Time to move - Spring 2010 - BBCdownloads.bbc.co.uk/schoolradio/pdfs/timetomove_spring_2012.pdf · gracefully as a gently moving snowflake, with twists and turns. Join with a partner,

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School Radio © BBC 2012www.bbc.co.uk/schoolradio

School Radio

Time to Move Spring 2012

Time to Move - Spring 2012

Age: 6-8

CDs: These programmes are available to order (for UK schools only) on pre-recorded CDs from:

BBC Schools’ Broadcast RecordingsTel: 0370 977 2727 Monday to Friday 0800 to 1800

Or visit the Order CD page of the BBC School Radio website:

www.bbc.co.uk/learning/schoolradio/ordercd

Downloads/Podcasts: These programmes are also available as downloads or podcasts for 30 days following transmission. Further information can be found at the Podcasts page of the website:

www.bbc.co.uk/learning/schoolradio/podcasts

Diane Louise Jordan - presenter

Time to Move

These Teacher’s Notes are primarily intended for print. The content - with additional features - can also be found on the Time to Move pages of the School Radio website.

The website pages include details of other series from Time to Move broadcast this year. Go to:

www.bbc.co.uk/programmes/b03g64pl

© This publication contains only BBC copyright material: its contents may be copied or reproduced for use in schools.

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ContentsTeacher’s Notes by Barry Gibson

These programmes are available as podcasts (for 30 days) and audio on demand (for 7 days) from the School Radio website following transmission. Refer to the dates below to find out when each one is

available.

Introduction 3

Unit 1: Antarctica 5

1 The Coldest Place on Earth 5Podcast / AOD available from 12/01/2012

2 Icebergs and Emperors 8Podcast / AOD available from 19/01/2012

3 Penguin Parents 11Podcast / AOD available from 26/01/2012

Unit 2: Pinocchio 14

4 Floppy Puppets 14Podcast / AOD available from 02/02/2012

5 Lame Fox and Blind Cat 21Podcast / AOD available from 09/02/2012

6 Pinocchio’s Escape from the Hungry Shark 27Podcast / AOD available from 23/02/2012

Unit 3: Springs, Magnets and Monsters 34

7 Zingy Springy 34Podcast / AOD available from 01/03/2012

8 Marvellous Magnets 38Podcast / AOD available from 08/03/2012

9 Springs, Magnets and Moving Monsters 42Podcast / AOD available from 15/03/2012

Unit 4: Music 46

10 All the music 46Podcast / AOD on 22/03/2012

School Radio © BBC 2013www.bbc.co.uk/learning/schoolradio

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Using these programmes from CD:

These programmes are available to UK schools on pre-recorded CDs (at cost price).

It’s simple to mediate the use of the programmes by pausing the CD as directed during the programmes and when you wish to do so yourself. To do this always use the ‘pause’ button and not the ‘stop’ button (because the ‘stop’ button will return the CD to the very beginning). When you’re ready to resume either press ‘play’ or press ‘pause’ again to cancel it (individual CD players vary).

Time to Move and the National Curriculum:

Dance makes a distinctive contribution to the education of all pupils, in that it uses the most fundamental mode of human expression – movement. Through its use of non-verbal communication, pupils are able to participate in a way that differs from any other area of learning.

It provides aesthetic and cultural education, opportunities for personal expression, and it also introduces students to a wealth of traditional, social and theatrical forms. In a broad and balanced curriculum, this important area of human experience should not be neglected.

(Dance in the School Curriculum, a paper by the National Dance Teacher’s Association and others)

Dance is acknowledged as a vital ingredient of a child’s education in the National Curriculum. The Expressive Arts documents for Scotland and Northern Ireland encourage teachers to develop dance as part of the Arts and PE curriculum.

Introduction:Using Time to Move:

Time to Move needs plenty of space. The hall or a cleared and swept classroom or similar large space is ideal.

Use the best equipment that the school has to offer for playback. Check that the loudspeaker is facing the children to ensure the best possible listening environment.

Make sure the children dance in gym shoes or bare feet. Bare feet give a good sense of contact with the floor, if your floor is safe. The children should be in PE kit to allow easy movement and to ensure that they do not become too hot.

Encourage the children to listen carefully right from the start – not just to the presenter but also to the music.

Teaching points:

Some tips to help you get the best out of these programmes…

• Always encourage careful listening.

• Reinforce the importance of safety – e.g. awareness of others to avoid collisions, spacing, sensible landings (with the whole foot, flexing as it comes down and knees bending).

• Help the children to observe each other’s movement in a positive light and to learn from their observations.

• Give the children a sense of your own enthusiasm.

School Radio © BBC 2013www.bbc.co.uk/learning/schoolradio

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There is an emphasis on performance and clear indications that dance should be taught in both a creative and a cultural context. The children should be taught to:

• Develop control, coordination, balance, poise and elevation in the basic actions of travelling, jumping, turning, gesture and stillness.

• Perform movements or patterns, including some from existing dance traditions.

• Explore moods and feelings and to develop their response to music through dances, by using rhythmic responses and contrasts of speed, shape, direction and travel.

Using these Teacher’s Notes:

These Teacher’s Notes include a detailed content grid for each programme. The content grids include the following information:

• Lesson content. This is the description of the movement sequence.

• Teacher guidance. This is intended to offer advice on how to get the class to get the best out of the content.

• Evaluation. This is usually a series of questions indicating what to look for to assess the level of the children’s contribution.

Download the programmes as podcasts:

These programmes are available as ‘podcasts’ from the BBC website for 7 days following transmission. This means that individual programmes from the series can be downloaded as an mp3 file to your computer as they become available. You can also subscribe to the series, meaning that your computer will automatically search for new programmes and ensure that you do not miss a single episode.

To either download or subscribe to Time to Move as a podcast go to this page and follow the instructions on ‘How to subscribe’ and ‘How to download’.

www.bbc.co.uk/podcasts/series/ttm/

You can also subscribe using leading podcast software, including itunes. One advantage of subscribing using itunes (or similar) is that you can save the audio direct to your mp3 player program, without having to import the file.

However, the mp3 files will also play direct from your computer, using whichever media player you have selected.

Feedback

Feedback is vital to the series and is always welcome. Please visit the ‘Contact us’ page of the School Radio website at:

bbc.co.uk/learning/schoolradio/contactusform

Or you can write to us at:Time to MoveSchool Radio4th Floor Bridge HouseSalfordM50 2BH

We look forward to hearing from you.

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Unit 1: Antarctica

Written and produced by Jeff Capel. Music composed by Wilfredo Acosta.

Programme 1: The Coldest Place on EarthProgramme 2: Icebergs and EmperorsProgramme 3: Penguin Parents

Introduction

An adventure to the bottom of the world, a land of icebergs and mountains, snow and ice. After twisting and turning in snowflake-shapes, the children stride and leap through deep snow, and forge their way through a blizzard. Smooth, cross-country skiing requires good left-right co-ordination, then co-operation when skiing in a line.

Iceberg-shapes are created with tall, stretching-up actions, then with smooth, wide-spreading ‘melting’ shapes. Slow, graceful floating and bobbing in the sea (in groups) leads to streamlined curving and twisting, for underwater swimming like seals. By contrast, ‘Emperor Penguins’ need straight backs and movements for swaying, leaning, scurrying, waddling and sliding, following each other in lines.

The penguins return in programme 3, ‘greeting’ each other in pairs, then rolling an egg to their partner. A penguin ‘colony’ shuffles slowly, to keep warm from a blizzard (in three circles) then, as light relief, a penguin chick takes comical, slippy-slidy first-steps. This final programme includes performance of an extended penguin dance-sequence.

