MEXICAN SOCIAL SECURITY INSTITUTE

5SAFETY AND SOLIEIIDD $OcIAI

SOCIAL WELFARE COORDINATION

NAME AND PASSWORD

Didactic guide for the creative dance course

3000-022-316

L ic Claudia 1 zompantzl Miguel

Project Manager A
 Photograp
hy:

Didactic Guide
for the Creative Dance course

Directorate of Economic and Social Benefits.

Social Welfare Coordination.
MEXICO Cultural Development Division.
GOVERNMENT OF THE
REPUBLIC

January 2018 Page2 of 43 Key:3000-022-316

 Index

Page

Didactic Guide...................................................................................................................................2
for the Creative Dance course......................................................................................................2
I. Introduction.........................................................................................................................6
II. Goals...................................................................................................................................8
1.Of the Document.....................................................................................................................8
2.Of the Course..........................................................................................................................8
III. Policies............................................................................................................................9
IV. General Application Criteria.........................................................................................11
1. Development of Themes...................................................................................................13
Theoretical-Practical Content and Didactic Supports..............................................................13
What is the expression?............................................................................................................13
What is communication?..........................................................................................................13
What relationship does the body and movement have with these two concepts?....................14
What is body expression?........................................................................................................14
Basic principles of body expression:.......................................................................................15
Learning activities....................................................................................................................15
WHAT IS CREATIVE DANCE?............................................................................................16
Methodology............................................................................................................................17
Who is creative dance aimed at?..............................................................................................17
CREATIVE DANCE: TOWARDS THE REUNION WITH THE BODY.............................18
1. PHYSICAL:......................................................................................................................18
2. COGNITIVE-EMOTIONAL:..........................................................................................18
3. SOCIAL:...........................................................................................................................19
DANCE THERAPY................................................................................................................19
What is dance therapy?:...........................................................................................................19
Through this dance you find :..................................................................................................20
And you can:............................................................................................................................20
To whom?................................................................................................................................20
Goals........................................................................................................................................20
THE ALEXANDER TECHNIQUE IS:...................................................................................21

January 2018 Page3 of 43 Key:3000-022-316

THE ALEXANDER TECHNIQUE IS NOT:..........................................................................22
Girls and boys..........................................................................................................................23
Adolescents, young people and adults.....................................................................................23
Older adults..............................................................................................................................23
People with disabilities............................................................................................................24
Theoretical-Practical Content and Didactic Supports..............................................................25
Learning activities....................................................................................................................25
a. Torso work:.......................................................................................................................25
b. Leg work:..........................................................................................................................25
c. Combinations:...................................................................................................................26
d. Movement in space:..........................................................................................................26
e. Jumps:...............................................................................................................................26
f. Application of concepts and actions in free movement improvisation.............................26
Theoretical-Practical Content and Didactic Supports..............................................................27
Theoretical-Practical Content and Didactic Supports..............................................................29
Particular objectives:................................................................................................................29
c. Legs...................................................................................................................................30
d. Combinations:...................................................................................................................30
e. Movements in space:........................................................................................................30
f. Jumps:...............................................................................................................................30
Learning activities....................................................................................................................30
Theoretical-Practical Content and Didactic Supports..............................................................31
Combinations of movement and expression:...........................................................................31
Movements in Space:...............................................................................................................31
Jumps:......................................................................................................................................32
Learning activities....................................................................................................................32
Free and directed improvisation exercises...............................................................................32
Learning activities....................................................................................................................34
SAW. Assessment....................................................................................................................35
Expressives:.............................................................................................................................35
Technicians:.............................................................................................................................35
Procedures and assessment tools..............................................................................................35
VII. Definitions........................................................................................................................37
VIII.Bibliography.....................................................................................................................40
Specific material for working with children............................................................................40
Body expression materials.......................................................................................................41

January 2018 Page4 of 43 Key:3000-022-316

Body expression materials.......................................................................................................41
Hemerography..........................................................................................................................41
Videography.............................................................................................................................42
I.

II. Annexes

Annex 1 “Checklist”

Annex 2 “Descriptive assessment scale”

January 2018 Page5 of 43 Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY

I. Introduction

The daily practice and enjoyment of the arts, in any of their manifestations, constitute activities
conducive to the development of the human being throughout all stages of life. For this reason,
the Mexican Social Security Institute, through the Social Benefit Services, offers its beneficiaries
and the general population various cultural development activities; all of them designed with a
comprehensive approach, which considers the fulfillment of the technical and methodological
objectives of its various services and programs; as well as the quality elements necessary to
achieve the expectations and satisfaction of the user population in all its Operational Units of
Institutional Social Benefits (UOPSI) where they are taught.

These activities represent an important option for the population, which is why courses have
been designed, within the Artistic and Craft Education strategy, that seek to comprehensively
provide actions that promote health, recreation and improve the level and quality of life of this

This Didactic Guide for the Creative Dance Course presents the essential elements for the
Artistic Dance Activities staff to contribute to making this artistic discipline a vehicle for personal
and social development of the user population, through the discovery and consolidation of their
skills, the stimulation of their creative potential, the awareness of the possibilities that the arts
offer them to express themselves and communicate with their environment, enrich their culture
and finally to maintain their health.

Creative Dance is understood as a type of fundamental experience for the acquisition of the
elements of the dance language, through the exploration of the movements of the body in space
and its adaptation to different pulses, rhythms, accents, styles or musical rhythms. , among other
aspects, that promote the development of motor skills and personal and group expressiveness.
Its origin is present in improvisation and composition, currently it has been incorporated into
various study plans for the professional training of dancers, as well as in therapeutic dance and
educational dance, since it is recognized that the creative exploration of the body promotes the
development of imagination and group interaction. It is about enabling one's own body to become
a dancing body.

In Mexico there are two proposals that favor this work, the first has been developed by
researchers Josefina Lavalle and Alejandra Ferreiro, who return to the Language of Dance
(method developed in England), which is based on the improvisation of movement until reaching
the creation of dance.

This course aims to introduce the user population to knowledge of the body and movement, as a
basis for approaching dance at its levels of execution, appreciation and contextualization;
Therefore, the selection and organization of content is based on the need to present to the
participating population some of the principles, concepts and basic actions of dance, not only to

January 2018 Page6 of 43 Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY

recognize the anatomical characteristics of the movement, but also its functioning, as well as
some Suggestions to improve body posture and body awareness and consequently, avoid
injuries that affect health. Likewise, in this the user population will be able to approach in a playful
way the principles, concepts and actions of movement and dance (for example, the need to
prepare the body before starting physical work, the elements that allow aligning the body posture,
use of levels and directions as means for exploring movement in space or approaching the bases
of music and its relationship with dance), which allows them to develop awareness of their body
for expressive purposes; but it also gives them information to approach other dance
manifestations and thus be able to form their own concept of this artistic discipline.

It will be the responsibility of the Counselors to carry out the planning of the learning activities,
which allow them to work on the contents of this teaching guide. In this planning, it is essential to
consider the timing, organization of group work and the use of teaching materials.

