Section B

Preparing students for dance

activity
This section looks at ways to prepare students for dance. It examines aspects of safe dance
practice, how the body moves and ways to prevent injury. This section also contains a
comprehensive list of warm-up activities: cardiovascular, technical and thematic warm-ups.
Many of these activities are incorporated into each of the units of work in Section F.
However, additional ideas may be needed when designing your own dance lessons.

Safe dance practice

Safe dance can be defined as the practice of selecting and executing safe movement. Safe
dance practice focuses on providing dance activities and exercises which allow students to
participate without risk of injury.

In order to teach dance, you need to gain an understanding of the body and its limitations.
Safe dance principles that aid this understanding include:
• an awareness of how the body moves
• a knowledge of common dance injuries, their cause, prevention and treatment
• a knowledge of the nature and function of warm-up and technique exercises in
preparing the body to dance.

An understanding of the musculo-skeletal system and its function in movement aids in the
application of safe dance practice.
• Observing and correcting basic technical faults in students allows them to move
more safely and efficiently.
• Correct alignment of the body, and in particular, the feet and ankles, knees, hips
and spine, is critical.
• Alignment should be observed, whether the student is standing or in motion.

Each student brings to the class differences in terms of musculo-skeletal structure, level of
fitness, experience and skill. Each student needs to be assessed and managed with regards to
his or her alignment, strength, flexibility, endurance (stamina) and level of training. From
Early Stage 1, students should be encouraged to pay attention to how their body feels when
moving and to maintain correct alignment. As students increase their knowledge and skills in
dance, they can be more active in managing safe dance practices.

Preventing injury
Dance exercises and activities should be sequenced to achieve a balance between the
development of physical skills and the prevention of injury. Certain movements pose a
greater risk of injury and should be avoided.

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 The following table outlines types of movement that may cause injury:

Movement Description Examples

Excessive range This applies to movement that forces a Hyperflexion at the neck;
joint or body part beyond the safe range. over-arching the back.

Excessive load Movement that places excessive weight on Knees bending below
or through a joint or muscle. 90º when landing; low
lateral stretch; straight
leg sit-ups.

Ballistic Repetitive dynamic movement that Bouncing (of knees,

stretches muscle tissue beyond the normal spine); kicks; leaps;
range. This sort of movement is often head isolations;
explosive and uncontrolled. arm flings.

Sustained The holding of a position that places Coccyx sit; flat back;
excessive stress on a muscle group or joint. balance on one leg.

Repetitive Too much repetition can be dangerous. Jumps; push-ups; lifts.

Even safe movements performed too many
times can cause injury.

Identifying the most common types of injuries can assist teachers to better manage dance
activities. Common injuries include:
• muscle strain
• joint sprain
• bruising
• muscle soreness
• fractures.

Early detection and immediate care are vital for the rehabilitation of any injury. Teachers
should have a working knowledge of first aid principles such as RICED (rest, ice,
compression, elevation and diagnosis).

Warming-up
Students enter the dance class with varying energy levels and states of mind. It is important
to start the class with a warm-up to direct the energy of the group. The warm-up:
• physically prepares the body
• helps to focus the mind on the lesson content
• should reflect the focus or content of the lesson
• should be structured from the general to the specific (physically and thematically).

A warm-up sequence should last for approximately 20% of the total length of the lesson. For
example, in a 40-minute lesson, an 8–10 minute warm-up is appropriate; in a 60-minute
lesson, a 12–15 minute warm-up is appropriate.

Warm-ups should include:

• activities which raise the pulse rate and body temperature, mobilise joints and
warm muscles
• activities that emphasise awareness of space and other members of the class
• whole-body activities, such as stretching, bending, swinging and circling, and a
focus on appropriate individual body parts, depending on the focus of the lesson.

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 Section B
The following warm-up sequence demonstrates the principle of structuring activities from
the general to the specific.

Type of warm-up Purpose of warm-up

Cardiovascular (whole-body) Performance of gross motor movements increases blood

flow to the muscles and raises body temperature. The
result is an increased efficiency of the muscles to meet the
demands of the exercises and dance activities to follow.

