Mini-Project Edid 6505 PDF

EDID 6505 Mini Project 1
Mini-Project Instructional Design Unit

By

Terry Hall

A Paper Presented in Partial Fulfilment
Of the Requirements of
EDID 6505 Systems Approach to Designing Instructional Materials
Trimester II, 2014

Email: terry.hall@my.open.uwi.edu
University: University of the West Indies Open Campus
Group Facilitator: Dr LeRoy Hill
Course Coordinator: Dr Camille Dickson-Deane


Table of Contents

Page

Table of Figures..............................................................................................................................3
Needs Assessment..4
Task Analysis.6
Procedural Analysis...7
Prerequisite Analysis..8
Performance Objectives.............................................................................9
Assessment.9
Instructional Strategies and Lesson..10
Learner/Contextual Analysis...................................................................................10
Lesson..10
Advanced Organisers..13
Analogies.15
References...16

Appendix A: Needs Assessment Plan..17
Appendix B: Learner/Contextual Analysis Worksheet....19
Appendix C: Task Analysis Worksheet...........................21
Appendix D: Performance Rubric.......................................22
Appendix E: Assessment Items..........................................23


Table of Figures

Page

Figure 1. Procedural Analysis...7
Figure 2. Prerequisite Analysis-Hierarchy Analysis.8
Figure 3. Lesson Power Point..10


Needs Assessment

Background
The Lester Horton Dance Technique (HDT) is dynamic and dramatic, develops both strength
and flexibility, and works with an energy that is constantly in motion (Dance Spirit, 2009).
Uninitiated eyes widen the moment an advanced Horton dancer strikes a lateral T: to position
the body to resemble the letter T. Performing jumps, turns, falls to the floor while maintaining
a lateral T position creates an air of invincibility for the dancers (Straus, 2007). Dancers seek to
acquire the skills associated with the Horton technique to increase their dance potential, for the
strength and expressive range afforded and with the hope of becoming a member of one of the
well-known dance companies and proponents of the HDT like that of the Alvin Ailey American
Dance Theatre Company. The current local offerings of instruction for the HDT is limited due to
the shortage of expertise in the field. One (1) modern dance school exists locally where the HDT
is used predominantly throughout the classes and reflected in the stage performances. The costly
option of travelling overseas to acquire intensive HDT training is not available to all dancers
with the intention of pursuing further studies or a career in dance. Both dancers and teachers in
dance welcome any opportunity to have face-to-face HDT instruction. It is with this background
that the design of an instructional unit on the HDT through a two-day workshop was
conceptualised.

Needs Assessment
The information gathering tools applied of participant observation, review of dancers profiles
and personal interviews provided the following information on the optimal, actuals, causes,
feelings and solutions for the needs assessment.

Optimal Knowledge and skills associated with the intermediate to advanced levels of
the Lester Horton (Dance) Technique.

Actuals Dancers current and previous dance training with details of dance techniques
learned, duration, teachers, and dance schools. Dancers possess excellent learning
abilities.

Causes The limited offering of the Horton technique by dance studios and tertiary
institutions is due to the shortage of local expertise. Alternative access routes to acquire
knowledge on the Horton technique are not sourced as costs for foreign travel and
accommodation are involved.

Feelings Dancers and dance teachers are of the opinion that the Horton technique adds
to the versatility, strength and flexibility of a dancer, requirements of a professional
dancer. Teachers are frustrated at the limited offering of the HDT as this softens their
goal of turning out more rounded and experienced dancers.

Solutions Possibility of periodic workshops for dancers and dance studio teachers exist;
and in the medium to long term, more emphasis on the inclusion of Horton technique as
part of the tertiary course curriculum.


Selected Audience
The selected audience is made up of pre-professional dancers with an age range of 20-22 years
old. These dancers have attained advanced level structured training in a variety of techniques
(including ballet, modern and jazz) with at least 3 years of consistent training at that level.

Topic of Instruction
The workshop topic is Dance and the HDT Lateral T.

Format
The workshop will be held at a dance studio appropriately equipped for dance instruction. Each
day runs from 9 a.m. to 4:30 p.m. with segments for the morning and afternoon. Each segment is
further divided in two sessions. There is an hour for lunch between segments and a 15 minute
break between sessions. Instruction for the workshop is learner and task-centred, requires face-
to-face interaction, is aided by demonstrations, and dancers interactively learning-by-doing with
a mix of print and electronic media. The class size is restricted to a maximum of 18 dancers.