Programme 1: The Coldest Place on EarthLesson summary

After twisting and turning in snowflake-shapes, the children stride and leap through deep snow, and forge their way through a blizzard. Smooth, cross-country skiing requires good left-right co-ordination, then co-operation when skiing in a line.

Movement focus

• Action: Stretching and relaxing; pushing arms out to sides; swirling hands and arms; twisting and turning, slow, gentle steps; striding and leaping; toe-pointing; smooth sliding.

• Dynamics: Jagged and spiky; responding to imaginary ‘wind’; springy striding; moving forwards and sideways; moving in time together.

• Space: Devising unusual shapes in limited space; holding arms out for balance; exploring levels (high, medium and low).

• Relationships: Twisting and turning together; pairs in snowflake-shapes; joining pairs together; in two halves, appraising each others’ dances and movements.

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CD1 Track

Content Guidance Evaluation

01 Introduction to Antarctica - layers of cold, deep snow in a ‘blanket’ of ice.

Warm-up: making body into snowflake-shapes.

Make hands and arms jagged and spiky, stretch UP, hold and relax.

Repeat, while pushing arms OUT to sides.

Repeat using feet and legs too, as part of the shape.

The children’s snowflake-shapes can be very unusual - are they thinking creatively?

02 Float and drift gracefully as a gently moving snowflake, with twists and turns.

Join with a partner, to make a bigger snowflake (linking without stopping, e.g. by arm, hand or finger).

Swirl hands and arms as if blown by a cold Antarctic wind.

Take slow, gentle steps and sink gently to the ground as the snowflake settles.

Are they keeping their spiky snowflake shape while moving?

Are pairs turning and twisting together?

03 Travelling through thick snow and ice.

Walking with a partner, using striding and leaping actions.

Bring knees up to chest, push leg out and down (lifting knees and pointing toes), then spring up the other leg.

Are they holding arms out, to help balance?

04 In own space, walk as if in a blizzard, through swirling clouds of snow.

Bend forwards with one hand in front of face, leading with shoulder.

Then push body forwards and sideways into the wind.

Can they really show the ‘effort’ to stay standing?

Are they holding up their hand?

05 Cross-country skiing: use imaginary skis and poles for smooth sliding, moving rhythmically.

Right arm and right leg move together, then left arm and left leg.

Each arm pushes forward as if ‘punching’, while the same-side leg ‘slides’.

Pause to practise if needed.

Can they use the ‘crunch’ in the music (ski-on-ice) to change from right to left, and so on?

Have they got a steady rhythm going?

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06 Create an Antarctic sequence with:

Linking bodies in pairs, like twisting, turning snowflakes

Joining with another pair, as a bigger snowflake, moving through the spaces.

In a group line, stepping through the snow in time together, side by side.

In the same line, travelling through a blizzard.

Skiing in a line, one in front of another.

Snowflake-shapes should be jagged and pointy

Use pointy-toes and springy heels for snow-stepping.

For the ‘blizzard’, explore different levels within your group, e.g. stretching high and crouching low.

The person at the front of the line should set the skiing rhythm.

Is the stepping in time?

Are they putting hands to their faces and leading with the shoulder for the blizzard?

07 Music sequence for above actions, then:

Divide class into two halves - some can show their dances while others watch, then swap over.

You can pause to replay the music.

Is everyone keeping time with their group?

08 Cool down - relaxing arm and leg muscles to drain energy from the body.

Take deep breaths and think about the white world of snow and ice.

Can the children suggest some Antarctic creatures to find out about for next time?

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Programme 2: Icebergs and Emperors

Lesson summary

Iceberg-shapes are created with tall, stretching-up actions, then with smooth, wide-spreading ‘melting’ shapes. Slow, graceful floating and bobbing in the sea (in groups) leads to streamlined curving and twisting, for underwater swimming like seals. By contrast, ‘Emperor Penguins’ need straight backs and movements for swaying, leaning, scurrying, waddling and sliding, following each other in lines.

Movement focus

• Action: Stretching tall; spreading arms and legs wide; ‘bobbing’ up and down; leading the body with the hands; curving and twisting of body; swaying, shuffling and waddling.

• Dynamics: Contrasting smooth with rough/jagged; responding to music changes; varying levels; releasing tension.

• Space: Floating gracefully through spaces; moving in all directions; twisting pathways; following each other in lines; tilting bodies, keeping close behind other dancers.

• Relationships: Using whole body; ‘steering’ a small group; single-file follow-the-leader (scurrying and sliding).

CD1 Track


09 Warm-up - stretching tall, like icebergs, then ‘melting’, with arms and legs spread wide.

Try making these shapes:

Icebergs with jagged, rough edges.

Then ones that are smooth and rounded.

Are legs part of the iceberg-shapes?

10 Move slowly and gracefully through the spaces, as if an iceberg floating through the sea.

Nod heads slowly up and down, while travelling and bending knees (like an iceberg ‘bobbing’ up and down).

At a ‘cracking’ sound, change iceberg-shapes, as if a chunk has ‘broken off’.

Is there a good contrast between the ‘smooth’ and ‘jagged’ icebergs?

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11 In groups of 4-5:

Number each person and stand in a small circle facing inwards, arms around waists, like one big iceberg.

Bob up and down with bendy knees, moving in all directions.

At the first ‘crack’ in the music, number 1 breaks off and floats away, then at second crack, number 2 ...and so on.

Move in all directions, so that each person has a turn at floating backwards.

By the end of the music, the whole space will be like the sea, dotted with floating icebergs.

When moving as a group, can they ‘steer’ each other through the spaces?

When solo icebergs, are the shapes different and interesting (e.g. spiky or sweeping, or on different levels - high, medium or low)?

12 In own group:

Swimming underwater like a seal. Stretch arms out in front and bring palms of hands together in a pointed shape.

On second attempt, follow hands up to the surface to take a big ‘breath’, then sink low.

Hands lead the movement in smooth, curvy, twisting pathways, following with smooth, running steps.

Are their seal-shapes really ‘streamlined’?

Are the actions graceful and continuous?

13 Stand tall and proud like an ‘Emperor Penguin’:

Put arms by side and turn hands away from body, like ‘flippers’.

‘Walk’ with straight legs, in a walking ‘shuffle’.

‘Stand’ with back straight and head held high.

‘Walk’ with tense leg-muscles and body swaying one way, then the other.

Are back, arms and legs really straight?

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14 Penguin-sliding down the icy slopes, tilting body side-to-side.

Pause-point to get into groups of 4-5, in single-file.

Lean body over like a penguin ‘bow’, and use quick, pitter-patter feet, to scurry through the spaces.

Are their penguin-movements ‘realistic’ (e.g. based on children’s experience of penguins in TV, movies, zoos, wildlife parks etc)?

15 Performing penguin-shuffle and penguin-slide as a line of birds, following each other.

Keep penguin shape constantly, with all parts of body straight and tense.

Are hands turning-out, like flippers?

Are feet close to the ground?

16 As a line of birds, shuffle slowly, swaying side-to-side, and sliding quickly, with tilting body.

Then divide the class into two straight lines, with a leader each, to shuffle and slide again, in response to the music changes.

Keep close behind the person in front and don’t lose your penguin-shape.

Is everyone ready to change actions to suit the music?

17 Cool down - lie down on the floor, to let whole body flop and relax.

Take deep breaths and listen to the sounds of a penguin colony.

After holding the straight back, arms and legs earlier, can the children now feel the tension releasing?

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Programme 3: Penguin Parents

Lesson summary

The penguins return, ‘greeting’ each other in pairs, then rolling an egg to their partner. A penguin ‘colony’ shuffles slowly, to keep warm from a blizzard (in three circles) then, as light relief, a penguin-chick takes comical, slippy-slidy first-steps. This final programme includes performance of an extended penguin dance-sequence.