The content of this teaching guide was created with the participation of Maestro Fernando
Aragón Monroy, from the “Gloria y Nellie Campobello” National Dance School of the INBA.

January 2018 Page7 of 43 Key:3000-022-316

 II. Goals

1.Of the Document.

• Provide the Counselors of Artistic Dance Activities in charge of teaching the Creative
Dance Course with the theoretical and methodological elements that must be considered
during its development.

2.Of the Course.

• Promote the development of skills, the construction of attitudes and values through the
practice of Creative Dance; as well as the sensitive and creative training of the user
population.

• Promote socialization habits that enable the user population to integrate into groups.

• Promote among the user population a taste for cultural activities both in their possibilities
of representation and in the enjoyment and appreciation of different artistic works.

January 2018 Page8 of 43 Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY

III. Policies

1. This guide will be of general application in the Social Security Centers (CSS) and
Operational Units of Institutional Social Benefits (UOPSI), where the Creative Dance
course is taught.
2. The implementation of this course will be in charge of the counselor of artistic activities
corresponding to the branch of specialization that he or she has, in accordance with the
current “Collective Labor Contract.”
3. The programming of the course will be carried out in accordance with the type of day and
attendance record stipulated in the “Collective Labor Contract” and the “Technical Criteria
for the Annual Programming of Activities and Services” in force.
4. The Head of Economic and Social Benefits Services, in coordination with its Social Benefits
Department, the Cultural Development Office or similar, are responsible for verifying the
correct application of the previous points, as well as the implementation of this document
and for integrating and reviewing proposals for improvements to benefit the quality of the
service.
5. The Management must:
5.1 Provide a printed or digital copy of this guide to the Artistic Activities Counselors
responsible for teaching the course.
5.2 Promote and disseminate the artistic and artisanal expressions of Mexico among the
population that uses the courses.
5.3 Preserve, promote and disseminate cultural heritage and diversity.
6. Instructors must:
6.1 Enrich the Teaching Program, with complementary activities such as: holding or
participating in institutional or external exhibitions and competitions, forming
representative artistic groups, attending or organizing institutional or external
conferences and cultural events dedicated to the promotion and dissemination of arts
and crafts, among other.
6.2 Promote artistic creation among the population using the courses
6.3 Develop creative industries to reinforce the generation of cultural goods and services.
6.4 Make suggestions or modifications to improve this guide, through your immediate
boss.
7. The personnel in charge of the Head of Economic and Social Benefits Services, the
Department of Social Benefits, the Cultural Development Office or similar, the management
of the UOPSI and the course must enable universal access to culture in accordance with
the following:
A. Universal Declaration of Human Rights, Article 22 : Every person, as a member of society,
has the right to social security, and to obtain, through national effort and international
cooperation, taking into account the organization and resources of each State, the satisfaction
of economic rights. , social and cultural, essential to their dignity and the free development of
their personality.
B. Political Constitution of the United Mexican States, Article 4: Every person has the right to
access culture and the enjoyment of the goods and services provided by the State in this matter,

January2018 Page7of43 Key:3000-022-316

TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY
as well as the exercise of their cultural rights. The State will promote the means for the
dissemination and development of culture, taking into account cultural diversity in all its
manifestations and expressions with full respect for creative freedom. The law will establish the
mechanisms for access and participation in any cultural manifestation.
C. General law of culture and cultural rights.
First Title, General Provisions
Article 6.- It is up to State institutions to establish public policies, create institutional means, use
and maintain physical infrastructure and apply financial, material and human
resources to make effective the exercise of cultural rights.
Article 7.- The cultural policy of the Mexican State, through its government orders, will address
the following principles:

I. Respect for creative freedom and cultural manifestations;

II. Equality of cultures;
III. Recognition of the cultural diversity of the country;
IV. Recognition of the identity and dignity of people;
V. Free determination and autonomy of indigenous peoples and their communities; and
VI. Gender equality.
Second Title. Cultural Rights and Mechanisms for their exercise:
Article 9.- Every person will exercise their cultural rights individually or collectively without
prejudice to their ethnic or national origin, gender, age, disabilities, social
condition, health conditions, religion, opinions, sexual preferences, marital status
or any other and Therefore, they will have the same access opportunities.
Article 10.- The public servants responsible for government actions and programs in cultural
matters of the Federation, the federative entities, the municipalities and the
mayors of Mexico City within the scope of their jurisdiction, will observe in the
exercise of public policy respect, promotion, protection and guarantee of cultural
rights.
Article 11.- All inhabitants have the following cultural rights:

I. Access culture and the enjoyment of the goods and services provided by the State in this
matter;
II.Seek access to knowledge and information on the material and intangible heritage of the
cultures that have developed and are developing in the national territory and the culture of
other communities, peoples and nations;
V. Participate actively and creatively in culture;
VI. Enjoy the cultural events of your choice;
VII. Communicate and express your ideas in the language of your choice;
Article 12.- To guarantee the exercise of cultural rights, the Federation, the federal entities, the
municipalities and the mayors of Mexico City, within the scope of their jurisdiction,
must establish actions that encourage and promote the following aspects:
I. Social cohesion, peace and harmonious coexistence of its inhabitants;
II. Free access to public libraries;
III. Reading and dissemination related to the culture of the Mexican Nation and other nations;
IV. The celebration of necessary agreements with private institutions to obtain discounts on

January 2018 Page10 of 43 Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY
access and enjoyment of cultural goods and services; as well as allowing entry to museums
and archaeological areas open to the public, mainly to people with limited resources,
students, teachers, older adults and people with disabilities;
V. The holding of free artistic and cultural events on stages and public squares;
VI. The promotion of artistic and cultural expressions and creations of Mexico;
VII. The promotion of national culture abroad;
VIII. Education, audience training and artistic and cultural research;
IX. The use of cultural infrastructure, with adequate spaces and services to make intensive use
of it;
X. Universal access to culture to take advantage of the resources of information and
communications technologies, in accordance with the applicable Law on the matter, and
XI. The inclusion of people and groups in situations of disability, in conditions of vulnerability or
violence in any of its manifestations.
Article 13.- The actions indicated in the previous article will have the purpose of conferring on
public policy, sustainability, inclusion and social cohesion based on criteria of
relevance, opportunity, quality and availability.

8. Upon authorization of this document, it will update and render void the “Creative Dance
Course Practice Manual”, code 3000-021-078 authorized in the month of May 2010 and
published on the website of the Social Welfare community.
IV. General Application Criteria

The Counselors of Artistic Activities of Regional, Classical and Modern Dance in charge of
teaching the creative dance course must:
1. Have a minimum of high school education and technical training or bachelor's degree in this
discipline.
2. Apply the technical-didactic content of this guide as a basis for developing the Creative Dance
Course.
3. Teach each course in a minimum of 60 hours per teaching level, according to the type of day
and attendance record of the counselor stipulated in the “Collective Labor Contract” and the
“Technical Criteria for the Annual Programming of Activities and Services” in force.
4. Form your groups with a minimum of 10 people, with a minimum age of five years to join.
5. Consider the specific conditions of the space where the course is taught, such as: open-air or
covered theater, multipurpose room with floor or platform, chairs, well lit and ventilated, with
identified emergency exits, without obstacles or objects that could cause accidents, a dressing
room and locker where they can protect their work material.
6. Consider that the theme of the artistic work developed during the course is attractive and of
interest to the user population.
7. Promote the participation of the user population in activities on health care, promotion and
prevention issues, as well as their participation in complementary activities: talks, health
campaigns, workshops and conferences organized by your Operational Unit.