Task Analysis

The Task Selection Criteria Worksheet for the HDT instructional unit guided the selection of the
task with the highest priority ranking as the overall objective for the two-day workshop: Execute
the HDT Lateral T. The selection criteria is listed as criticality, universality/frequency,
standardisation, feasibility and difficulty. (See Appendix C)
Procedural (Figure 1) and prerequisite (Figure 2) analyses follow detailing the steps required to
achieve the objective and the skills required by the dancers in order to achieve the objective.

Figure 1 Procedural Analysis

Task: Execute the Horton Dance Technique (HDT) Lateral T

LEVEL I
1. Assume the start position: stand with feet in wide second position and hands reaching
upward
2. Execute a lateral torso stretch to the right
3. Balance on the right leg
4. Lift left leg to form a letter T with the body

LEVEL II
1. Assume the start position: stand with feet in wide second position and hands reaching
upward
1.1 Stand erect with legs separated by a distance of two feet
1.2 Position legs externally rotated
1.3 Position shoulders relaxed and knees, back and head straight
1.4 Position arms straight and stretched upward
1.5 Position arms in line with shoulders and beside ears

2. Execute a lateral torso stretch to the right
2.1 Tilt torso 90 degrees to the right
2.2 Position torso parallel to the floor
2.4 Position straight arms in line with relaxed shoulders and beside ears

3. Balance body on the right leg
3.1 Shift body weight on to the right leg
3.3 Position the right leg straight
3.4 Position the left leg straight
3.5 Position the left leg lifted a few inches off the floor
3.6 Position torso parallel to the floor

4. Lift left leg to form a letter T with the body
4.1 Extend the left leg to the left side lifting 90 degrees from the floor
4.2 Form the letter T with the body
4.3 Position legs straight and externally rotated
4.4 Position body parallel to the floor


Figure 2 Prerequisite Analysis - Hierarchy

RULES

CONCEPTS

FACTS

Execute the HDT Lateral T
Know basic
ballet, modern
and jazz
terminology
Translate
dance
terminology
into
movement
Exhibit
body
stability
and
control
Exhibit
advanced
level training
in ballet,
modern and
jazz
techniques
dance
training
Demonstrate
kinaesthetic
awareness
and body
placement
Identify basic
positions, angles,
directions of body
and limbs
Know imagery
reinforcement
methods

Distinguish between
dance class components,
warm-up, centre &
across floor work
Know loco
motor and non-
loco motor
movements

Identify
body on
and off
balance
Distinguish
between ballet,
modern, & jazz
techniques
Describe the
components
of a dance
class
Demonstrate
understanding
of dance
terminologies
Describe
body
placement
concepts
Describe
imagery
reinforcement
methods
Illustrate
dance
movements

Performance Objectives
Terminal Objective
On completion of the Horton Dance Technique (HDT) two-day dance training workshop,
dancers should execute accurately the HDT Lateral T dance form and stay in the position for 20
seconds (psychomotor).
Enabling Objectives
On completion of the HDT two-day dance training workshop, dancers will:-
1. Given a video presentation of a dance sequence, describe the sequence using dance
language with at least 90% accuracy (cognitive)
2. With reference to the procedures required to execute the HDT Lateral T, sketch and
label diagrams representing each step with 90% accuracy (cognitive)
3. Demonstrate the HDT Lateral T movements sequentially with at least 90%
correctness and positioning of movement (psychomotor)
4. Demonstrate body stability, control and balance by holding the HDT lateral T
position for 15 seconds (psychomotor)

Assessment
Assessment of the terminal objective is by way of a performance rubric (Appendix D) and will
be based on the instructors observations throughout the workshop.
The assessment of the enabling objectives are designed using scenario-based and multiple choice
questions. Questions 1, 2 and 8 are scheduled before instruction to activate prior knowledge.
Questions 3, 4 and 7 during instruction for application and practice and questions 5 and 6
immediately after instruction is received for integration. (See Appendix E)

Instructional Strategies and Lesson

Learner/Contextual Analysis
The factors that greatly facilitates the delivery of this instructional unit include the age and
qualification of the dancers, the dancers intended use of the skills and knowledge obtained for
dance auditions and choreography, the dancers preference for learning-by-doing, the ability for
continued practice and a centrally located and well equipped dance studio. A few dancers
expressed concern about peer reviews and the lack of support by their parents for the choice of a
dance career.