Movement focus

• Action: Stretching UP and melting DOWN; tiptoeing and rocking back on heels; building a dance-sequence.

• Dynamics: Contrasting ‘spiky’ with ‘smooth’; contrasting fast/comical with calm/relaxed; clear, distinct movements.

• Space: Whole class in interweaving circles; devising own choreography within a space.

• Relationships: Responding to partner (‘bowing’ and ‘looking away’); co-operating (egg-rolling); slow, careful teamwork, circle-formations.

CD1 Track


18 Warm-up:

Stretch UP, to freeze (jagged and spiky).

Then sink DOWN, (to melt into a shape of own choice (smooth and rounded).

Be ready to hold each position. AIs there good contrast between the ‘spiky’ freeze-shapes and the ‘smooth’ melt-shapes?

19 Repeat penguin movements from last time - shuffling, swaying, leaning over to scurry, and tilting body to slide down slopes.

Turn hands away from body, like penguin-flippers.

Is back straight and head held high?

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20 In pairs, face to face and a few steps apart, alternate ‘bowing’ to partner, with ‘looking away’.

Keep the moves clear and distinct.

When ‘looking away’, can they turn their head round ‘over the shoulder’?

21 In pairs (as Penguin A and Penguin B):

Stand close, with feet almost touching.

A stands on tiptoe, to ‘roll’ a penguin-egg onto the feet of B.

B rocks back on heels, to ‘catch’ the egg in its ‘feathers’.

Co-operate together to ‘roll’ and ‘receive’ the egg (so that it keeps warm and doesn’t freeze!).

Keep the penguin-shapes at all times.

Are they using slow, careful teamwork?

22 Organise the class into three circles (small, medium and large) around each other.

Everyone faces into the centre, like a penguin-colony experiencing a blizzard.

Shuffle slowly, with heads resting on chests.

Teacher to indicate which direction the group moves (some will shuffle backwards).

Listen out for two music-changes.

At the first change, the outside circle swaps places with the mid-circle.

At the second change the mid-circle swaps places with the inside circle.

The first attempt may be a bit chaotic!

23 Actions as above to music and instructions, then practise several times with just music.

Always keep the penguin-shape.

Are the changes smooth?

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24 Explanation of penguin dance-sequence:

Penguin ‘greeting’ (bowing and looking away).

Egg rolling.

Shuffling into whole-class circles, for huddling from the blizzard.

For the egg-rolling, remember that A goes up on tiptoe and B rocks back onto heels.

Be prepared for the changes of activity.

Is the egg-rolling slow and careful (no breakages!)?

Is everyone listening out for the music-changes?

25 Actions as above, to music with instructions.

The sequence is:

Greetings.

Egg-rolling.

Shuffling in circles.

Is everyone keeping a ‘proud’ Emperor Penguin shape?

26 In own space, imagine being a penguin-chick, taking first slippy-slidy steps.

Try ‘hatching’, sitting on parents’ feet, nestling into feathers, then trying to stay upright on slippery ice, WITHOUT falling over!

Is everyone having fun as they slip and slide?

27 Lie down in a space - take deep breaths and remember parts of your Antarctic Adventure.

Remember:

Travelling across ice and snow.

Floating on the sea.

Swimming like seals.

Exploring the world of the Emperor Penguin.

Is everyone calm and relaxed?

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Unit 2: Pinocchio

Written Deborah Bellman and produced by Jeff Capel. Music composed by Dave Cooke.

Programme 4: Floppy PuppetsProgramme 5: Lame Fox and blind CatProgramme 6: Pinocchio’s Escape from the Hungry Shark

Introduction

An exciting dance-exploration of the puppet-adventures of Pinocchio (based on the Italian story by Carlo Collodi). There are many versions available to share with your class, some of which the children may know from retellings in chapter-books, picture-books, comics, animations (especially the famous Disney version), movies, or even... ...puppet shows! For details of the 21 extracts appearing in this series (dotted throughout the activities), see the story-compilation following each summary-table.

The first programme features cheeky puppet-movements, Pinocchio learning to walk from his maker/father Geppetto the carpenter, then marching towards a Great Puppet Show, moving like a ‘lame’ fox and a ‘blind’ cat, going in disguise as robbers, performing tiptoe fairy-steps, and making long-nose actions!

In Part Two, Pinocchio buries coins given to him, then walks sadly away when discovering that he’s been robbed. The children fly and swoop like a pigeon, hurry about on ‘Busy Bee Island’, and each balance a bucket on their head. A ‘Playland’ sequence enables groups to devise a children’s-games sequence, until they wake up as a donkey, involving trotting, ear-flapping and braying.

The final episode features a dangerous journey through the insides of a shark, where Pinocchio helps Geppetto escape. On a farm, Pinocchio learns to work hard (lifting, carrying, digging etc) to help his father recover, and to help the kind fairy, who is also ill. Waking from a dream, Pinocchio has become a real boy, and everyone dances for joy.

Programme 4: Floppy PuppetsLesson summary

The first programme features cheeky puppet-movements, Pinocchio learning to walk from his maker/father Geppetto the carpenter, then marching towards a Great Puppet Show, moving like a ‘lame’ fox and a ‘blind’ cat, going in disguise as robbers, performing tiptoe fairy-steps, and making long-nose actions! (Story episodes 1-6, see after table below).

Movement focus

• Action: Face and eye movements, including blinking; lifting and ‘flopping’ hands and feet; turning head side to side; skipping; marching, with lifted knees; ‘hunching’ forwards; foot to foot leaping; tiptoes, twists and turns; pretend ‘nose-stretching’.

• Dynamics: Performing ‘mischievously’; moving at changing speeds, in time to music; contrasting ‘jerky’ with ‘floppy’; exaggerated comedy actions (as fox and cat).

• Space: Skipping through spaces; organising a group performance-space; leaping through spaces.

• Relationships: Tapping in rhythm together; in pairs, trying out a teaching-learning relationship (simple walking) and a guiding-following relationship (as fox and cat).

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CD2 Track


01 Warm-up puppet actions in own space.

Blink eyes and turn head from side to side.

Stick out tongue rudely.

Lift puppet-hands high, then flap them by sides.

Lift one puppet-foot high, and balance ...and flop! Then the other foot.

Then skip around the room.

Can the children add a cheeky, mischievous smile to their puppet-actions?

02 STORY 1:

We meet Geppetto the puppet-maker, who is amazed when a new puppet’s eyes move and ‘look’ at him, then its nose grows, and its mouth laughs and sticks out its tongue! He begins to show the puppet how to walk.

Actions include:

Clapping a carving/tapping rhythm with hands.

Blinking eyes.

Resting hands on nose and stretching it out straight in front, the be long and pointy.

Sticking out tongue.

Can the children listen carefully to hear and match the changing tapping rhythms?

03 In pairs (one as Geppetto, one as Pinocchio), Geppetto teaches Pinocchio to walk.

Pinocchio stands and watches, while Geppetto shows slow, careful walking-steps with music.

Pinocchio copies steps exactly.

Geppetto shows faster, confident steps.

Pinocchio copies.

Everyone steps through the spaces with happy, floppy puppet-steps.

Can they adjust their steps to fit the speed of the music?

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04 STORY 2:

Geppetto has to sell his coat to buy Pinocchio’s school books. Pinocchio sets off for school but hears music in the distance....

Rest on the floor while listening. Is everyone concentrating well?

05 Pinocchio marching towards the sounds of music.

Stand up and lift knees high, then march in time, as the music gets louder.

Can the children describe the type of music and the instruments? (Like a military band, but with mandolin, fife, drums and woodblocks).