January 2018 Page11 of 43 Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY
8. Give instructions on the handling of materials to carry out your activity, insisting on the safety
measures that the user population must have at the time of class, the use of clothing and
objects appropriate for their activity.
9. Develop the exercises, considering the physical characteristics of the user population and the
climatic conditions of the various regions, to prevent them from suffering injuries such as:
tears, sprains or some other health disorder.
10. Raise awareness among their groups of the benefits that come with the practice of cultural
development activities in aspects such as: social integration and the promotion of physical and
mental health.
11. Promote the formation of the IMSS Representative Artistic Group (GARIMSS) of Creative
Dance of the Social Security Center (CSS), essentially made up of the user population of the
advanced group in this discipline.

January 2018 Page12 of 43 Key:3000-022-316

 V. Teaching program

1. Development of Themes

MEXICAN SOCIAL SECURITY INSTITUTE

DIRECTORATE OF ECONOMIC AND SOCIAL BENEFITS
COORDINATION OF SOCIAL WELFARE

Module name: 1. The speaking body. Encounter with the expression

of the body.

Teaching level: 1. Cognitive phase.

Duration of minimum hours of 60
the course:
Number of sessions: According to the teacher's work day.

Module objective:
The user population will have an approach to the work of
sensitization and body awareness, through experiences of
exploring the possibilities of movement of the body itself and
its expressive capacities.

Theoretical-Practical Content and Didactic Supports

“ It is said that in human beings, the body is the instrument of expression and communication par
excellence. Uses gesture and movement as expressive resources. Gesture is necessary for expression and
communication and movement is the basis that allows the child to develop their intellectual abilities and their
physical and emotional well-being.

What is the expression?

First we must differentiate the following concepts, which are related but are not the same:

• Expressivity : it is a characteristic or potential capacity of people, the effect of which is

reflected in the expression.

•contained.
Expression: it is the process and result of externalizing or bringing out something hidden and

What is communication?

We will define it as the ability to exchange messages, not only speaking and writing, but
encompassing all the forms that man can use to communicate, it goes beyond conscious verbal
communication.

January 2018 Page13 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

What relationship does the body and movement have with these two concepts?

They are the most important instruments of expression and communication that human beings
possess.

• The body is the axis of the world for each of us, because through it we become aware of
ourselves and everything that surrounds us, it is the element that relates us to everything that
surrounds us, both objects and living beings.

• Movement is the projection of ourselves towards the environment that surrounds us and
towards others, movement expresses who is moving, there are many types of movements,
some being more expressive than others.

What is body expression?

Generically, the concept of "bodily expression" refers to the fact that every human being,
consciously or unconsciously, intentionally or not, manifests himself through his body.

The human body not only moves, it also communicates. In this sense, we talk about the set of
ways that our body has to transmit feelings and emotions.

In the world of dance, movement is the essential element. Any dance has technical aspects in the
development of its movements and a creative dimension. The concept of body expression was
born as an intrinsic section within dance. Choreographers and dancers have to exercise the ability
to feel the movement of the body so that the viewer also perceives emotions.

The human body can acquire its own language, with a rhythm and with an intensity. And the result
is body expression.

Both dance and physical education use initiation games to awaken the human body's ability to
express itself through its body. And to do so they resort to active games in which they learn to
control and feel the body as a means of communication.

Aside from physical education and dance training, body expression intervenes in human language.
We speak with words, which have a wide variety of registers. However, our gestures or the
posture we maintain also intervene in the messages we communicate. It could be said that bodily
expression is the companion of words. The movement of the hands, the gaze, the gesture or the
position of the body are combined with the language and the receiver of what we say perceives
the gesture and the concepts as a whole.

Communication experts refer to non-verbal language, that is, everything that the body expresses
unconsciously and spontaneously. To make our communication more effective, these specialists
give importance to the correction of innate movements and propose techniques to correctly
channel our gestures and movements.

The idea of bodily expression reminds us that, in addition to ideas and feelings, humans have
communicative potential using their body. We move because we are genetically prepared to do so,
although we can learn to improve our mobility and give it expressive value.

January 2018 Page14 of 43 Key:3000-022-316

Promoting gestural and body language through imitation games such as representing animals or
characters from a story allow not only the development of comprehensive and expressive
language but also promote initiative, disinhibition, ingenuity and imagination, promoting emotional
well-being.

Basic principles of body expression:

1. Breathing . Basic and useful principles for the development of body awareness, gestures and
movement.
2. Relaxation. The decrease in heart and respiratory rate favors concentration and develops the
ability to perceive the body in a state of rest.
3. The adjustment of posture and body alignment based on vertical and horizontal axes.

Recognition of the possibilities of movement of the human body in:

a. Body parts.
b. Segments.
c. The body as a whole.
d. Experimentation with movement qualities:
e. Space: direct-indirect.
f. Time: fast-slow.
g. Energy: strong-soft.
h. Movement flow: progressive-cut.
i. Recognition of body image.
j. Performing free movements with the support of visual, tactile and sound stimuli.
k. Interpretation of the movements performed inside the class.
l. Collective reflection on the body and its movement within our culture.
m. Basic principles of movement technique (work with adolescents, young people and
adults):
n. Caudal cephalowarming.
o. Body alignment based on vertical and horizontal axes.
p. Identification of the center of gravity and weight changes.

Learning activities.

It is necessary that the activities relate to each other, in such a way that each participant
distinguishes the relationship that exists, for example, between the expression of the body and the
technique, or how a movement can have different qualities according to its intentionality. Music
constitutes a fundamental resource in the class, so it is suggested to listen to various genres and
styles (classical, world music , electronic, based on the performance of an instrument, popular,
folklore, etc.)

Experiential work is fundamental in this module, so a necessary resource will be to generate

images and sensations in the user population that lead them to encounter movement and its
expressiveness. Objects such as balls, fabrics or any other material may also be used. allow
inquiry into the movement. The use that the counselor makes of his or her own body is a
fundamental reference for the user population to understand what they are expected to achieve on
a physical level. The use of bibliography related to movement technique is also recommended, as

January 2018 Page15 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

well as consultation of documents that talk about kinesiology, in order to avoid injuries that
damage health.

Consider for the activities to have the following specifications:

• Comfortable clothes.
• CDs with music with environmental or nature sounds.
• CDs with contemporary music of different rhythms.
• Sound equipment.

WHAT IS CREATIVE DANCE?