The Lesson
Merrills First Principles of Instruction (activation of prior knowledge, demonstration of skill,
application of skill and integration of skill and knowledge) are used in the creation of a unit of
instruction (in power point) for enabling objective #2 (Merrill, 2002). Additionally Advanced
organisers and Analogies are included to assist with the concepts or principles of the lesson that
may prove difficult to the learners.


Figure 3 Lesson: Sketch and label diagrams of HDT Lateral T dance procedures



Advanced Organisers

1. Narrative
Having completed the warm-up session, those of us selected to go on to the next round of
the dance audition were ushered into the adjoining studio. The next phase of the audition
required us to prepare illustrations that represented a 6-step dance sequence that
incorporated the HDT Lateral T. These sketches were required to be appropriately
labelled to indicate the positioning, placement, angles, sequence and transition
movements of each step. We were given 30 minutes to complete the exercise. Fortunately
the walls of the studio were adorned with pictures of dancers holding various poses that
provided ideas for us. We were expected to execute the dance sequence as well. As we
furtively sketched and labelled our illustrations, the question that was on our minds was
Will we make it through?

2. Graphic organiser
Dancers will be asked to look at the pictures below and engage in the following
discussion:-

With reference to dance, what are some of the factors that a cartoonist has to take into
consideration in order to illustrate the movement of a flying owl? Discuss.


Note
It is hoped that this visual graphic organiser will elicit discussion on angles, positioning,
shapes and placement of the body, wings, head and feet; the sequence observed
(directions and movement) of the flapping wings.

Angles
Shapes
Positioning
Placement
Sequence
Direction

Analogies

Two concepts that may prove difficult for the dancers in the lesson are as follows:-
1. The ability to create mental images of the dance steps in terms of angles to facilitate the
reproduction of those images as illustrations (imagery reinforcement).
Analogy
The dancers will use the face of a clock, where the numbers on the clock represent
positions that the body can be visualised and placed. For example, for the Lateral Torso
stretch to the right, using the centre of the clock face as the centre of the body (navel), the
upper body will be placed facing the number 3, the right leg towards the number 5, and
the left leg, the number 7.

2. To describe the body placement concept that includes balance as a part of the
description.
Analogy
The dancers will be asked to liken the Lateral T with achieving balance on a see-saw. The
Lateral T is like a balanced see-saw. The upper body to one side, counterbalanced by the
left leg on the opposite side and the right leg that remains on the floor becomes the
fulcrum of the see-saw.


References
CSET: Multiple Subjects Practice Test: Subtest III. (2003) (1st ed.). Retrieved from
http://www.whitworth.edu/Academic/Department/Education/Undergraduate/PDFDocument
s/West-E/CSETExamSubtestIII.pdf
Dance Spirit,. (2009). Horton Technique. Retrieved 30 July 2014, from
http://www.dancespirit.com/2009/04/Horton_Technique/
Education2.uvic.ca,. (2014). Assessment - Rubric. Retrieved 30 July 2014, from
http://education2.uvic.ca/Faculty/thopper/Dance/Michelle%20and%20Tim/Rubric.html
Merrill, M. (2002). First principles of instruction. Educational Technology Research And
Development, 50(3), 43--59.
Michigan Test for Teacher Certification Study Guide: Dance. (2007) (1st ed.). Retrieved from
http://www.mttc.nesinc.com/PDFs/MI_field046_SG.pdf
New York State Teacher Certification Examinations Preparation Guide: Dance. (2006) (1st ed.).
Retrieved from http://www.nystce.nesinc.com/PDFs/NY_fld070_prepguide.pdf
Straus, R. (2007). Dance Magazine Technique: The Hows of Horton. Dancemagazine.com.
Retrieved 30 July 2014, from http://www.dancemagazine.com/issues/February-
2007/Technique-The-Hows-of-Horton
Texas Examinations of Educator Standards Program: Preparation Manual Dance. (2013) (1st
ed.). Retrieved from http://cms.texes-ets.org/files/4913/6698/3860/dance_8_12_179.pdf
Washington Educator Skills Test Sample Test Questions: Dance. (2008) (1st ed.). Retrieved from
http://www.west.nesinc.com/PDFs/WA_SG_031.pdf