06 STORY 3:

At a town-square, Pinocchio sees a brightly-coloured poster for a “Great Puppet Show”. A talking cricket warns him that to spend time like that would be a mistake but Pinocchio sells his school books to buy a ticket. The puppets call him to join them.

Sit down to listen. Can the children describe any puppet-shows they have seen?

07 In small groups of 3-4, rehearse a “Great Puppet Show”, in a space together.

Imagine being a puppet-with-strings, which control the head, hands and feet:

Lift puppet-hand and ‘wave’ it, then let it flop by side.

Give a ‘high-five’.

Show off a floppy puppet-dance (choose a few to demonstrate).

As a group, use puppet-movements to mime a children’s game (e.g. hide and seek) or tell a simple story (e.g. a day at the beach).

Does everyone in the group have a part?

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08 Perform the above group-sequence with music.

Make all movements floppy and jerky, like puppets. Flop down to finish and get into pairs.

Are the movements well-matched to the music?

09 STORY 4:

The puppet-master gives Pinocchio five gold coins to take to Geppetto. But Pinocchio meets a lame fox and a blind cat.

Sit down with partner to listen. Is everyone concentrating?

10 In pairs, the ‘lame’ fox leads the ‘blind’ cat.

Stand next to partner and decide who’s who (fox or cat).

Fox rests hand on cat’s shoulder and walks with an exaggerated limp.

Cat closes eyes and stays close for guidance.

Then swap over.

Are the actions comically exaggerated to fit with the music?

11 STORY 5:

The fox and cat aren’t really lame or blind - they actually want Pinocchio’s gold coins! They tell him about a ‘Field of Miracles’ but the talking-cricket urges Pinocchio to go home to Geppetto. Pinocchio ignores the advice and sets off through woods, where two scary figures ambush him.

Sit down again to listen. Are the children responding to the different characters?

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12 Robbers on the chase! The ‘robbers’ are of course the fox and cat in disguise, after Pinocchio’s money. Standing next to partner:

Hunch top half of body forward.

Lift hands, as if holding cloak over head.

Leap foot-to-foot, with quick, powerful steps.

STOP! ...Then turn slowly on the spot to search around.

Leap through the spaces with the music.

Are the movements ‘in character’, as fox and cat?

13 STORY 6:

A kind fairy with blue hair rescues Pinocchio. She asks where the gold coins are but Pinocchio lies that he has lost them. His nose grows even longer!

Rest on the floor to listen, then stand up.

After the programme, you may wish to consider a class-discussion about different consequences of lying.

14 Fairy steps and long noses.

Alternate between:

Twisting and turning gracefully with small, tiptoe, fairy-steps.

Resting hands on nose, ‘stretch’ it slowly forwards to be straight and long and pointy.

Is there lots of contrast between the light, graceful, twisting, and the slow stretches?

15 Cool down - stretch and relax.

Find a space to lie carefully down:

Take slow, deep breaths.

Stretch body to be long and pointy.

Then relax.

Can the children imagine what Pinocchio’s next adventures might be?

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Story synopsis - episodes 1-6

Episode 1:

Geppetto was a small and jolly old man who planned to make a marvellous wooden puppet. ‘What shall I call him?’ He asked himself. ‘I think I shall call him Pinocchio. That name will bring him luck.’ Having thought out a name for his puppet, he started his work with great determination. He made his hair, his forehead, and his eyes in a very short time.

But as soon as the eyes were finished, imagine Geppetto’s bewilderment when he saw them moving and looking at him! After the eyes, Geppetto made the nose, but as soon as the nose was finished, it began to grow. It grew, and it grew, and in a few minutes time it was as long as if there was no end to it.

After the nose, Geppetto made the mouth, but before he had finished the mouth, it began to laugh and poke fun at him. ‘Stop laughing!’ said Geppetto. The mouth stopped laughing, and stuck out its tongue.

Geppetto pretended not to see it, and continued his work. When he had finished, he took the puppet in his hands, and put him down on the floor to see if he could walk; but Pinocchio’s legs were stiff, and he did not know how to move them. So Geppetto showed him how to put one foot before the other.

Episode 2:

Geppetto wanted Pinocchio to go to school like a good boy. But because he was so poor, Geppetto had to sell his coat to buy Pinocchio’s school books. On his way to school, Pinocchio thought how he would work hard and quickly become clever enough to earn lots of money. Then he would buy his father the nicest new coat made of gold and silver, with diamond buttons. While he was saying this he thought he heard music in the distance. He stopped and listened. He hesitated. ‘Today I shall listen to the music, and tomorrow I shall go to school.’

Episode 3:

Pinocchio was in a little square full of people who were gathered around a great building of boards and cloth painted in all colours of the rainbow. On a big poster, in fiery red letters, was written: GREAT PUPPET SHOW. ‘Don’t you know, if you spend your time like that, you will grow up to be a great donkey, and everyone will make fun of you’, said a Talking Cricket. But naughty Pinocchio ignored the Talking Cricket’s warning and sold his school books to buy a ticket for the show.

‘Here’s Pinocchio!’ shouted all the puppets. ‘Come up here Pinocchio, into the arms of your wooden brothers!’

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Episode 4:

The puppet master felt sorry for Pinocchio and gave him five gold coins to take back to his poor father, Geppetto. But before he had gone far he met a fox who was lame in one foot, and a cat who was blind in both eyes. The fox, who was lame, was leaning on the cat: and the cat, who was blind, was guided by the fox.

Episode 5:

The fox wasn’t really lame and the cat wasn’t really blind – they were just pretending so that people would feel sorry for them and give them their money. And when they heard that Pinocchio had gold coins, they told him about the Field of Miracles – where he could turn his five coins into thousands!

While Pinocchio was thinking about what he should do, the Talking Cricket appeared again and advised Pinocchio to ‘Go back home, and carry your gold coins to your poor father who is weeping and longing for you.’ But silly Pinocchio ignored the wise Cricket’s advice, and set off for the Field of Miracles. As he travelled through the woods, he heard a rustling of leaves behind him. Turning quickly, he saw two frightful figures wrapped in charcoal sacks leaping towards him…and heard two horrible voices cry, ‘Your money or your life!’

Episode 6:

Luckily, Pinocchio was rescued from the horrible thieves by a kind fairy with blue hair. ‘Where are the gold pieces now?’ asked the fairy. ‘I’ve lost them,’ answered Pinocchio. But he told a lie, for he had them in his pocket. No sooner had he told this lie than his nose, which was already very long, became a little bit longer.

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Programme 5: Lame Fox and Blind Cat

Lesson summary

In Part Two, Pinocchio buries coins given to him, then walks sadly away when discovering that he’s been robbed. The children fly and swoop like a pigeon, hurry about on ‘Busy Bee Island’, and each balance a bucket on their head. A ‘Playland’ sequence enables groups to devise a children’s-games sequence, until they wake up as a donkey, involving trotting, ear-flapping and braying.

Movement focus

• Action: Dramatic exaggeration; digging and burying actions; slow, heavy walking; busy hurrying; balancing and staggering; clumsy trotting.

• Dynamics: Responding to vocabulary, e.g. clumsy, graceful, busy, happy, relaxed etc.

• Space: Varied travelling through spaces, e.g. walking, ‘flying’, leaping, staggering, trotting.

• Relationships: Concentrated listening in a group; dramatic partner-dance; devising a group mime/action sequence.


School Radio


CD2 Track


16 Warm-up:

Skipping, blinking, sticking tongue out, lifting and flopping hands.

In own space:

Lift knees high and swing arms loosely, to skip with floppy steps.

Blink eyes and turn head side-to-side, with a cheeky grin.

Skip, then stick out tongue.