Technique exercises Exercises that develop good alignment, strength and

flexibility also assist in physical and mental preparation
for the tasks ahead. These exercises raise students’
awareness of their bodies, how to move safely and how to
prevent injury. These exercises may also include
movements that will be used or built on in the core of the
lesson.

Thematic warm-ups These activities may provide a stimulus for the lesson or
may emphasise the lesson focus.

Emphasising safety in warm-ups

Students need to develop dance technique appropriate to their body type. Safe techniques for
maintaining alignment, jumping, stretching, bending and transferring weight to and from the
floor, should be a focus in any dance activity.

Jumping

Jumping technique should emphasise:

• preparation that begins with bending the knees
• landing moving through the balls of the feet to heels
• the importance of alignment of feet, ankles, knees, hips and spine in landing.

Transferring weight to the floor

Safe transference of weight to the floor includes:

• awareness of large surfaces and soft parts of the body (e.g. backs, fronts) and bony
small parts (e.g. elbows, knees) which can be injured easily
• use of the hands and arms to assist weight transference with consideration of the
bending of wrists, elbows
• consideration of speed
• awareness of the vulnerability of the head.

Getting up from the floor

If students are working close to the floor, encourage safe techniques for
getting up:
• Avoid getting up suddenly.
• If lying on your back, roll first on to your side, then use hands and arms to support
and push up from the floor.
• Once standing, become aware of space before moving.

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 Sample warm-ups
The following information assists teachers to plan the introduction of the dance lesson. Some
of these warm-ups have been used in the units; others are additional ideas that can be used
when planning dance lessons. The relationship of warm-up activities to lesson content, and
the sequencing of these activities, are further illustrated in each of the lessons. The suggested
warm-up activities are organised into:
1. Cardiovascular warm-ups
2. Technical warm-ups
3. Thematic warm-ups.

1. Cardiovascular warm-ups

These warm-ups aim to raise the body temperature in preparation for dance activities. The
following suggestions are examples and can be adapted to suit the purpose or thematic
content of a lesson. Additional warm-up ideas are incorporated into lesson units. It is best to
follow these activities with a focused stretch to regain student concentration.

Area walks. This activity is an excellent start to a dance lesson. It provides a safe way of
increasing body temperature and loosening large muscle groups. The focus of the walk can
be varied each time. Introduce changes in speed, direction and movement quality and add
simple arm movements. For example, ask the students to: walk around the space not touching
anyone; increase and decrease the speed of the walk; change directions and pathways;
gradually increase the walk to a gentle jog using curved pathways; circle around others while
jogging, without touching; decrease speed to a walk; finish in a static shape.

Concentration circle. Students make a large circle in the centre of the room. Begin by
counting out loud from 1 to 8. Students then move clockwise, stepping forward on each
count. Ask the students to continue to count softly as they walk and listen to further
instructions. Vary the moving and counting pattern by adding the following instructions, one
at a time:
• Whistle on count 5
• Hop on count 2
• Arms in the air on count 4
• Clap hands on count 1
• Tap knees on count 3
• Jump on count 7
• Turn on count 8 (to walk the next 8 counts in an anti-clockwise direction).

Note: While this is a physical warm-up, it is also a focusing exercise. Students will find it
very difficult to concentrate on moving, counting, and replacing counts with other sounds
and actions. Begin a new sequence when students can no longer maintain concentration.

0 to 5. Students find their own space.

Teacher explains that 0= freeze, 1 = walk, as slowly as possible, 2= a slow walk, 3= medium
pace walk, 4= jog, 5= run as fast as possible.

Teacher calls out numbers in any order, while students respond by moving at various speeds.

Around relay. Divide the class into groups of 3–5. On a signal, the first person in each group
runs around a marker, and returns to collect the second person. This continues until all
members of the group are running around the marker in single file. Other locomotor
movement can be added, e.g. skips, jumps, leaps.

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 Section B
Circle run. Students stand in a circle of 8–10 metres in diameter. Each student is given a
number (or colour, animal name, object). Call out a particular number and all students with
that number run clockwise round the outside of the circle and back to their places. Jumping,
skipping, hopping and directional changes can be used.

Chain tag. Designate a square boundary. Elect one student to be “in”. This student must
“tag” others, who then link up by holding hands to become part of a chain. The chain
continues to move together, tagging others. Only the ends of the chain can tag. When the tag
has eight members, it can split in half to create two chains of four. The game ends when there
is only one student left “untagged”.

