Story books can be used in many different ways to stimulate ideas within the dance environment and here we provide several for you to try. On this page Rachael Jefferson-Buchanan, Senior Lecturer, Bath Spa University uses Commotion in the Ocean as the basis for Foundation and Key Stage 1 work and overleaf we have a dance idea for Key Stage 2.

Stories in the classroom environment can stimulate children’s imaginations,

foster their curiosity, teach them about life issues and values, give them historical and cultural insights, scaffold their acquisition of new words, ideas and concepts, and help define their world. Using dance as a story medium, children’s kinaesthetic

horizons can also be broadened, giving them the opportunity to investigate and reinvestigate their physical selves in relation to the text and its contents. In this way, a story can help to enhance a child’s artistic, physical and creative capacities, so that their magical thinking and kinaesthetic potential are nurtured hand in hand.

Here are some guidelines for subject leaders to consider when planning to use stories as a stimulus for dance:

create the dance form from the ◗text’s structuredevelop dance actions that are derived ◗from specific words or phrases in the textdance about a particular story character ◗

explore a character’s feelings ◗through movementexamine the relationships between ◗the story charactersreview the flora and fauna within the ◗book and create appropriate actions for themfocus upon the mood or atmosphere ◗in the storyconsider the historical, geographical ◗or socio-cultural context of a storyinvestigate the meaning or layers ◗of meaning in the textexplore the qualities (for example strong, ◗soft, linear) of certain objects, people, or landscapesinvestigate the rhythm or repetition ◗of certain words, shapes, or colours.

A voice for subjectsDanceUsing stories

Spring 2010 PS6

Sea creatures – Key Stage 1

Story: Commotion in the Ocean by Giles Andreae and David Wojtowycz

Sea creature movementsLook at the book and talk about ◗some of the creatures under the sea that are depicted: dolphins, whales, penguins, jellyfish, sharks, turtle, polar bear, crab, angel fish, stingray, lobster, octopus, walrus…Ask the children what types of ◗movements they could use to symbolise the creatures’ movement qualities. Show movement examples using the words from the story, for example crab (walking sideways – using hands as pincers), sneaky (tiptoe walk with lowered torso), pretend that he’s a spy (running and hiding in imaginary places or low to the floor).Let the children move around the space ◗exploring some of the sea creature movement ideas.

Direct the children to choose a specific ◗sea creature and perform its movements along a specific pathway (for example diagonal, circular, or square). They should repeat their sequence until they ‘know’ it and perform it confidently.Work with the children on the quality ◗of their movements, trying to make shapes and energies really clear.

Partner fish movementsDiscuss ‘fish’ movements – how could ◗we move? Hands could make a fish (one on top of the other with palms facing down) using the thumbs as ‘fins’. Feet could be tail-like, joined together. Ask the children to explore fish-like movements with a partner on different levels – they could physically connect with their partner or work in unison side-by-side, back-to-back, or back to front.

Refine, rehearse, and performHave the children perform the sea ◗creatures sequence followed by the partner fish movements. They might finish their dance with a static fish shape in which they are physically linked in an interesting way.

From Commotion in the Ocean by Giles Andreae, illustrated by David Wojtowycz, published by Orchard Books.

Fishhands.

Crabs – arthropods with attitude.

In this section, Sonia Sabri of Dance Company offers a dance based on the story of Krishna and Kaaliya.

This storytelling idea for Key Stage 2 uses simple Kathak techniques to tell a story

of Krishna, one of the most popular gods of the Hindu pantheon.

What is Kathak?Kathak is a classical dance style from the north of India, which has throughout its history been used to tell stories. Dancers represent characters and actions through a rich language of mime, gesture and expression, without any words needed. Kathak is also famous for its rhythmic foot stamps, spins and geometric shapes created with the body.

What are the Techniques?Mudras: These are hand gestures to represent objects, actions or characters. Children can copy the key ones pictured here and can also invent their own.

Facial expressions: Traditionally these are based on the codified Nava Rasas (nine emotions) of Beauty, Compassion, Heroism, Anger, Disgust, Fear, Wonder, Laughter and Peace. With the children, discuss appropriate facial expressions for particular characters and moments within the story.

Mime: To tell a story without words, mime is very important! In this story, children have the chance to play characters, animals, and trees, using different poses and ways of moving.

Props & CostumesBrightly coloured scarves for children to ◗wear tied around their waists; yellow for Krishna, green for trees, blue for water.Four blue saris or long strips of blue ◗fabric, for water.Music: ‘Prashanti’ from Passages by ◗Ravi Shankar & Philip Glass (instrumental) or other Indian classical music.

Krishna and Kaaliya – Key Stage 2

Sonia Sabri, Kathak dancer, makes a mudra. Photograph by Simon Richardson.

Kathak dancers wear hundreds of brass bells called ghungroo around each ankle, which emphasise the rhythmic patterns that they make with their feet. Photograph by Simon Richardson. Key mudras.

Bee

DoveFish

Flute

Snake

The story and the danceAs a boy, Krishna lived in a village on the banks of the Yamuna river, where he was loved for his charm and his mischief. He spent his time making music with his flute, playing pranks and helping his friends, the gopas (cow-herds) look after the village cows. Krishna is famous for his flute playing and is often represented through a mudra symbolising holding a flute.

The Yamuna river was wide and sparkling, with many beautiful trees and animals living on its banks. The whole village depended on the river for water for drinking, swimming, washing, for livestock and to water the fields.