Lift hands and then flop them by sides.

Are all the movements puppet-like?

17 STORY 7:

The kind fairy arranges for Geppetto to join them. But Pinocchio meets the fox and cat, who persuade him to go with them.

Find a partner to sit down in a space together.

Is everyone listening carefully?

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18 Repeat fox and cat movements (see track 10 above).

Stand next to partner and decide who’s who (fox or cat):

Fox rests hand on cat’s shoulder and walks with an exaggerated limp.

Cat closes eyes and stays close for guidance.

Then swap over.

Skip away, to travel with floppy puppet-steps.

Sit down in own space.

Are the characters exaggerated to suit the music?

19 STORY 8:

The fox encourages Pinocchio to bury the coins. Pinocchio dreams that the coins will ‘grow and blossom’ on a marvellous tree...

Within this part of the story, the children perform:

Digging a hole.

Dropping in four coins.

Covering them with earth.

Curling up to sleep.

The music cues here are very short, so can the children perform the actions to fit well with the timing?

20 Morning skipping. Jump to feet and skip through the spaces.

Is everyone’s skipping really ‘excited’, as if moving around the ‘Field of Miracles’?

21 STORY 9:

On finding an empty hole, Pinocchio realises that he’s been tricked. He walks away towards a forest.

Stop skipping to listen. Is everyone’s mood changing, to get ready for ‘sad, slow’ movements?

22 Pinocchio moves with slow, heavy steps.

Walk through the spaces with slow, heavy steps.

Stop, and drop shoulders to look sad.

Walk again.

Is everyone looking really droopy and floppy?

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23 STORY 10:

A pigeon tells Pinocchio that Geppetto is searching for him. The bird offers to carry him to the coast, to try to find Geppetto.

Stop again to listen. Are the children’s faces responding to the changing emotions?

24 Pigeon flying and swooping.

Stretch high and low, while travelling freely through the spaces.

Are the movements free, flowing and ‘kindly’ (like the pigeon)?

25 STORY 11:

Geppetto is in a little boat. Pinocchio swims easily to search for him, but instead finds ‘Busy Bee Island’, where everyone is working hard - this doesn’t suit Pinocchio!

Sit down where you are to listen.

Listen out for the sounds of the busy street.

26 Busy and Not-so-busy on ‘Busy Bee Island’.

The children stand up, then alternate between:

Hurrying back and forth, travelling with quick, busy steps (like the people on ‘Busy Bee Island’).

Shaking head side-to-side and refusing to work (like Pinocchio).

Do the movements fit the changing rhythms in the music?

27 STORY 12:

A kind woman persuades Pinocchio to help her carry some buckets home. Pinocchio puts one on his head.

Hold still to listen briefly. Can they guess what may happen?

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28 Staggering with a bucket of water.

Use both hands to balance the heavy bucket on the head.

Stagger through the spaces with tired, wobbly steps.

Is the balancing and staggering dramatic and exaggerated?

29 STORY 13:

The woman is actually the kind fairy! Pinocchio promises to study and work hard because he wants to be a real boy. He goes to school and all goes well, until a naughty boy (Lampwick) persuades him to go off to ‘Playland’.

Sit down to rest and listen. This part of the story could be a useful basis for later class discussion about work-play balance!

30 In groups of 3-4, devise a ‘Playland’ dance-sequence with one or two children’s games.

This section ends with a Pause-Point, to try out and practise:

Happy, relaxed, carefree movements.

Old-fashioned games such as chase, ball, hoops, wooden-horses, soldiers etc.

Is everyone co-operating to share their ideas to try out?

31 Perform above sequence with music.

Play the music as often as needed, to polish the dance sequence.

If time, take turns to show games to one another, a few groups at a time. Can those watching guess the games?

32 STORY 14:

Pinocchio wakes up one day with donkey’s ears!

Sit down again to listen. Listen out for the donkey’s braying ee-aws!

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33 Donkey movements. Touch ears and stretch hands above heads, like a donkey’s ears. ‘Flap’ them with the music, then:

Stand up and trot about clumsily.

Keep hands above head, to flap long ears.

Stop and ‘bray’ when the music suggests it.

Does the timing of the clumsy trotting fit the music?

34 Cool down - slides and stretches.

Lower knees down onto floor, then:

Slide hands along floor in front.

Hold stretch and take deep breaths.

Sit back round on bottom.

Sit up and circle shoulders.

What do the children think will happen to our lazy friend next time?


Episode 7:

The kind fairy looked after Pinocchio and, when he had recovered from his terrible fright, arranged for his father, Geppetto, to join them. But on the way to meet his father, Pinocchio came across the lame fox and the blind cat again. No longer disguised as robbers and still keen to steal Pinocchio’s gold coins, they reminded him about the field of miracles.

Pinocchio remembered the good fairy, old Geppetto, and the warnings of the talking cricket; yet in the end, he shook his head and said to the fox and the cat, ‘Let’s go! I’ll come with you.’

Episode 8:

’Here we are,’ said the fox. ‘Now dig a small hole with your hands and put your coins in. Then cover them with earth and go away quietly to bed.’

As Pinocchio slept, he dreamt about the fox’s promise: ‘During the night the gold pieces will grow and blossom; and the next morning, when you get up, you’ll find a marvellous tree, laden with as many gold pieces as an ear of corn has grains at harvest-time.’

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Episode 9:

Pinocchio searched and searched - but all he found was an empty little hole in the place where he had buried his gold coins. At that moment, he realised that the fox and the cat had tricked him and stolen all his money. Feeling very sad, and very silly, Pinocchio walked away from the field of miracles to a nearby forest.

Episode 10:

Deep in the forest, Pinocchio saw a pigeon – soaring high and swooping low as it flew between the trees. The pigeon told Pinocchio that his father, Geppetto, was searching for him.

This news made Pinocchio feel even worse – he had let down his father, and lost all his money. The kind pigeon felt sorry for Pinocchio: ‘I left your father three days ago on the sea coast. If you want to go, I shall carry you.’ So Pinocchio went with the kind pigeon to look for his father.

Episode 11:

By the time Pinocchio reached the coast, his father, Geppetto, had already left in a little boat. Pinocchio, being made of wood, floated easily, and swam like a fish. He swam across the sea to search for his father but, instead, he found Busy Bee Island!

Episode 12:

Just then, a kind little woman carrying two buckets of water passed by. She stopped and persuaded Pinocchio to help her carry them home. Pinocchio’s bucket was very heavy, and, his hands not being strong enough to hold it, the puppet had to put it on his head.

Episode 13:

Back at the house, Pinocchio realized that the kind old woman was actually the Fairy with Blue Hair! He lifted his head quickly, and said to the fairy, ‘I will study. I will work. I will do everything you tell me, for I am sick of being a puppet. I want to become a real boy, whatever I have to do for it.’ So Pinocchio went to school and worked hard. He was attentive, studious, and intelligent, first to arrive at school, and the last to leave when school was over. All went well until one day, a naughty boy called Lampwick persuaded Pinocchio to go with him to a wonderful place called Playland – where children never had to work. There were children everywhere. Some were playing skittles, cycling or ball, some were riding on wooden horses; others were chasing, trundling hoops or, dressed as generals, were marching along, ordering troops of soldiers about.

Episode 14:

Pinocchio had a wonderful time in Playland – until one day, he woke up with long, furry, ears! Too late, he remembered the talking cricket’s warning that lazy children must end up, sooner or later, becoming little donkeys!

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Programme 6: Pinocchio’s Escape from the Hungry Shark

Lesson summary

The final episode features a dangerous journey through the insides of a shark, where Pinocchio helps Geppetto escape. On a farm, Pinocchio learns to work hard (lifting, carrying, digging etc) to help his father recover, and to help the kind fairy, who is also ill. Waking from a dream, Pinocchio has become a real boy, and everyone dances for joy.