Appendix A: Needs Assessment Plan

Objective: To develop a needs assessment plan to determine the scope of the Lester Horton (Dance)
Technique that will be presented at a two day professional development workshop being designed.
Target audience: Pre-professional level dancers who have attained advanced level structured dance
training in a variety of dance techniques. These dancers should have a minimum of 3 years of consistent
training and be between the ages of 18 and 25.

Information required:
Optimals Knowledge and skills associated with the intermediate to advanced levels of the
Lester Horton (Dance) Technique.
Actuals Dancers current and previous dance training detailing techniques learned, duration,
teachers, and dance schools.
Causes Reasons for the limited offerings of the Horton technique by dance studios and tertiary
institutions; reasons why alternative access routes to acquire knowledge on the Horton
technique are not sourced.
Feelings Dancers feelings and attitudes toward the Horton technique; teachers feelings about
the Horton technique and the limited offerings.
Solutions Possibility of periodic workshops for dancers and dance studio teachers; more
emphasis of Horton technique as part of the tertiary course curriculum.
Why is the information required?
To ascertain dancers learning abilities
To ascertain the attitudes towards the Horton technique
To assess the potential for future Horton technique workshops

Sources of information:
The information required will be sourced from the dancers, the teachers in dance and the Horton
Technique dance instructors.

Information gathering methods:
The information will be gathered by (1) reviewing the dancers profiles (personnel/performance
records), by (2) participant observation and by (3) personal interviews.
The dance profiles will confirm the attained training levels and indicate where applicable any
needs with reference to the Horton technique.
Observing the dancers in classes provides immediate response as to the dance training as per
the dance profiles and brings some clarity to the needs and possible causes that gave rise to the
needs. Participant observation is an easy way to gather the required information. It saves time
as a large number of dancers can be viewed in one class setting. Prior to the class observation,
an informal and very short session will take place with the introduction of the observer who will
then explain the purpose of the observation.
The dancers and teachers will be asked for their willing participation in the follow up personal
interviews. Buy-in will be greater if the participants are willing to do the personal interviews.
This method, although has low administration costs can be time consuming; but will provide
additional information on the causes, feelings and possible solutions.
The information sourced will be used in the designing of the workshop to:-
Place participants into groups/levels
Determine the Horton technique(s) to be applied per group/level
Determine instructional strategies for the workshop.

Appendix B Contextual Analysis Worksheet

-2 Greatly impedes
-1 Slightly impedes
+1 Slightly facilitates
+2 Greatly facilitates

Orienting Context
Learner Factors
1. Learners are pre-professional dancers with an age range of 20 22 years old
from dance studios and dance schools from around the island with the requisite
experience and excellent learning abilities.
-2 -1 +1 +2
2. The dancers goal is to master the HDT Lateral T. -2 -1 +1 +2
3. This achievement will be added to their dance profiles. -2 -1 +1 +2
4. Dancers know that these skills will be assessed at attended dance auditions. -2 -1 +1 +2

Immediate Environment Factors
1. The majority of the dancers have the support of their parents in the
advancement of their dance training.
-2 -1 +1 +2
2. A few parents are not convinced that a career in dance is a wise choice. -2 -1 +1 +2
3. Dancers receive support from their peers who have similar aspirations. -2 -1 +1 +2
4. There is easy access via public and private transportation to the centrally
located dance studio.
-2 -1 +1 +2

Organisational Factors
1. Dancers perceive that learning will be through experience and participation. -2 -1 +1 +2

Instructional Context
Learner Factors
1. The dancers are accustomed to and comfortable with learning - by doing. -2 -1 +1 +2
2. A few dancers have expressed concerns about doing peer reviews. -2 -1 +1 +2
3. Dancers are aware of the degree of difficulty associated with the execution of
the HDT Lateral T.
-2 -1 +1 +2