Author: Noelia Román

Published by “Verdemente” magazine. September 2010.
http://danzacreativa.es/Metodologia

Dance lives buried in the depths of the human being, like a treasure that cries out to be
discovered. All living beings and elements that are part of the universe are in perpetual movement,
in perpetual dance, from the waters of the rivers, to the leaves of the trees and beyond, the clouds
and stars in the sky. Inevitably, dance introduces us to the concept of timelessness, of eternal
return, of the perpetual flow of life, of the infinite cycle. When we dance, our dance disappears into
the air, but it remains permanent in the eyes and hearts of others.

Once the discovery of this valuable treasure occurs, one merges with the dance, transcending the
idea of whether the movements one uses are beautiful or ugly, right or wrong, because it is the
soul that moves the body, and when the The body moves, the mind and thoughts calm down.

My dance is an expression of my deep being and at the same time an expression of the universe.
There is a joy that authentic dance emanates, which has nothing to do with technique, because it
is not through the steps that true dance is found.

“Our bodies are clever. Like girls and boys in a fairy tale, they leave a trail of breadcrumbs to help
them find their way back out of the dark forest. Our bodies use movement habits to mark a
checkpoint. Like a trail of breadcrumbs, these gestures allow us to find our way home.” Christine
Caldwell (“Inhabiting the Body”).

Developing creativity and expression, we trace the path of breadcrumbs and begin the path back
home, where our true nature shines and new doors to freedom open.

Creative Dance is a method of body work in which, through free, spontaneous dance, without pre-
established rules, the potential that we all have is stimulated, through a creative and therapeutic
process that provides physical, mental and emotional well-being.

In Creative Dance we work not only on the visible part of the body, but also on its invisible and
sensitive part. This helps us expand our movement and abilities of expression, communication and
creativity and begin a journey towards the center of ourselves.

Because in the encounter with my individual, authentic dance, the reunion with my essence also
occurs, beyond all judgment and/or belief, and the reunion with the other.
January 2018 Page16 of 43 Key:3000-022-316
Methodology

Creative Dance seeks to help us learn to know ourselves by dancing as a harmonious unit of
body, mind and soul. For this reason, intuition and creativity are the two essential tools in this
method.

Through very clear guidelines, it is possible for people to develop their own free dance, without
tension, natural and spontaneous, alone or in the company of others. In no case should the initial
orientations become an end in themselves, but rather a pretext for exploration. Throughout the
entire process it is essential to care for and respect the limits of the body, understanding that all
creation is valid, since there are no corrections or models.

Music is one of the external stimuli that accompanies this work, although the main protagonist is
the subject and his individual dance, so sometimes the sounds of the body are danced, either in
the form of percussion or singing, and even dance the silence.

Who is creative dance aimed at?

Creative Dance is aimed at all those people interested in finding their own space for expression
and expansion where they can develop creativity, body language, listening to oneself and others
and the pleasure of celebrating dance.

It is especially aimed at people dedicated to a path of inner search and personal development.
The intention is to create a space of self-discovery, where we are all equal and where we can
communicate and exchange beautiful dialogues through movement. There are no limitations on
age, sex, social status or degree of availability of movement. We are all invited to participate in this
creation process.

It is not necessary to have knowledge of dance technique or possess a specific physical form, the
only requirement is to be willing to express through movement what I am, what is present, what is
manifested in this moment. If you think you don't know how to dance, if you have always
considered yourself clumsy and without a sense of rhythm, this is a practice especially designed
for you. Don't hesitate, get dancing!

People who have participated in Creative Dance workshops generally point out the following
benefits:

• Greater calm and tranquility in the body, mind and emotions.

• Deeper understanding and relationship with one's own body, thoughts and emotions.
• Development of body awareness.
• Awakening sensitivity towards the body, movement, music and nature.
• Encounter of new forms of communication with oneself and with the other.
• More creative and free lifestyle.
• Increased vitality, energy and joy, which belongs only to the body itself.
• Balance, presence, fluidity and ease of the physical body.
• Increased security, acceptance and self-confidence.
• Meeting with the inner child and his needs.

January 2018 Page17 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

• Our vehicle is the clay of the body, which has been molded and outlined by our lives. Let's
inhabit our body in dance!

CREATIVE DANCE: TOWARDS THE REUNION WITH THE BODY

Author: Noelia Román

Published by “Verdemente” magazine. December 2010.

Working with Creative Dance promotes the integration of the physical, mental, emotional, social
and spiritual dimension of the individual.

Unlike other dance classes, in which the physical dimension of the body is taken into account
almost exclusively and a technique is rigorously used (often far removed from the creative impulse
of the individual), in Creative Dance the body takes on special importance. sensitive and affective,
the container of our thoughts, sensations, emotions and feelings.

The approach to the sensitive and emotional body is carried out gradually and progressively,
always respecting the limits of each person, without forcing and relying on the innate capacities
and gifts that we all possess.

These classes do not resort to choreography or the imitation of structured movements, but rather
free and individual creation is encouraged through a creative process. Through different stimuli,
such as music, various objects, concepts, metaphors, words, images and slogans, the aim is to
generate a bridge of connection with the interior of oneself and open up to the possibility of
externalizing the experience through movement.

Objectives of creative dance:

1. PHYSICAL:

• Develop body schema and body awareness.

• Develop agility, flexibility, tone and improve coordination.
• Improve listening to your own body and learn to use it in a creative, spontaneous,
expressive and productive way.
• Learn to know and accept your own body and your personal history.
• Enhance attention, concentration, visualization and relaxation.
• Discover body language and its creative and expressive possibilities.

2. COGNITIVE-EMOTIONAL:

• Provide security and self-confidence.

• Enhance capabilities, not limitations.
• Develop creative and expressive capacity.
• Learn to manage emotions better.
• Learn to accept limits and transform them into opportunities to grow.
• Learn to respect your own internal rhythm.
• Live dance with pleasure, without tension.

January 2018 Page18 of 43 Key:3000-022-316

3. SOCIAL:
•Enrich movement vocabulary.
•Develop communication and interaction skills, promoting interpersonal relationships.
• Facilitate contact with others and enter into another type of communication and listening,
through the body.

• Ensure that observing others serves to respect their communication, expression and
creativity, in addition to using it for one's own learning.
• Share the positive experience of the group, creating an atmosphere of trust, affection and
security.

When all these elements are put into motion, creativity is transferred to the everyday situations of
our lives, in the same way that the everyday situations of life arise in the creative processes of
classes. This meeting space is where transformations and true integration occur.

"Creative Dance is a path open to total integration, since the body stimulated in this way makes
dormant areas appear that transform us and that, by expressing them, allow us to represent our
inner world and feel better."

Maria Fux. “Dance Therapy, Fragments of Life.”

DANCE THERAPY
Article made by the Aragonese Dance Therapy Association.
“By recovering movement and experience with our body and with others, changes occur that are positively
reflected in our health and way of relating, thinking, feeling and acting. All this enriches our experience and
personal development.”

