which is similar to the one found in Southern Italy. The Furlana or Fourlane found in Venice is also similar to the Tarantella although it is more irregular and brusque and danced mainly among gondoliers.

Read the texts
Italian Folk Dance
“The dance, of all the arts, is the one that most influences the soul. Dancing is divine in its nature and is the gift of the gods”. Plato

Greece is one of the few countries in the world where folk dances are as alive today as they were in ancient times. Dance has always played an important role in the life of a Greek. It is an expression of human feelings and everyday life. The Greeks danced at religious festivals and ceremonies, they danced to ensure fertility, to prepare for war and to celebrate victories; they danced at weddings, to overcome depression and to cure physical illness. Almost every dance has a story to tell. Dance was regarded as one of the highest forms of art. Plato agreed with his mentor Socrates that every educated man should know how to dance gracefully by which he meant the manly exercises that kept the body strong and supple and ready to do its duty on the battlefield. The Pyrrhic, or weapon dance (a form of mock combat) taken from Crete and perfected in Sparta, was the ideal.

There are two distinct categories in the traditional Greek dance; the springing/leaping dance and the shuffle/dragging dance known as sirtos: the latter being the oldest form of dance. Most dances are circle dances, start with the right foot and move counter-clockwise. Each dancer is linked by a handkerchief or by holding hands, wrists or shoulders. In mixed dances, the man will lead the dance, which allows him in most regions to improvise or break away allowing him to express himself. Until recently, men and women rarely danced together although chains of men and women danced together at the same time, the women in the inner circle and the men in the outer circle. The order of dance varies from region to region. In general, the men are commonly at the beginning in descending order of age, followed by the women also ranked according to seniority. Sometimes the married men come before the bachelors and likewise for the women. The oldest inhabitant always leads the dance. In the islands the circle is usually formed of groups of families, the husband leads the wife who is followed by the eldest son, his wife and their children. Occasionally the local priest will lead the first dance symbolizing a blessing. In ancient times a man never held a woman’s hand but a handkerchief. This also applied to married couples. In some regions a woman could not dance next to a man who was not a member of a family. Therefore a child or an old man would be placed in between. Most women's dances are slow, simple and dignified whereas the men’s dances often portray their manhood.

Greek Folk dance

India is a land of varied cultures and traditions. Diversities in all spheres make the Indian culture quite unique. Indian folk and tribal dances are product of different socio-economic set up and traditions. Indian folk and tribal dances are simple and are performed to express joy.
Folk dances are performed for every possible occasion, to celebrate the arrival of seasons, birth of a child, a wedding and festivals. The folk dances are extremely simple with minimum of steps or movement. Indian folk dances are full of energy and vitality. Some dances are performed separately by men and women while in some performances men and women dance together. On most occasions, the dancers sing themselves, accompanied by artists with instruments. Each form of folk dance has a specific costume and rhythm. Most of the costumes, worn for folk dances, are colorful with extensive jewels and designs.
East India
Chhau is a popular folk dance of Bihar. Since masks form an important feature of this dance it is called 'Chhau', which means mask. All the Chhau performers hold swords and shields while performing. The stages are decorated and brightly lit by torches, lanterns and flickering oil lamps. The musical instruments used are the Dhol (a cylindrical drum), Nagara (a huge drum) and Shehnai (reed pipes). The Chhau dance is performed by men and boys. Chhau dance is full of energy and strength. It is interesting to note that the entire body of the dancer is engaged as a single unit. This body language of the dancer has to be poetic and powerful.
North India
Dumhal is a popular dance of Kashmir. This dance is performed with long colorful robes, tall conical caps (studded with beads and shells). Dumhal dance is accompanied by songs which the performers themselves sing. It is supported by drums. There is an interesting tradition associated with Dumhal dance where the performers of this dance place a banner into the ground at a fixed location and they begin to dance around this banner.
South India
Padayani is one of the most colorful and popular dances of Southern Kerala. Padayani is associated with the festival of certain temples, called Padayani or Paddeni. Such temples are in Alleppey, Quilon, Pathanamthitta and Kottayam districts. The main Kolams (huge masks) displayed in Padayani are Bhairavi (Kali), Kalan (god of death), Yakshi (fairy) and Pakshi (bird).
West India
Dandiya is a popular folk dance of Rajasthan. Dressed in colorful costumes the performers play skillfully with big sticks in their hands. Dandiya dance is accompanied by the musical instrument called the 'Meddale' played by the drummer in the centre. The Bhil tribal of Rajasthan perform a variety of dances. All these folk dances correspond to the agricultural cycle. The Ghumer dance, Raika and Jhoria are some examples of this type of dance. The Gher dance is a favorite and popular dance of the Mina tribe who are similar to the Bhils while Valar is typical dance of the Garasias of Rajasthan.

Indian Folk Dance

Tarantella Steps
In Tarantella men and women stand in a circle – face to face each other.
Step 1: The right leg crosses the left one, while the left one does two hops.
Step 2: Change the legs. The left leg crosses the right one and the right leg does two hops. Meanwhile the right hand goes above the head, and the left hand goes behind the back. With the change of the leg, the hands also changed.
Repeat the same steps 4 times.
Step 3: Hug each other with the right hand. The left hand should be up above the head.
Step 4: Put the right leg in front of the left leg and gallop by moving forward.
Do 4 turns. 

Read the instructions and perform the steps
Answer the following questions in your reflections.

1. Do you enjoy dancing with others as part of a small group?
2. Did you feel uncomfortable in any part of the dance learning experience? What part and why?
3. Would you like to do this dance lesson again?

Questions for Reflection
Rai Farrelly
Irshat Madyarov
Rubina Gasparyan
Liliana Edilyan
Catherine Buon

EEC staff and EEC students
My friends
My family, especially my sister
Graduate Committee
Full transcript