1. The dance studio is spacious and conveniently located with air-conditioning. -2 -1 +1 +2
2. Studio is fitted with appropriate instructional aids -2 -1 +1 +2
3. Dance instructor has extensive experience in the Horton Technique. -2 -1 +1 +2
4. Flexible and effective dance schedule for training and practice. -2 -1 +1 +2


Transfer Context
Learner Factors
1. Dancers able to create and teach dance exercise routines with the Lateral T as
a base.
-2 -1 +1 +2
2. Dancers able to combine the Lateral T with other dance techniques in
choreography.
-2 -1 +1 +2
3. Special resources are not required in order to facilitate execution of the
Lateral T.
-2 -1 +1 +2
2. The dance studio offering the workshop offers classes with the Horton Dance
Technique.
-2 -1 +1 +2

1. There is ample opportunity to practice and perfect the Lateral T in regularly
scheduled dance classes.
-2 -1 +1 +2
2. The dancers are encouraged by their peers to oversee their practice and
experimental use of the Lateral T.
-2 -1 +1 +2


Appendix C Task Selection Worksheet

TASK SELECTION CRITERIA
WORKSHEET FOR THE HORTON
DANCE TECHNIQUE (HDT)
INSTRUCTIONAL UNIT
C
R
I
T
I
C
A
L
I
T
Y
(
4
0
)

U
N
I
V
E
R
S
A
L
I
T
Y

F
R
E
Q
U
E
N
C
Y

(
1
0
)

S
T
A
N
D
A
R
D
I
Z
A
T
I
O
N

(
1
0
)

F
E
A
S
I
B
I
L
I
T
Y

(
1
0
)

D
I
F
F
I
C
U
L
T
Y

(
3
0
)

T
O
T
A
L

NOTES
P
R
I
O
R
I
T
Y

TASKS
Describe history and development of
the HDT
10 5 7 8 0 30 7
Analyse and discuss the characteristics
and benefits of the HDT
30 5 7 8 0 50 6
Illustrate knowledge and use of the
HDT terminology
40 7

10 10 22 89 5
Execute the HDT Lateral T 40 7 10 10 30 97 1
Execute the HDT Flat Back 40 5 10 10 25 90 4
Execute the HDT Pelvic Hinge 40 6 10 10 27 93 3
Compose and perform dance
sequences with techniques dance
movements
40 6

10 10 30 96 2


Appendix D HDT LATERAL T Dance Form Performance Rubric

Exemplary
(4 points)
Proficient
(3 points)
Developing
(2 points)
Below
Performance
(1 point)
Dance
Terminology
Always able to
explain or
demonstrate
dance terms,
positions, steps
and directions
with no errors.
Mostly able to
explain or
demonstrate
dance terms,
positions, steps
and directions
with few errors.
Sometimes able
to explain or
demonstrate
dance terms,
positions, steps
and directions
with some errors.
Rarely able to
explain or
demonstrate
dance terms,
positions, steps
and directions
with many errors.
Placement and
Alignment
Consistently
maintains
alignment of
torso/spine, pelvis
and limbs while
stationary and
moving.
Usually maintains
alignment of
torso/spine, pelvis
and limbs while
stationary and
moving.
Sometimes
displaces
alignment of
torso/spine, pelvis
and limbs while
stationary and
moving.

Often displaces
alignment of
torso/spine, pelvis
and limbs while
stationary and
moving.
Dance Execution
Sequence
Demonstrates all
four steps to
execute the HDT
lateral T in the
correct order.
Demonstrates
three of the four
steps to execute
the HDT lateral T
in the correct
order.
Demonstrates
two of the four
steps to execute
the HDT lateral T
in the correct
order.
Demonstrates
only the first of
the four steps to
execute the HDT
lateral T in the
correct order.
Dance Transition Transitions from
one position to
another are done
with correct
alignment and
body mechanics.
Transitions from
one position to
another are
mostly done with
correct alignment
and body
mechanics.
Transitions from
one position to
another are
sometimes done
with correct
alignment and
body mechanics.
Barely any
transitions from
one position to
another are done
with correct
alignment and
body mechanics.
Body Stability
and Control
Consistently
maintains good
body control and
balance.
Usually maintains
good body control
and balance.
Sometimes
maintains good
body control and
balance.
Rarely maintains
good body control
and balance.


Appendix E Application Assessment Items

Enabling Objective 1.