Since ancient times, man has used dance as a means of expressing his thoughts, feelings and
beliefs. Where words do not reach, with movement we can have a channel of expression and
dance is a channel of expression through which we can manifest our interiority.

The human being is a unity of body, mind, emotion and spirit. By enhancing the body's capabilities
we can achieve balance within this unit.

What is dance therapy?:

Put aside the “I can't” and rescue the “Yes I can” from the body.

We understand Dance Therapy as a method of body work that, through dance, aims to achieve
changes in people by stimulating the potential that we all have, through a therapeutic and creative
process that achieves their physical, mental, emotional and social well-being. .

It is a dance that works not only the visible part of the body but also its sensitive part. This helps
us expand our movement and abilities of expression, communication and creativity and to have a
greater knowledge of ourselves.

Through this dance you find :

• Your own dance: unique, free and creative.

January 2018 Page19 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

• Your expression, creativity and communication abilities.

• Your sensitive and emotional body. Music, nature, art and life.
• Your potentialities.

“We dance to be ourselves, to be able to create, express ourselves and give to others.”

And you can:

• Access the body and enhance concentration, relaxation and listening to your own body.
• Expand and deepen the possibilities of movement, control and body control. Achieve your
own, natural and spontaneous body language.
• Promote self-confidence and self-esteem.
• In relation to music: develop musical perception.

To whom?

• Girls and boys from 5 years old: enhancing their creativity, fostering relationships,
discovering the pleasure of music, their own body, developing sensitivity towards music
• Adolescents : knowing and accepting limits, developing self-esteem, accepting
differences, strengthening identity.
• Adults: find your own space of expansion where you can develop creativity, body
language, listening to others and the pleasure of dancing.
• Seniors: recover the pleasure of movement, share experiences, relive the past, enjoy the
game
• People with disabilities : work in dance therapy also facilitates the integration of people
with disabilities: visual, auditory, motor deficiencies, syndromes, hyperactivity,
developmental delays ... A space is created where we are all equal and where we can all
communicate through movement.
• We make more specific groups or work at an individual level depending on the individual
characteristics of the person.

Goals

• Ensure that dance is accessible to everyone, regardless of sex, age or disability.

• Live dance with pleasure, without tension.
• Respect each person at their learning pace.
• Awaken each person's sensitivity towards nature, music and other arts.
• Develop creative and expressive capacity (expression of ideas, feelings, sensations and
experiences).
• Develop communication: with yourself, with others and with the environment.

• Develop and increase the body-space relationship and body awareness.

• Promote the emotional, physical and mental development of people.
• Promote group integration starting from the individual.
• Educate for the integration of people with disabilities.

January 2018 Page20 of 43 Key:3000-022-316

 • Ensure that observing others serves to respect their communication, expression and
creativity.
• Create a climate of security, respect and affection.
• It is a method that starts from intuition and creativity. Intuition and creative ability are two
essential tools for the counselor of this method.
• It seeks for people to develop tension-free, relaxed, natural movement. Taking care of and
loving the body.
• Awaken curiosity towards the possibilities and limits of our body, learning from them,
accepting them. Turning “I can't” into “yes I can”.
• It puts us in front of different realities, sensations, feelings, experiences... that teach us to
know ourselves in another way.
• It gives people security and confidence in themselves, in their body, in their
communication, in their creation... “There are no models”, all creation is valid.
• Respect the individual with his movement, his rhythm and his way of expressing himself.
• It integrates people who are different in age, sex, ability, raising awareness towards people
who have more difficulties than oneself...

In relation to music: it is one of the external stimuli that accompanies this work.

The methodology allows the student to develop musical perception. In dance therapy the body
expresses music and all its elements: rhythm, pulsation, accents, melody as well as the elements
of sound: intensity, duration, timbre, pitch.

There are times in which we work directly with these musical aspects and others in which music is
an accompanying stimulus. This means that the art of sound and dance therapy have a very close
relationship that favors the student's musical sensitivity and the experience of it through the body.

…That there is always time to change, grow and be reborn.

http://www.danzaterapiaragon.com/la-danzaterapia/maria-fux/

THE ALEXANDER TECHNIQUE IS:

• The art of making good use of yourself. Knowing how to use it gives security and allows you to
enjoy all the activities that, due to their complexity, require tension such as playing an
instrument, performing on stage, dancing, walking, vacuuming, sitting, living...
• A simple method of body education whose objective is to find the balance and natural freedom
of the body to learn to move more easily; and that, once learned, is not forgotten.

• A way to understand how the body is designed to let it function as it knows how...
• A reeducation to establish good coordination between body and mind.
• A slow but sure learning process that helps us recognize our habits and stop interfering with
the innate intelligence of our body.
• A way to learn to interact with the “other” without losing oneself; learn to be more present and
aware in the space where we are and share with others.
• A trip, an experience, a surprise!

January 2018 Page21 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

THE ALEXANDER TECHNIQUE IS NOT:

• It is not an exercise program, like those you can learn in a yoga, Pilates class, or at the
gym. The Alexander Technique teaches you to become aware of how you move and to
choose at every moment how you want to move, so that they do not become automatic
movements.
• It is not a treatment like acupuncture or chiropractic or different types of massages. The big
difference is that we do not qualify as therapists, but as teachers. And those who attend
classes are students, not patients. It is an education or rather, a re-education, where they
actively learn to apply the technique to their daily life once they have unlearned bad habits
and learned new ones.

Prevent before cure.

The objective of this technique is to teach how to make good use of oneself, in order to prevent
pain or illness; and give ourselves the autonomy to become responsible for our discomforts. Being
aware of our habits is the first step to change towards well-being. However, most of us have not
been educated to prevent, but to cure.
If you have come to the technique because you suffer from some pain, indicate among the
following options which is your case:

• back pain: cervical, sciatica, lumbago...

• tennis elbow
• herniated discs
• circulation problems
• asthma
• migraines
• digestive problems
• stammering
• anxiety
• insomnia
• others…
http://tecnicaalexander.es/la_tecnica.html

January 2018 Page22 of 43 Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY
General teaching suggestions for working with different populations during the Creative
Dance Course.

Girls and boys.

Workshops aimed at girls and boys can take two paths, a ) creative dance or b) body
expression workshops.

Given the characteristics of childhood, it is also possible to work on body expression based on
awareness and awareness of the body. This experience helps each person find nuances in their
own expressiveness, as well as the possibility of establishing common elements for
communication and creation between two or more participants.

Body expression is considered the gateway to dance, since it is characterized by providing internal
body sensations, bone perception and muscle sense, the flow of movement, as well as the
modulations and inflections of energy, from the rhythm, melody and body and spatial design.

Here we can take up the proposal of the Spanish Martha Schinca, who shows Body Expression as
a discipline that, starting from the physical, connects with internal processes of the person,
channeling their expressive possibilities into creative body language.

Adolescents, young people and adults.