Movement focus

• Action: Swimming actions and strokes; crawling through limited space; digging, picking, lifting and carrying; curling-up.

• Dynamics: Contrasting ‘sudden’ with relaxed movements.

• Space: Negotiating a limited space.

• Relationships: Swapping positions in pairs; synchronised jumping; guiding and following; circling in pairs.

CD2 Track


35 Warm up - floppy puppet stretching.

Develop actions from previous warm-ups, including:

Skips, blinks, head-turning, cheeky grins and sticking out tongue

Hands moving high, then flopping down.

Are the puppet-actions even more convincing than in previous weeks?

36 STORY 15:

As a donkey, Pinocchio is sold to a cruel owner, who pushes him into the sea to drown! The kind fairy sends a shoal of fish to nibble away at his donkey-fur. Pinocchio swims towards the shore as a puppet again, but is chased by a big shark!

Sit down on the floor to listen. Listen out for the shark’s jaw....

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37 Shark-snapping and puppet-swimming.

Alternate between:

Snapping palms of hands together like a shark’s jaws.

Swimming through the spaces to escape.

Can the children try out different swimming ‘strokes’ to escape the shark?

38 STORY 16:

The shark sucks in Pinocchio, who weeps and sobs. In the darkness, Pinocchio feels his way through the shark’s body, towards a flickering light.

Rest on the floor to listen. Can the children imagine being inside a dark, echoey shark?

39 Crawling through the dark.

Crawling on hands and knees.

Stop now and then, to feel the way forwards.

Is the crawling slow and careful?

40 STORY 17:

As Pinocchio reaches the light, he finds a snow-white old man: Geppetto! His father’s boat had been tipped over, so he’d been eaten whole too... Pinochio leads the way out and says ‘don’t be frightened’.

Hold still to listen. Can the children sense the change in Pinocchio’s personality?

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41 In pairs, Pinocchio and Geppetto travelling through the shark.

Crawl one behind the other, swapping positions now and then. Then stand next to partner and:

Hold hands and tickle the inside of the shark’s nose (with the free hands) to make it sneeze!

Then jump forwards together, to escape.

Swim to the shore with strong arm-actions.

For the ‘jump’, can you bend knees, to land safely?

42 STORY 18:

Geppetto is sick with fever, so Pinocchio leads him carefully and gently to safety.

In pairs, decide who’s who (Pinocchio or Geppetto):

Geppetto leans on Pinocchio’s shoulder, tired and weary.

Pinocchio leads the way with slow, careful steps.

Then swap over.

Do the movements show support, being gentle and careful?

43 STORY 19:

Pinocchio asks for help at a nearby farm. He helps out by digging, picking, lifting and carrying - working hard to help Geppetto recover.

Stop to listen. Can the children suggest ways we can all help those around us?

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44 Working on the farm. Imagine being Pinocchio and try out actions for:

Digging the soil.

Picking crops.

Lifting and carrying hay sacks.

Straightening and stretching a tired back.

Do the children’s movements really show the effort involved for a small puppet?

45 STORY 20:

Pinocchio decides to buy a suit with money that he has saved. He meets a snail, who says the kind fairly is ill and needs money for food and medicine. Pinocchio offers his suit-money and will try to earn more to help the fairy.

Sit down to rest and listen. Can the children think of times they have been ill?

46 More hard work! Perform more digging, picking, lifting and carrying movements, then:

Stand tall and stretch aching body.

Skip with puppet-steps to another part of the farm.

Back to work!

Are the children ready to change actions with the music?

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47 STORY 21:

Pinocchio gives the money to the snail (for the fairy) then curls up asleep. He dreams the fairy forgives him his past misdeeds. When he wakes he has become... ...a real boy!

Curl up on the floor and close eyes, like Pinocchio.

Can the children think of happy dreams they have remembered next morning?

48 Dancing for joy. Skip and dance through the spaces, with excited, happy steps (like Pinocchio and Geppetto).

Do so again, sometimes holding someone’s hands to circle round together.

Are the skipping-steps really light and happy?

49 Cool down - stretching, relaxing and remembering.

Walk to a space with slow, silent steps:

Lie on floor, stretch and relax whole body.

Close eyes and think of characters: Pinocchio, Geppetto, fox, cat, cricket, Lampwick, shark, fairy....

Can the children think of ways to present some of their dance-sequences as a performance for others to see?

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School Radio



Episode 15:

As soon as he had been turned into a donkey, Pinocchio was sold into a life of hard work. Even worse, sometime later, when Pinocchio hurt his leg and could no longer work, his cruel owner pushed him into the sea to drown!

Just as Pinocchio was about to give up hope, the kind fairy with blue hair sent a shoal of fish to nibble away the donkey fur until he became a wooden puppet once again! Pinocchio swam as fast as he could towards the shore – but on the way he was chased by a gigantic shark!

Episode 16:

Poor Pinocchio swam as fast as he could – but it was too late! The monster had caught him and, drawing in his breath, he sucked him in. At first, Pinocchio tried to be brave; but when he knew for certain that he was inside the shark’s body, as in a prison, he began to weep and sob.

Then, in the darkness, he saw a gleam of light very far away. He started feeling his way through the shark’s body, towards the dim, flickering light.

Episode 17:

The farther he went, the better he could see the little light, and at last, when he reached it, he found a snow-white old man. ‘Oh, Daddy! My Daddy! Have I found you at last? I’ll never leave you again – never, never, never!’ Geppetto told Pinocchio how a big wave had tipped his boat over and the terrible shark had eaten him whole!

‘We might escape through the mouth of the shark, into the sea, and swim away.’ Said Pinocchio. Without another word, he took the candle, went ahead and showed his father the way, saying to him, ‘Follow me, and don’t be frightened!’

Episode 18:

By the time they reached the shore, poor old Geppetto was exhausted and sick with a fever! ‘Lean on my arm, dear Daddy, and let us go. We must walk slowly, like snails; and when we are tired we shall stop and rest.’

Episode 19:

When Geppetto could travel no further – Pinocchio took him to a nearby farm and asked for help. The farmer agreed to help Geppetto in return for Pinocchio’s help on the farm. Pinocchio quickly agreed, and worked very hard for the farmer – digging, picking, lifting and carrying – to provide everything Geppetto needed to recover from his illness.

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Episode 20:

Pinocchio worked so hard, he even managed to save some money and decided to buy himself a new suit. But on his way to the market, he met a snail travelling very slowly along the road. The snail told Pinocchio that the kind fairy with blue hair was sick and needed money to buy food and medicine.

‘Oh the poor fairy! If I had a million pounds, I’d give them to her; but I have only a few coins. Take them, quickly snail, to the kind fairy. If you will come back again in two days, I may be able to give you a little more. I’ve worked until now for my father; from now on, I’ll work five hours longer every day, for the kind fairy.’

Episode 21:

Pinocchio gave the snail all the money he had earned for the kind fairy, then returned to the farm and, feeling very tired, he curled up on the floor and fell asleep. As he slept, he dreamed he saw the fairy, lovely and smiling, who gave him a kiss saying, ‘Brave Pinocchio! In return for your good heart, I forgive you all your past misdeeds. Be good in future, and you will be happy.’

When Pinocchio woke up, he was no longer a puppet, but a real boy, just like other boys. He hurried into the next room and there he saw old Geppetto, as well and lively as he had been before.

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Unit 3: Springs, Magnets and Monsters

Written Gordon Lamont and produced by Jeff Capel. Music composed by Martin Medina.

