Please note, this course will be held online on the designated date if it’s not possible to run in venues.

ABOUT THIS COURSE

This NEW course is focused on how to make meaningful links between the Component 1 (Practical) and Component 2 (Theoretical) elements of the course, so that they do not exists as two separate entities but continually feed into each other. This begins with a range of strategies that allow all the practical elements of the course to be routinely discussed and archived within the context of the written exam.

The course is aimed for all teachers who are looking for practical strategies and ideas to help students with Section A or B of Component 2, including students who are excellent at all the practical elements but not the written paper.

The course will allow teachers to communicate to students that every aspect of their practical work can be tested in an academic context and that continually reflective tasks will allow them to become ‘thinking dancers’. This will not only allow them to survive the written exam but thrive within it.

The second element within the course will be to use this same methodology as a stretch and challenge strategy to allow high level learners to blossom into grade 8-9 students. A range of resources will be provided to enable quick and easy implementation of the ‘integrated component & stretch and challenge’ plans.

BENEFITS OF ATTENDING

  • Gain knowledge of strategies to work with both components simultaneously
  • Take away strategies to stretch able Grade 8 – 9 students to secure high level achievement
  • Explore a range of teaching resources that will enable the practical elements to feed into the theoretical elements of the course
  • Develop a better understanding of how and why the components of the course should be taught in conjunction with each other
  • Gain access to a wide range of resources to immediately take back to the classroom/studio
  • Exchange a range of ideas with the course leader and other delegates
COURSE DATES London | Friday 26 June 2020
WHO SHOULD ATTEND? 
  • Heads of Dance
  • GCSE Dance Teachers
  • Heads of PE
  • Dance Centres
COURSE CODE 7887
IN-SCHOOL You can also book this as an In-School Course
INCLUDED
  • A specially prepared folder of 50+ pages full of detailed notes, practical advice and guidance
  • Notes prepared by the educational experts leading the course
  • Expert produced PowerPoint presentations
  • CPD Certificate of attendance
  • Two course restaurant lunch
  • Refreshments throughout the day
  • Guaranteed high quality venues

 

10.00 – 10.05am
Introductions and outline of the day

  • Welcome & outline

10.05 – 10.15am
Overview of Component 1 & 2 of the GCSE Dance Course

  • A brief overview to outline the requirements of component 1 and Component 2
  • WHY should both components link and where do the links naturally occur

10.15 – 10.30am
Benefits of Integrating Component 1 and 2 + Initial and most obvious integration points

  • Focus on the key benefits of integrating component 1 and 2
  • Looking closely at how teachers can instil a sense of reflection through key tasks and worksheets
  • Practical strategies and studio tasks that will promote connections between Solo, Duets and Choreography’s and the written paper
  • A range of different approaches to teaching the content using reflective methods to assist with time constraints and time management issues

10.30 – 10.45am
Strategies for linking student choreography to the requirements within the written paper

  • Ways to implement linking student choreography to the requirements within the written paper + resources
  • Demonstrating how the skills inherent within all choreographic tasks can be transferred across to potential questioning within the written paper in a clear and concise way
  • The choreographic process – a range of strategies and resources to collate the process into in a reflective and meaningful way. Scrapbook, Diary, Transferable Skills grids, Blog
  • Ways to promote a clear sense of reflection in the students to the point it becoming second nature to them
  • Explore and take away worksheets which can be used straight away in classrooms/studios

10.45 – 11.15am
Observation of GOOD & BAD student examples of ‘own choreography’ based written exam responses

  • Examples of student work to clearly identify what works well and what doesn’t, and creating a template for written success
  • Examining he most recent examination feedback
  • How to help students understand that ‘excellent’ responses in the written exam are the result of reflection which may have occurred much earlier in the course
  • Strategies to help students discuss ways to ensure they are able to see, make and implement that reflection on a weekly basis

11.15 – 11.30am
Discussion: coffee break


11.30 – 12.00pm
Strategies for linking student Solo/Quartet to the requirements within the written

  • How to help students link the choreographic solo/quartet task to the demands and questioning of the written paper in a clear and concise way
  • Working reflectively
  • The dissemination of worksheets to delegates which can be utilised within their classrooms/studios on their return to school

12.00 – 12.30pm
Observation of GOOD & BAD student examples of ‘solo/quartet’ based written exam responses

  • Examples of student work to clearly identify what works well and what doesn’t, and creating a template for written success
  • Examining he most recent examination feedback
  • How to help students understand that ‘excellent’ responses in the written exam are the result of reflection which may have occurred much earlier in the course
  • Strategies to help students discuss ways to ensure they are able to see, make and implement that reflection on a weekly basis

12.30 – 1.30pm
Lunch and informal discussion


1.30 – 2.15pm
How this GCSE model can engage with High Level Learners

  • How can students with high level technical skills use this to their advantage in the written paper
  • The needs of high level learners and utilising this Reflective Model to enhance their understanding and produce written responses that are sophisticated and complex
  • Tasks and clear sets of ‘expectations’, to develop self-reflective thinkers
  • Exploring at a ‘dance specific’ MINDSET session which will raise expectation, and make students aware of the importance of a range of study skills, and independent study

2.15 – 2.30pm
Observation of High Level Learner GOOD PRACTICE examples of ‘choreography/solo/quartet’ based written exam responses

  • There will be opportunities in this session to observe ‘high end’ responses that relate directly to the practical areas of the previous exam papers
  • Exploring examination feedback to identify ‘where’ and ‘why’ top end achievement has occurred
  • The differences between ‘good’ and ‘exceptional’ responses – what does a grade 8-9 response look like?

2.30 – 2.45pm
Discussion: afternoon tea


2.45 – 3.30pm
Challenging High Level Learners within the practical elements for impact on the written paper

  • Exploring what hat ‘exceptional’ will look like in Choreography, Solo and Duet work
  • Adapting and setting up a range differentiated tasks and resources to maximise the potential of highly technical dancer students
  • How to get the best out of your top end learners
  • Resources and ideas which work as learning activities with high achieving students to strive for the ‘exceptional’ categorisation on the mark schemes

3.30 – 3.45pm
Final Thoughts

Jason Bradley

Jason trained as a professional dancer at The Northern School of Contemporary Dance before becoming the senior dancer/teacher at Ludus Dance Company. In the last 19 years he has been teaching GCSE and A Level Dance with a great deal of success. In that time he has built up a bank of resources which have been honed over time to provide excellent provision for students and teachers. Whilst Ofsted no longer grade observations in the period where they did, Jason continually received outstanding grade 1’s on each visit he took part in. Jason is a firm believer in creating networks of people sharing resources and ideas to enable all students and teachers to succeed through the range of dance courses available for young people. He is passionate about teaching, sharing good practice and believes in the value of the arts as a driving force within education.