Pirates. Designate the four walls of the space as PORT, STARBOARD, FORE and AFT.
Demonstrate the positions that the student can adopt (see below). Instruct students to listen
carefully and follow instructions promptly. The leader calls out the orders and students
respond as quickly and correctly as they can.
Row the boat: Students sit with knees bent, performing a rowing action.
Haul the anchor: Students lunge forward and pull back.
Walk the plank: Students pretend to walk along a narrow plank.
Scrub the decks: Students fall to the floor and make a scrubbing action.
Man overboard: Students mime looking into the distance through binoculars.
Climb the rigging: Students mime climbing a rope ladder.
Hit the deck: Students lie flat on the floor.
Aye, aye captain: Students stand in a straight line and salute.
Port: All run to the left side of the room.
Starboard: All run to the right side of the room.
Bow: All run to the front of the room
Stern: All run to the back of the room.

Extension: This game can be adapted to fit various themes.

2. Technical warm-ups

A slow stretch that gently moves all parts of the body is a good beginning to a warm-up
sequence. The following sequence suggests appropriate movements. Use music with a slow
and regular beat so that students concentrate on performing each movement correctly.

Body part stretch. Students stand in open parallel (feet facing forward, hip-width apart).
Ensure students are maintaining correct standing alignment.
• Students gently move the head and neck by looking to the left, to the centre, then to
the right (reverse and then repeat 4 times).
• They circle the shoulders backwards and forwards, together and alternating.
• They slowly swing the arms forwards and backwards, together and alternating.
• They slowly rotate the arms forwards and backwards, together and alternating.
• They circle the hips clockwise and anticlockwise.
• Maintaining a strong supporting leg, students swing the other leg forward and
backward along a parallel path; then they change legs. (The torso and the
supporting leg should be vertically aligned, and the pelvis kept steady throughout.)
• Maintaining a strong supporting leg, they stretch the foot and ankle by extending,
flexing and rotating; then they change legs.

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 Floorwork. Exercises performed on the floor allow students to stretch and strengthen muscle
groups of the pelvis, back and legs, using the floor as support. Use music with a slow and
regular beat so that students concentrate on performing each movement correctly.
• Sit in frogsit on the floor (knees bent and soles of the feet together). Check
alignment, ensuring that the legs are placed at a comfortable distance from the
body and that the back is straight, with neck and head held high. Raise and lower
shoulders slowly several times. Breathe and relax. Roll down forwards towards the
floor, leading with the head and curving the spine. Unroll to the beginning, centred
position and then repeat 4 times.
• Sit with legs stretched out in front (knees to ceiling); check alignment. Point and
flex feet 4 times. Roll down towards the floor, leading with the head and curving
the spine. Unroll to a centred position and point and flex feet 4 times.
• Lie on your back with knees bent and the soles of the feet flat on the floor and hip-
width apart. Use arms at the side for support. Bend the right knee onto the chest
and extend the leg towards the ceiling with the foot pointed. Flex and point the foot
4 times. Bend the knee back onto the chest. Repeat on each side 4 times. Use the
stomach muscles to maintain lower back contact with the floor.
• Lie on your back with knees bent and the soles of the feet flat on the floor. Extend
arms to the side. Ensure the lower back is pressed into the floor and gently roll both
knees to the floor on each side 4 times. Use the stomach muscles to maintain lower
back contact with the floor.
• Lie on your back with knees bent and the soles of the feet flat on the floor and hip-
width apart. Use arms at the sides for support. Roll up onto the shoulder blades,
making sure that the line of the body between the knees and the shoulders is a
straight line and not sagging. Roll from the shoulders back to the original position.
Use the stomach muscles to control the lift and lowering of the torso.
• Lie on your stomach with the torso raised by the elbows. Gently kick legs
backwards and forwards.
• Lie on your side with legs and feet parallel. Rest your head on one arm and use the
other in front for support. Keeping the leg straight, raise it approximately 60 cm
above the other. Repeat the action with extended and flexed feet. Repeat several
times on each side.
• Lie on your side with one arm in front as the support. Bend the top leg until the
foot is resting on the lower knee. Turn the upper knee to the ceiling (this leg is now
in a “turned-out” position. Extend the leg towards the ceiling with the foot pointed.
Lower the leg by reversing the action. Repeat this several times on each side.