Programme 7: Zingy SpringyProgramme 8: Marvellous Magnets Programme 9: Springs, Magnets and Moving Monsters

Introduction

Science can be a great stimulus and springboard for dance, as we discover in ‘Springs, Magnets and Monsters’, where things become VERY energetic! You may like to link this unit to some simple classroom experiments exploring physics and design-technology (e.g. with moving toys, rubber-bands, magnets and springs). The children’s first-hand movement-experience will be invaluable in helping them grasp some of the science-concepts about the forces involved.

In the first programme, after thinking about everyday things that push, pull and stretch, the first focus is on springs, as they ‘compress’ (squash down) and then ‘release’ their energy. In groups, the children become a ‘box of springs’ and bounce around the space, then experiment with being old-fashioned clockwork-toys, winding-up, travelling, slowing-down and stopping. Finally they relax as expanding elastic bands!

In Programme 2, the children move like a compass needle responding to magnetic North, then explore sudden changes between the ‘attracting’ and ‘repelling’ effects of magnetic polarities changing. Electro-magnetism brings movement alive, with power surging through their bodies in partner-work, and in the group-creation of ‘scrap-metal sculptures’. These are combined in a whole-class extravaganza of invisible forces.

The final programme brings springs and magnets together in a creative exploration of Clockwork Monsters on the move. Individually, the children try out jerky, mechanical head-and-body movements, then form groups to combine their ideas for springy, magnetic monsters with lots of legs, weird feelers, electro-magnetic pulsing and swishing tails... scary! But at the end they can relax - of course, it’s all a dream...

Programme 7: Zingy SpringyLesson summary

After thinking about everyday things that push, pull and stretch, the first focus is on springs as they ‘compress’ (squash down) and then ‘release’ their energy. In groups, the children become a ‘box of springs’ and bounce around the space, then experiment with being old-fashioned clockwork-toys, winding-up, travelling, slowing-down and stopping. Finally they relax as expanding elastic bands!

Movement focus

• Action: Stretching arms, upper body and legs; hunching low.

• Dynamics: Slow and squashed down; sudden jumps; waiting to release energy; jerky, mechanical, clockwork movements; varying speed of movement.

• Space: Travelling with stretches; safe landings in a new space; bouncing around the space; exploring pathways.

• Relationships: Avoiding collisions; hunching in a tight group; half-class giving feedback to other half; group co-operation and choreography; varying start-and-stop times between performers.

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CD3 Track


01 Stretching arms, upper body and legs.

In own space:

Stretch arms out slowly, then let them fall back by sides.

Stretch shoulders, elbows, wrists and fingertips.

Let body sway from hips, stretching left and right.

Add travelling to stretches, slowly stretching legs as well as rest of body.

Can the children suggest things that push, pull and stretch, e.g. springs, rubber-bands, clothing-elastic etc.

02 Spring-compression and release - squashing and jumping.

Sit and listen to a scientific explanation of spring-compression, followed by release of energy.

Stand to create compressing and releasing movements: slow and squashed-down (for compression), then big, sudden jumps to a new space (for release). Then repeat.

For safety, take care not to jar the body (when jumping and landing) and not to bump other springs on the move.

Is there good contrast between the slow, deliberate compression and the sudden, bouncy release-jumps?

03 Above activity with music.

There are three ‘compressions’ (each beginning with brisk walking) and three ‘releases’.

Can everyone anticipate the change of energy?

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04 ‘Box of springs’ sequence in groups of 4-5.

Imagine you’re in a group of springs being pushed down into a box and ‘locked’ until someone opens it ....p-TWANG!

Start standing, then hunch low waiting to...

Burst out and bounce around the space, each person following their own path, then losing energy.

Can the children suggest ways to improve their box-of-springs sequence, with greater contrast (between compressed and bouncy) and a strong end-position?

05 Music for above actions, then replay if time.

At the replay, let half the class watch the other half’s ‘Springs in a Box’ movements, then swap over.

Ensure everyone has a chance to show their work.

06 Clockwork toy-movements, in groups.

In groups, sit and listen to an evocation of a Victorian nursery at night, with wind-up toys, key-winding and tick-tock clockwork.

Try out some old-fashioned clockwork-toy movements, such as walking animals (e.g. elephant or frog) or speeding vehicles (e.g. train or early car).

Start with key winding tightly, then a clockwork-journey, then losing energy and stopping.

Are the movements stiff, jerky and mechanical?

07 Music for above actions.

Follow this sequence: winding-up, then travelling, then slowing down, then stopping (holding final position).

Pause the programme to discuss toys chosen within each group, then plan a group-dance where one toy moves, then another, and another, and so on (all stopping at different time too).

Is the group co-operating well together?

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08 Music for group clockwork-toy dance.

As above, holding final position.

If time, replay the music, to practise and perform, half the class at a time.

Are the members of each group choosing their timing well?

09 Cool-down in own space - final stretches and sinking to the floor.

Stretch out arms gently, like an expanding elastic band, then let them fall by sides.

Stretch high and relax, to sink gently to the floor, lie down and take deep breaths.

What do the children know about magnets (for next time)?

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Programme 8: Marvellous MagnetsLesson summary

In Programme 2, the children move like a compass needle responding to magnetic North, then explore sudden changes between the ‘attracting’ and ‘repelling’ effects of magnetic polarities changing. Electro-magnetism brings movement alive with power surging through their bodies in partner-work and in the group-creation of ‘scrap-metal sculptures’. These are combined in a whole-class extravaganza of invisible forces.

Movement focus

• Action: Pointing, leaning and rotating; waving arms; straining and pulling actions.

• Dynamics: Responding to imaginary ‘invisible’ force; suddenly changing between ‘attracting’ and ‘repelling’; showing strong, bold impulses.

• Space: Travelling while turning; negotiating ‘invisible’ forces; locating partners across a room; using centre of room as a focus for four groups, along four sides.

• Relationships: Working in pairs to explore ‘attracting and repelling’ movements of hands and whole body; matching timing; sending ‘power’ around a circle; making group-shapes as ‘bendy wire’ and ‘scrap-metal sculpture’; creating a whole-class dance.

CD3 Track


10 Warm-up - becoming a compass-needle, pointing to and searching for ‘North’.

Imagine one arm is magnetic. Let it be pulled up to point in front (like a compass-needle) and drift around to ‘find North’.

Repeat, letting whole body lean North, while feet stay still.

Repeat travelling, as body turns, looking, rotating and ‘reaching’ for North (swap arms as you go).

Is everyone listening for the music changes?

11 Magnetic hands attracting and repelling each other.

In own space, sit and listen to a scientific explanation of magnetic poles North and South - “opposites attract, alike repel...”.

• Imagine arms are magnetic with changing polarity! Wave arms around with flowing, easy movement.

Is everyone listening for the music-changes, especially changing speed?

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12 ‘Attracting and repelling’ movements with a partner.

In pairs:

Choose a leader, who stretches high, moves arms out different ways, bends knees low etc, followed or ‘mirrored’ by their partner.

Then swap leaders and repeat the mirroring, imagining hands as magnets - palms ‘repel’ each other and backs-of-hands ‘attract’. Keep switching between repelling and attracting.

Repeat with just music (no instructions).

Replay if time for half the class to watch the other half perform, then swap over.

Can pairs improve the movements to be more varied and interesting? Is the mirroring well-matched and well-timed? Can they show stronger shapes as the poles ‘switch’?

13 Electro-magnets on the move.

Sit in own space away from partner, to listen to an explanation of electro-magnets that can be turned on and off.

Stand in a relaxed way, until ‘brought alive’ by the sound of a magnetic force surging through whole body, to the fingers and toes.

When the power is ‘on’, move across the room to find your partner. The power turns ‘off’ (to stop and relax), then ‘on’ again (to complete the journey) and ‘off’ again (to sink to the floor together).