One of the possibilities that the movement technique offers is that it offers the opportunity, to the
counselor, as well as to the user population, to venture through it into other dance expressions.
Here the technique to use will vary according to the profile of the counselor, according to their
training and experience. Among the contemporary dance techniques recommended for a dance
workshop with the characteristics of those offered at the IMSS, we can suggest: Biodanza, Leetder
Technique, Luis Fandiño Technique, among others.

Older adults.

Physical work must be supervised by the counselor in order not to generate injuries that damage
the physical health of people, so it is advisable to work and emphasize in each session the reuse
of muscles and joints to support movement, as well as the development of expression through the
body (body expression).

This work does not require memorization of steps, sequences, or exercises, as occurs with a
dance technique; On the contrary, it is a free work in which the user population experiences a
certain well-being and joy when moving and can consider very specific achievements, for example
the recovery of gross and fine motor skills, balance, memorization, auditory and motor
coordination. -visual and motor, among others.

The National Institute for the Care of the Elderly (INAPAM) can offer the counselor more
information to work on dance with this type of population, without forgetting that their professional
experience will be essential to define what and how to work with this population.

January 2018 Page23 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

People with disabilities.

The cultural development courses offered by the IMSS constitute recreational spaces that are
open to all types of people, regardless of their sexual preference, social and ethnic origin,
educational level, socioeconomic condition, and physical and intellectual abilities.

From this perspective, based on a culture of inclusion, the first challenge that the counselor has to
face is to abandon the idea that dance is only for people with slender and gifted bodies, with broad
aptitudes and physical capabilities, since it is above limits access to very large people and groups.

In accordance with this approach, it is suggested not to establish distinctions between the
members of the group (noting that some have certain abilities and others do not or to leave aside
those who in your opinion will not be able to perform certain exercises); It is about generating a
common ground where each person, regardless of their physical and mental condition, joins a
common goal: creating through dance.

Put another way, the purpose of dance in these spaces is to provide the opportunity to dance,
experience the joy of doing so in community, and create possibilities for others to do the same.

For this, there are methods and techniques, at a national and international level, that provide
knowledge for working with groups made up of people with motor, intellectual and visual
disabilities, among them we can mention the work carried out by the Nellie and Gloria Campobello
National Dance School ( INBA) and the La Manga dance company, without failing to recognize the
existence of other experiences in some entities of our country.

The principles that guide the teaching of dance with groups with disabilities are the following:

• Recognition of one's own body as a means of expression and communication.

• Identification of the body and dance as means to express personal and group thoughts and
feelings.
• The development of creativity and the approach to dance, based on the exploration of
movement and creative possibilities of the body.
• Common objectives, above any aesthetic or artistic rule.
• The stage experience as a fundamental experience for personal growth and creative
development.

Regarding the type of dance that will be worked on in the Creative Dance course, it is worth
clarifying that working with people with disabilities requires that the counselor prepare and
document the teaching, learning and staging in a way that is not focus on the steps and movement
sequences typical of the dance expressions to be worked on, but on the person and the
relationship that they can develop with the dance.

January 2018 Page24 of 43 Key:3000-022-316

Module name: 2. Introduction to movement technique.

Teaching level: 1. Cognitive phase.

Duration of minimum hours of 60

the course:

Number of sessions: According to the teacher's work day.

Module objective: The user population will learn and identify the importance
of movement as an essential element for bodily
expression.
MEXICAN SOCIAL SECURITY INSTITUTE
DIRECTORATE OF ECONOMIC AND SOCIAL BENEFITS
COORDINATION OF SOCIAL WELFARE
Theoretical-Practical Content and Didactic Supports

Movement is part of us, the development of motor skills is the basis for physical, intellectual and
emotional development, which is why it is important that the counselor encourages body
expression in the user population, that they move and know their body. and be aware of space.
Playing with them, especially in large and safe places, will allow the user population to move with
autonomy and skill.

Promoting gestural language through imitation games such as representing animals or characters
from a story allow not only the development of comprehensive and expressive language but also
promote initiative, disinhibition, ingenuity and imagination, favoring the emotional well-being of the
user population.

Learning activities.

a. Torso work:

• Curved back.
• Torso inclination.
• Torso rotation.
• Bow.

b. Leg work:

• Parallel leg position.

• Open legs position.
• Demi pliés in parallel positions.

January 2018 Page25 of 43 Key:3000-022-316

 • Demi pliés in open positions.
• First level brushing in all directions.
• Relevés in open and parallel positions.

c. Combinations:

• Torso-arm movement combinations.

• Combinations of arm and leg movements.
• Combinations of torso, arm and leg movements.

d. Movement in space:

• Diagonals.
• Sides.
• Rows.
• Circles.

e. Jumps:

• Jumps from 2 feet to 2 feet.

• Jumps from 1 foot to the other foot.
• Combination of simple jumps using arm and torso movements, moving in space .

f. Application of concepts and actions in free movement improvisation.

The body constitutes the main resource for technical work and all postural or technical proposals
and corrections must be made in it. The use of dance images (still or moving) contributes to the
understanding of the achievements that each participant hopes to achieve. Music will play a very
important role during this module and its selection will consider various genres and styles, without
failing to consider the possibility that at some point classes may be developed with the support of
live music.

January 2018 Page26 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
DIRECTORATE OF ECONOMIC AND SOCIAL BENEFITS
COORDINATION OF SOCIAL WELFARE

Module name: 3. The body in the scene.

Teaching level: 1. Cognitive phase.

Duration of minimum 60 hours of the course:

Number of sessions: According to the teacher's work day.

Module objective:
The user population will create a montage where the
concepts learned in the first two modules are developed in
order to develop their non-verbal communication capacity.

Theoretical-Practical Content and Didactic Supports

“Bodily Expression is a set of intentional practices that, using the body as a substrate, vehicle and support,
aim to release energies and emotions, artistic representation, education, spiritual transcendence or simple
entertainment” Pepe Parra (1999)

Creative dance involves a deeper introspection of what modern and contemporary dance could do.

And it is through this dance form where the counselor directs the user population to acquire the
possibility of creating beyond choreographic instruction, which sometimes limits stage work, to
carry out an internal search that projects through body movement, without risking a certain logic
that achieves a connection with the audience, since at the end of the day, this is the fundamental
recipient of the stage work.

a. Collective composition of a dance in which the principles, concepts and actions of

movement and dance reviewed in modules 1 and 2 are applied.
b. Preparation of a stage script:
• General structure and parts that constitute the choreographic montage.
• Division of work (functions and those responsible for the various activities inherent to the
assembly process: creation of costumes, props, scenery, lighting, etc.).

c. Memorization of movement sequences.

d. Realization of designs and choreographic strokes.
e. Interpretation of the feelings and ideas that underlie the choreography .

The stage experience is necessary not only for the application of the knowledge learned, but also
favors the motivation and formation of new learning. For this reason, it is advisable that, during the
creative process, the creativity of the user population is stimulated in addition to taking care of their
January 2018 Page27 of 43 Key:3000-022-316
performance in their role as “dancers.” The choreographic works must respond to the
characteristics and needs of the population with whom they work, being able to address various
genres and styles of music where each participant puts into play what they have learned in addition
to being able to enjoy it.