Centrework. Centrework involves a series of exercises performed while standing. Students

are improving their body alignment and awareness of “centre” when they perform these
exercises. Centrework develops co-ordination, balance, strength and flexibility, through the
coordinated movement of legs, arms and torso.
• Stand in open parallel (feet hip-width apart). Perform demi-plies (half bends of the
knee with heels still in contact with the floor) and rises (rolling up onto the balls of
the feet). Use arms in second position (stretched to the side) to balance. Maintain
correct spine and knee alignment through bends and rises. Perform 4 times in open
parallel, 1st position (heels together, legs and feet rotated from the hip, 45 degrees)
and 2nd position (same as 1st position but with heels hip-width apart).
• Stand in open parallel. Roll down towards the floor, leading with the head and
curving the spine. Bend the knees as you get close to the floor. Return by reversing
the action (unroll from the base of the spine). Repeat, exhaling as you roll down
and inhaling as you roll up.
• Stand in 2nd position. Lunge from side to side. Maintain correct alignment of the
knees and ankles when performing this movement.

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 Section B
• Stand in closed parallel (feet together facing forwards). Perform a backward lunge
by stepping one foot back and transferring your weight onto the back foot. The heel
of the back foot should be on the floor and correct alignment in hips, knees and
ankles maintained. Repeat to the front and the side. Change legs.

3. Thematic warm-ups

Thematic “games” or activities that are based on movement can provide both a physical
warm-up and stimulus for further dance activities.

Sports mime. Form groups of 4–6 students. One student mimes an action associated with a
sport, e.g. cricket, while the rest of the group observe. The student, who guesses the correct
action, mimes another sport.

Variations:
• Students in the group take it in turns to mime and guess the action so that every
student is actively involved.
• Before students mime the action they have devised, they mime the previous action
they have observed. A sequence of movement can develop from this activity.
• Use other themes as stimulus for this activity, e.g. artworks, a specific story or
poem, everyday activities.

Chain mime. This game is based on Chinese Whispers. Divide the class into groups of 6.
The teacher demonstrates to one member from each group a short sequence while the other
members turn away so that they cannot see.

The teacher demonstrates a movement sequence based on a scenario (e.g. coming home from
school, opening the door, putting bag down, going into kitchen, making a sandwich, playing
with the dog) to the first student.

The first member of the group demonstrates the sequence to the second member of their
team while the rest are still turned away. This continues until the last member demonstrates
the sequence they have learned. The teacher then demonstrates the original for comparison.

Picture postcard. In a group, students decide on the theme of a postcard to be created (e.g. a
scene at the beach, a celebratory event, a theme park, the streets of a famous city). One at a
time, students begin to create the scene by moving into a defined space and making a shape
of a person or object related to the given theme. This continues with all students filling the
scene. Once complete the teacher can bring the scene to life by asking students who
represent a person or animal to move in character.

Sense circle. Students stand in a circle. The teacher gives an instruction for a group shape
(e.g. a square that takes up the whole space, a close cluster with everyone looking in, a map
of Australia). The students must move from the circle into the new shape without talking,
relying on visual and tactile cues to complete the task.

Action word. Divide the class into small groups. The teacher names a type of movement,
such as swing, stretch, twist, run, rise and fall, or shake. Each group finds original movement
within the given category within a time limit.

Mirroring. Students work in pairs, facing each other. One student (A) initiates the
movement, the other (B) follows. As the leader moves, the follower mirrors the movement.
Remind students to make simple movements and to move slowly (e.g. begin using hands and
arms only while seated, progressing to standing and moving hands, arms and upper body).
Swap roles.

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 Variations:
• The teacher instructs the students to move in a particular way, e.g. curving lines
only.
• Moving mirror: When students can concentrate sufficiently on mirroring when
standing in one place, allow them to move slowly sideways.
• Mirror corridor: Students line up facing their partners. Pairs may slowly move
laterally inside or outside the corridor formed by the other pairs. This is more
successful if pairs are allowed to move only when nominated.

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