Set the scene: Children act out the life of the river. Some are trees with outspread arms for branches, others use hand gestures to represent birds and bees sitting in the branches, and fish swimming below.

But one day a giant, venomous snake called Kaaliya made his lair in the Yamuna. As his deadly poison spread through the river, the fish died, the trees dried up, and the air was so poisonous that birds fell from the sky. The villagers and their animals couldn’t drink the water and were very thirsty.

Scene: Children playing trees droop their arms, the birds fly away and fall, the fish stop swimming.

Krishna and his friends were playing near the river when their ball fell into the water. Brave Krishna dived into the water to find it, making a big splash. The splash awoke the sleeping Kaaliya, who slithered to the surface to see who had dared to disturb him.

Scene: Eight children stand in two lines of four, holding the blue saris at each end, which they wave to create the effect of flowing water, smooth at the beginning, and big waves as Kaaliya appears.

The enormous snake rose from the water. Kaaliya had one hundred hoods that waved in anger, one hundred forked tongues that hissed fire, and his great tail lashed the water.

Standing in a space between the waving saris, a group of children play Kaaliya. Standing in a tight group they raise their hands above their heads to show Kaaliya’s hundred hoods waving as he rises out of the water. In the fight sequence that follows, the children waving the saris lift and lower them to show the three snapshots of the action, and reveal each stamp of Krishna’s feet.

But Krishna quickly jumped onto Kaaliya’s hoods and danced, stamping his feet hard three times…

‘Ta’ on his head

Krishna stands behind the Kaaliya group and stamps once on the floor.

‘Thei’ on his body

The Kaaliya group lie down to represent his coiled body. Krishna stamps behind them.

‘Tat’ on his tail

The Kaaliya group lie again to create a tail, Krishna stamps once again.

Krishna stamped so hard that Kaaliya might have died! However kind Krishna finally had mercy on Kaaliya, and said that he would spare the snake if he would leave the Yamuna river and go to live far away in the sea where his poison could never hurt

anyone. After thanking Krishna, Kaaliya slithered off, never to return.

Once Kaaliya had left, the river began to flow clean and pure, and the grass grew once more. Krishna returned to the riverbank and his amazed friends, to continue their game of ball.

Scene: Children play the trees returning to life, and birds, bees and fish returning. The river flows gently, and Krishna and his friends play.

A dancer playing Krishna. One hand holds a flute, the other is raised to symbolise a crown.

Vayu Naidu CompanyThis is the only performing arts company in the UK dedicated to multicultural storytelling theatre. Working with writers, musicians, dancers, storytellers and performers, the company brings together various art forms to create contemporary, enriching and diverse cultural experiences with a strong education programme for all ages. www.vayunaiducompany.org.uk

Peter Chand – StorytellerPeter has been storytelling since 1999, and has entertained audiences all over Britain and further afield with his tales from the Indian subcontinent. Born in the Midlands to Punjabi parents, Peter combines these two cultures seamlessly to tell stories full of life, wisdom, and humour. He has also published three books of stories from India. www.chandstory.com

News Dance A voice for subjects

This pamphlet is part of Primary Subjects 6, published by CfSA. Unless otherwise indicated, the content is copyright free for use within your educational establishment.

Resources and inspiration for dance and storytelling

Sonia Sabri CompanySonia Sabri Company is committed to promoting dance as an accessible art form through the presentation of teaching and performance activities. Members of the company have a wealth of experience in leading dance and music workshops for both adults and children, including working with individuals and groups with special educational needs. www.ssco.org.uk

Classical Dances of India CD Rom The Indian subcontinent is home to a rich tradition of dance that has been part of social, religious and cultural life for centuries, incorporating a strong storytelling tradition. This interactive resource provides information, video and printable resources on each of the seven main classical Indian dance styles by looking at their history, special features, costume and music. www.sadhna.co.uk

Kala Chethana Kathakali Dance Company This is a company specialising in Kathakali, a dance form from Kerala, South India that uses dance, mime and music combined with storytelling. The company performs live all over the UK, carries out a range of education work and also produces a selection of DVDs and resources. www.kathakali.net

Further ideasHere are some more stories that you can use as a starting point. Don’t forget to look at past issues of Primary Subjects and visit the NDTA website:

Foundation and Key Stage 1The Animal Boogie ◗ – Debbie HarterRumble in the Jungle ◗ – Giles Andreae and David WojtowyczGiraffes Can’t Dance ◗ – Giles Andreae and Guy Parker-ReesDown by the Cool of the Pool ◗ – Tony Mitton and Guy Parker-ReesThe Gingerbread Man ◗ – traditionalThe Very Hungry Caterpillar ◗ – Eric CarleWe’re going on a Bear Hunt ◗ – Michael Rosen and Helen OxenburyHappy Feet ◗ – Movie StorybookThe Snowman ◗ – Raymond Briggs

Key Stage 2The Tales of Beatrix Potter ◗Wind in the Willows ◗ – Kenneth GrahameThe Jungle Book ◗ – Rudyard KiplingAfrican myths and legends ◗ – Philip ArdaghRama and the Demon King ◗ – Jessica Souhami

NDTA

PO Box 4099 Lichfield Staffs WS13 6WX

tel: 01543 308618 fax: 01543 308618 email: office@ndta.org.uk www.ndta.org.uk