Watch videos of dance works such as: body theater, contemporary dance, Butoh dance,
acrobatic dance. This can constitute a useful tool to improve the performance of users during this
module and form a personal concept of it and understand it as a means of collective expression.

January 2018 Page28 of 43 Key:3000-022-316

Module name: 1. The body that dances.
Development of movement technique.

Teaching level: 2. Cognitive phase.

MEXICAN SOCIAL SECURITY INSTITUTE
DIRECTORATE OF ECONOMIC AND SOCIAL BENEFITS
COORDINATION OF SOCIAL WELFARE
Duration of minimum hours of 60
the course:

Number of sessions: According to the teacher's work day.

Module objective: The user population will expand their knowledge in the
development of expressiveness and enjoyment of
movement; Starting from the previously learned exercises,
performing combinations to create choreographies and
thus generate a playful and pleasant experience with
dance.

Theoretical-Practical Content and Didactic Supports

In the second level of the course, technical work on the back, arms, legs, use of space and jumps
continues; It deepens the development of expressiveness and enjoyment of movement, hence the
need to take advantage of combination exercises and choreography, to provide a playful and
pleasant experience with dance. The approach to various dance styles can be means to achieve
such ends, in addition to allowing the critical appreciation of dance and understanding its role
within a society.

Particular objectives:

• Combine elements of dance in the development of movement sequences.

• Creatively participate in directed improvisations.
• Prepare small movement phrases, applying the principles, concepts and actions.
• Develop physical and intellectual skills to participate in a creative dance process.
• Make value judgments about your performance in a choreographic montage.

Contents.

January 2018 Page29 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

a. Review of concepts and actions reviewed in the previous level.

b. Torso Work.
• Combinations of various movements of the torso, arms and head.
• Contraction.

c. Legs.
• Continue with what you learned previously.
• Grand plié in parallel positions.
• Grand plié in open positions.
• Leg throws.

d. Combinations:
• Combination in Adagio time.
• Combination that starts the work of turns.

e. Movements in space:
• Combine various trajectories in space.

f. Jumps:
• Continue with the jumps studied previously:
• Jumps from 2 feet to one foot.
• Jumps from one foot to 2 feet.
• Jumps from one foot to one foot.

g. Directed improvisation where the technical principles reviewed above are applied.

Learning activities.

Module 1 of the second level of the course increases the degree of technical difficulty, for which it
is necessary to return to the knowledge acquired in the previous level and consider it as a starting
point to address what is proposed in this one. Thus, classes and exercises will have to be
designed that take up and introduce new knowledge, such as directed improvisation.

The use of various objects and materials, such as balls (large and small), springs, fabrics, music
of various genres and styles, constitute resources that will favor not only the understanding of the
technique but also its enjoyment.

January 2018 Page30 of 43 Key:3000-022-316

Module name: 2.- Movement and expression.

Teaching level: 2. Cognitive phase.

Duration of minimum hours of 60

the course:

Number of sessions: According to the teacher's work day.

Module objective: The user population will incorporate the basic technical
principles in carrying out combinations and
improvisations, coupled with the expression of emotions
and feelings.
MEXICAN SOCIAL SECURITY INSTITUTE
DIRECTORATE OF ECONOMIC AND SOCIAL BENEFITS
COORDINATION OF SOCIAL WELFARE
Theoretical-Practical Content and Didactic Supports

Artistic expression is the channeling of ideas and intellectual sensations outward and towards
others through an artistic discipline.

Throughout their development, the user population creates a mental representation of the world
around them or idealizes it in a symbolic way, building an intellectual structure that will later help
them “conduct themselves” in society and the environment.

But this process loses effectiveness and stability if it cannot be expressed. Expression is,
metaphorically, the varnish that encompasses and protects memories and symbolic structures.

Combinations of movement and expression:

• Combination in Adagio time.

• Combination that starts the work of turns, related to an emotion.

Movements in Space:

• Combination of various trajectories in space, slow, fast, fearless, furious, calm, etc.

Jumps:

• Continue with the jumps studied previously.

January 2018 Page31 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

Learning activities.

Free and directed improvisation exercises.

Module 2 aims for the user population to incorporate basic technical principles in performing
combinations and improvisations, in addition to introducing the learning of turns. The proposed
activities seek to integrate two or more contents viewed, in such a way that the user population
recognizes and explores the relationship that may exist between them.

Audiovisual materials, such as videos, can provide very clear examples of how technical principles
can be combined in a phrase or movement sequence. Images and sensations are not only
important in expression, but also in the person's appropriation of the technique, so it is
recommended not to lose this work during this module and in the one that continues.

January 2018 Page32 of 43 Key:3000-022-316

 Module name: 3.- The dance on the scene.

Teaching level: 2. Cognitive phase.

Duration of minimum hours of 60

the course:

Number of sessions: According to the teacher's work day.

Module objective: The user population will apply the knowledge learned and
integrate new learning based on a choreographic
montage.
Theoretical-Practical Content and Didactic Supports

MEXICAN SOCIAL SECURITY INSTITUTE

DIRECTORATE OF ECONOMIC AND SOCIAL BENEFITS
COORDINATION OF SOCIAL WELFARE

“Everyone has their own imaginary world”

Since we have emphasized that dance is a form of expression, it is necessary to strike a balance
to have an impact on the public: the user population does not have to compromise their work, but
at the same time they cannot break with the attention they are giving it. The public, the counselor
or the counselor together with their group have to reach a balance and this also depending on
where they work and the objective of the artistic work. In each State of the Mexican Republic, the
relationship with the public and its education about art or dance is different, so it must be taken
into account that the final work of the creative dance course expresses and transmits from the
particular to the the community.

To achieve this objective, the creative process will help the counselor carry out activities that are
part of the user's approach to dance; such as the creation of scenery and props, the dissemination
of the event, etc., so users will be able to develop some of these activities:

a. Combinations of concepts and actions reviewed in modules 1 and 2.

b. Collective composition of a dance in which the concepts and actions of movement
and dance are applied.
c. Preparation of a stage script:
• General structure and parts that constitute the choreography.
• Division of labor functions and those responsible for the various activities inherent to the

January 2018 Page33 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

creative process.
• Preparation of costumes, props, scenery, lighting, etc.

d. Memorization of movement sequences.

e. Realization of choreographic designs.
f. Interpretation of the feelings and ideas that underlie the dance.

Learning activities.

This module favors the application of learned knowledge and the integration of new learning
based on a choreographic montage, which can be proposed by the counselor. The creative
process involves carrying out activities that are part of the approach to dance; such as the creation
of scenery and props, the dissemination of the event, etc., so the user population will be able to
develop some of these activities.

Observing video choreographies allows the user population to identify what is expected of them in
their participation in a choreography, in addition to providing them with elements to critically
appreciate and give a cultural meaning to what is observed. To do this, it is suggested to watch
some films related to the topic of dance, or observe some choreographic exercises via the Internet
(for example on the video portal YouTube.com) .