Matching each other’s timing?

Perhaps linking hands or showing attraction by facing with matched body-shapes?

When moving across the room, varying your path by being ‘repelled’ by nearby magnets, then getting ‘back on course’ towards your partner?

14 Music for the above sequence.

Actions as above. Then divide the class into four big circles.

Is everyone ready to listen?

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15 Pulsing power movements along a wire (in four circles).

An electrical pulse will travel around each circle, from person to person. After listening to the music, they decide how to show this:

Will the power pulse like a hand-holding Mexican-wave?

Or fizz along from one arm to the next shoulder maybe?

Choose one person to start the process.

After the second attempt, break up each circle, to become a bendy wire, and choose one end to start the next activity.

On the second attempt, can they make the electrical impulses bigger, bolder and stronger?

16 Scrap-metal electro-magnetised!

A pulse travels along the bendy wire until the end-person becomes an electro-magnet and moves away from the group.

This electro-magnet exerts a ‘force’ by straining and pulling hands, arms and whole body.

The others become strange, scrap-metal pieces (spreading around the group-space), dragging slowly and heavily, until they all ‘clump’ around the electro-magnet with a ‘clunk’.

How can they show the magnetic pulling-power more clearly?

Are the metal-shapes jagged, lumpy, rough, and bent or twisted?

Is the group’s end-position like a scrap-metal sculpture?

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17 Music for above dance-sequence in groups, then whole class creates four electro-magnetic sculptures combined.

After the music-sequence:

Pause the programme to organise each group to be along a different side of the space.

The four ‘magnets’ go to the centre of the room.

They then ‘pull’ their group of metal together (with invisible force) to end with a powerful sculpture.

Replay the music to polish the class performance, half the class at a time.

Can the halves give thoughts on the effectiveness of each other’s moves?

18 Cool down - magnetic stretches.

Lie down and stretch parts of the body, as if being ‘pulled’ by a magnet, then relaxing:

Legs (one at a time).

Arms.

Head (gently, side to side)....and ending with calm breaths.

Can they feel the parts of the body relax as the stretches ease?

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Programme 9: Springs, Magnets and Moving MonstersLesson summary

The final programme brings springs and magnets together in a creative exploration of Clockwork Monsters on the move. Individually, the children try out jerky, mechanical head-and-body movements, then form groups to combine their ideas for springy, magnetic monsters with lots of legs, weird feelers, electro-magnetic pulsing and swishing tails... scary! But at the end they can relax - of course, it’s all a dream...

Movement focus

• Action: Stretching, bending and reaching; rolling; swaying hips; ‘monster’ movements; head-turning; foot and leg shake-outs.

• Dynamics: Tension and relaxation; jerky, mechanical movements; changing speed to fit music; deep breathing.

• Space: Moving across the space as if ‘pulled’; moving left, right and in all directions; using the edges of a group-space.

• Relationships: Mirroring partner-moves; group-choreography; groups ‘locking together’ and ‘falling apart’.


School Radio


CD3 Track


19 Warm-up in four parts:

1: Elastic bands.

2: Turning and rolling.

3: Attracting magnets (in pairs).

4: Elastic bands changing to magnetic movements (in pairs).

Focus on:

1: Arms stretching up and reaching out to sides.

2: Shoulders, wrists, elbows and joints rolling and relaxing, then hips swaying.

3: Hands moving pairs together, leading to ‘mirroring’ of stretching, reaching and bending movements.

4: Start away from partner, for stretching and bending, then move as if ‘pulled’ towards them, and mirror as in 3.

Is everyone’s body warmed up, ready for some monster-moves?

43


School Radio


20 Clockwork monsters. In a space of your own:

Think of ideas for a scary clockwork monster (e.g. with menacing claws, giant steps or crab-like scuttling?)Try out movement ideas:

Clockwork being wound up (tense body and tight ‘springs’)

As a creature moving around the space on mechanical legs.

It slows down jerkily, and then...

...STOPS!

Are all the movements jerky and menacing?

21 Spooky monster head-moves.

Body moves mechanically, then changes direction. Then, on the spot, it tenses and the head senses the air for danger ...and for something to chase.

Is everyone in a good starting position?

22 Music for above sequence.

As above, then sit in groups of 4-5.

Can you keep the movements jerky and mechanical?

23 Making a group-monster.

In groups of 4-5, use your dance-imagination to work out ideas for a scary, springy, magnetic monster. it might have:

Lots of legs!

More than one head!

Tentacle-like feelers!

Sparky, pulsing electro-magnetic movements!

A swishy tail!

Pause the programme to talk about all the possibilities....

44


School Radio


24 Rehearsal-music for the above group-monster.

Try fitting some of your ideas together and rehearse them as a dance. Focus on:

Making your movements powerful and mechanical.

Working in some changes of direction.

Times for the ‘monster-body’ to stop and its ‘head’ to sense out prey.

Planning your pathway so the monster stays together.

Can you improve how you all move together?

25 Performing music for the above.

As above. Replay if you need, to improve the movements even more.

26 Monsters on the move. Prepare a group-sequence, in which:

1: The parts of the monster spread around the edges of the group-space.

2: A magnetic power causes the different parts to click and lock together.

3: Magnetic parts move and the clockwork parts are tightly wound up.

4: The ‘group-monster’ moves as above (see track 24) with changes of direction and a scary stop.

5: The monster-parts fall apart and sink to the floor (safely!).

Does your sequence have a good starting-position and a strong finish?

45


School Radio


27 Music for the above sequence.

Practise and perform the above sequence, replaying as often as needed. Fun variations can include:

Monsters chasing each other or scuttling to hide.

Monsters joining with other monsters, to make bigger, scarier ones!

Half the class can show their finished dances to the other half. You class could present this sequence to other classes or parents

28 Waking up from the monster-dream.

In a space of your own, imagine you have just woken:

Breathe deeply in and out.

Stretch high with both arms, then let arms fall by sides.

Give feet and legs a shake-out.

Would you enjoy the feeling that these scary monsters have been just a dream?

46


School Radio


Unit 4: Music

Programme 10: Music Sequences, to develop extended dances and performances.

CD3 Tracks 29-34: Antarctica

CD3 Track


29 Introduction. Explains extracts for all three units.

30 Dancing snowflakes. See CD 1 tracks 01-04.

31 Floating icebergs. See CD 1 track 09-11.

32 Emperor Penguins shuffling and sliding.

See CD 1 tracks 13-16.

33 Penguins greeting and egg rolling.


34 Penguin-colony experiencing a blizzard.


CD3 Tracks 35-39: Pinocchio

CD3 Track


35 Pinocchio Introduction. See CD2.

36 Floppy Puppet Skipping.

See CD 2 tracks 01, 07 and 08.

47


School Radio


37 Stopping to show Pinocchio’s Nose Growing.

See CD 2 tracks 02 and 14.

38 Lame Fox and Blind Cat.


39 Pinocchio’s Escape from the Inside of the Hungry Shark.


CD3 Tracks 40-45: Springs, magnets and monsters

CD3 Track


40 Introduction: Springs, Magnets and Moving Monsters.

See CD 3.

41 Springs compressing and releasing, with brisk walking.


42 Magnets repel and attract.


43 Electrical Pulses 1. See CD 3 tracks 15-17.

44 Electrical Pulses 2. See CD 3 tracks 15-17.

45 Moving Monsters. See CD 3 tracks 20-27.

Documents

Time to move - Spring 2010 - BBCdownloads.bbc.co.uk/schoolradio/pdfs/timetomove_spring_2012.pdf · gracefully as a gently moving snowflake, with twists and turns. Join with a partner,