Given a video presentation of a dance sequence during the HDT dance training workshop, dancers will
describe the sequence using dance language with at least 90% accuracy.

Question 1. (4 points)

In groups of three (3), you are to identify another way that the body can be used to illustrate the
letter T while standing on one leg. Your selection must be submitted to your teacher but remain
unknown to the other members of the group. Using dance terminology ONLY, you are to instruct the
group on how to execute your movement of choice and have them demonstrate their understanding
of those instructions. Your instruction should take no more than ten (10) minutes. Your assessment
will be assessed on your use of dance terminology in accordance with the HDT Lateral T Performance
Rubric.


A dancer stands on the left leg and extends the right leg to the front at hip height. Which of the
following movements, if performed from this position, would be a loco motor movement?

A. Bending the torso forward over the right leg, then opening the torso into a backbend

B. Falling onto the right foot, then brushing the left leg through to the front

C. Swinging the right leg quickly to the right side, then initiating a turn on the left leg

D. Drawing the right foot toward the left knee, then extending the right leg to the back


With reference to the procedures required to execute the HDT Lateral T, dancers will sketch and label
diagrams representing each step with 90% accuracy.


After viewing a five (5) minute video presentation, students in a dance class learning the HDT Lateral T
for the first time attempted to execute the movement. Pictures were taken of their attempts with
their permission. You are to make a sketch of one of the pictures and highlight and label the parts of
the body that need alignment/ adjustment in order to reflect an accurate representation of the HDT
Lateral T procedure and provide the rationale for your decisions. The assessment criteria is as
follows:-


All parts of the body to be adjusted, correctly identified and rationale provided 4 marks
Most parts of the body to be adjusted, correctly identified and rationale provided 3 marks
Some parts of the body to be adjusted, correctly identified and rationale provided 2 marks
Few parts of the body to be adjusted, correctly identified and rationale provided 1 mark



On completion of the HDT two-day dance training workshop, dancers will demonstrate the HDT
Lateral T movements sequentially with at least 90% correctness and positioning of movement.


A group of four dancers (Ann, Toni, Lea and Nix) are executing in canon, the four (4) steps in the HDT
Lateral T movement using a twelve (12)-count pattern. Ann starts off the sequence on the first beat;
Toni the second beat, Lea the third beat and Nix the fourth beat. Each of the four (4) steps uses one
(1) beat. You are to determine the step that each dancer in the group will end on at the conclusion of
the twelve (12)-count pattern.


Four groups of dancers are performing a six-count pattern. The first group performs the six-count
pattern and is immediately followed by the second group performing the same six-count pattern; the
third and fourth group then repeats the pattern one after the other. Which of the following
represents this dance structure?
A. ABCD B. ABAB C. AAAA D. ABAC

Use the image to the side of the dancer in a
modern dance front layout position and answer
the following question. To attain this position
required the dancer to make which of the
following movements?

A. Abduction of his hip over 45 degrees
B. Rotation of his leg over 90 degrees
C. Adduction of his hip over 45 degrees
D. Hyperflexion of his leg over 90 degrees


On completion of the two-day HDT dance training workshop, dancers will demonstrate body stability,
control and balance by holding the HDT Lateral T position for 15 seconds.


Working in teams of two (2), you are to identify two other ways that the body can be used to
illustrate the letter T while standing on one leg and engaging your abdominal muscles. Taking turns,
observe your peer executing each movement and record the length of time that your peer is able to
stay in the position.
The criteria for this assessment will be:-
Hold for 12 15 seconds 4 points
Hold for 8 11 seconds 3 points
Hold for 4 - 7 seconds 2 points
Hold for up to 3 seconds 1 point


In a dance class, students work in pairs on the challenge below.

Assume a balanced pose with your feet together.
Your peer will try to gently push you off balance while you try to maintain your
balance.
Assume a balanced pose once again, this time with your feet spread apart.
Your peer will again try to gently push you off balance while you try to maintain your
balance.
Identify which of the positions, feet together or feet apart, helped you maintain your
balance.

This activity is best designed to promote students awareness of how stability is improved by:

A. A change in the speed or rhythm of movement.

B. Raising the bodys centre of gravity.

C. A decrease in the load on support muscles.

D. Increasing the bodys base of support.


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