January 2018 Page34 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

SAW. Assessment

To evaluate the learning of the user population in relation to the creative dance course, a series
of factors must be taken into account such as perception, understanding, interpretation and
creative expression; all of them subjective in nature. In that sense, it can be said that learning art
is related to cognitive processes of a qualitative nature, which manifest themselves differently in
each person.

Likewise, to value the creative work of the user population, not only the technical dance aspects
must be considered, but also those related to collective work. Below are some reflection points to
evaluate the course.

Aesthetic evaluation of the choreography presented by the group, analyzing the following
elements:

Expressives:

• Interpretation of ideas, emotions and feelings related to body movement and/or the meaning of
dance.
• Integration of visual and sound elements that support dance expression and body movements.
Technicians:

• Body management.
• Use of music and space by the group.
• Collective reflection on the assembly process, from its planning to its public presentation,
considering personal and collective experiences, from the educational process to its staging.

Procedures and assessment tools.

There are different procedures and instruments for evaluating art learning, which allow
counselors to focus on the qualitative and interpretive aspects that are closely linked to artistic
work.

Among these is observation, a procedure that allows us to look closely, in a systematic and
intentional manner, at the development of each user of the course, particularly during the
performance of dance activities. To carry out an evaluation process based on observation, it is
suggested to apply instruments such as the checklist or comparison (Annex 1) and the
descriptive assessment scale (Annex 2), in which particular aspects of the company's
performance are collected. user and the user during the course.

A checklist is created in a double-entry table (two columns). The left column lists the aspects
that the counselors wish to value, considering the learning purposes, skills and attitudes shown
by the user population in a given activity; each of which is expressed in a statement that serves
as an indicator of achievement.

January 2018 Page35 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

It is important to formulate an indicator for each aspect to be evaluated, in a clear, concrete and
direct manner, in such a way that it allows us to observe what is desired.

This instrument allows counselors to record the achievement of certain learning in the user
population, through observation.

Unlike the checklist, the descriptive assessment scale allows us to appreciate, through a set of
verbal expressions linked over time (always, many times, sometimes, never), the degree of
achievement of the course purposes. This instrument is useful to evaluate the process and
continuously record the progress of the user population.

January 2018 Page36 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

VII. Definitions

Accent : In music it is understood as the greater intensity of one pulsation with respect to
another.

Adagio : In dance it refers to a slow and elegant movement.

Dance: It is called the act of performing a dance, in which a person uses their body to make
movements to the beat or rhythm of music or melody, in order to express a message, by tradition
or with the aim of entertainment.

Dance and dances, as cultural and artistic expressions of human beings, date back many years
and in each geographical area we can find different musical styles and genres, although some
are global or of worldwide knowledge.

On the one hand, dance is used as a form of expression inherent to a tradition. For example, in
regional festivals that can be held in a specific area of the country (whichever) and dance scenes
are performed to the rhythm of typical dances from that region.

Dancing, for those who have good control of the body and its movements , and have a passion
for music, can even be a profession and work in different areas: dancing at events, in plays,
teaching dance to other people or as a member of choreographic groups.

Caudal cephalus : Relating to the long axis of the body or the relationship between the head and
the base of the spine.

Brushing : In dance, this is the name given to the movement that the foot makes with the
metatarsal, heel or sole and goes from the center of the body outward in any direction.

Compass : Periodic element of time that orders the different musical rhythms, facilitating their
reading and execution. In dance, the musical beat indicates how the piece that is being performed
should be counted.

Choreography: refers to a structure of movements that follow one another, to the rhythm of a
particular dance, which can be interpreted through body movements by one or more people.

In the latter case, group choreography in general tends to be harmonious, that is, people
simultaneously perform the same movements or they do not do so but they coordinate and
combine in such a way that it does not hinder the harmony of the musical picture. The term
choreography literally means dance writing (choreo: dance - graphy: writing or writing), so we can
think from this definition that choreography is a script where the body movements complement
and coordinate with the melody and the rhythm of a particular piece of music.

On the contrary, we find group choreography that is perhaps the most frequent, this type of
choreography is usually the one that is commonly practiced in gyms or dance and rhythm centers,
where the students present follow the steps set by the choreographer and the class consists in
putting together a group choreography.

January 2018 Page37 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

On the other hand, there is also folk choreography, which is related to the typical dances or
dances of a country, region or specific city and whose sequence of “steps” or movements are
known by the majority of the members of the community. which is linked.

Dance: it is an ancient art form that is based on the rhythmic movement of the body and that is
directly related to music, it is part of the seven classical arts and human beings practice it in
different situations: in the world of entertainment, rituals, folklore demonstrations, celebrations,
contests, etc. It could be stated that dance has a double aspect: as a cultural symbol and, at the
same time, it is a form of entertainment and escape.

Dance is a natural expression of communication, a way of transmitting feelings through body

movements. Likewise, it has a liberating and sensual component. And we must not forget that it is
present in war and in love. These diverse aspects make dance have a very unique force, a kind of
attraction that drives the body to move rhythmically.

We must remember that dance is an indicator of an era and a civilization.

Demi pliés: Movement used in dance that consists of a half-flexion of the knees downwards.

Diversity: is a term that refers to the plurality of elements in a certain area. Thus, it is possible to
refer to ethnic, cultural, biological diversity, etc. In more ideologized aspects, the term diversity is
usually used in reference to an existence of beings defined as different from each other and who
do not necessarily have to submit to a single standard; This last vision is usually controversial
since it eliminates or conceals some considerations that, when referring to the human race,
should be extensive. In any case, diversity is that which maintains multiple equally valid and
meaningful manifestations.

Cultural Diversity : It is called a situation where different cultural expressions typical of different
heritages and traditions can coexist harmoniously, each one making a different contribution. In
general, in the past, civilizations maintained a culture isolated from other communities; This
means that despite interacting with each other and enriching each other, diversity remained
distant, with each group trying to maintain its own identity. Currently, however, and as a
consequence of certain historical, social and technological processes, cultural diversity has been
oriented towards a process of gradual elimination of differences. Thus, today it can be perceived
that a kind of global common culture emerges from different cultures and pasts , which brings
together different cultural variants in a kind of amalgamation.

Staging : Representation or staging of a dramatic, musical work or a show.

Movement phrases : Sequence of steps in a dance choreography.

Grand plié : Movement used in dance that consists of a complete flexion of the knees .

Kinesiology : A set of therapeutic procedures aimed at restoring normal movements of the

human body. Scientific knowledge of those procedures.

Leg throws : The legs are thrown horizontally while the body maintains verticality.

January 2018 Page38 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

Movement: It is considered a relative concept, to the extent that it depends on the point of view
used; However, for practical purposes, classical mechanics remains a conceptual framework solid
enough to calculate motion in the world in which human beings develop. By extension, the
concept can be used figuratively, referring to different changes in the political, social, artistic
order, etc.; In this sense, a movement is considered as a new way of doing or considering a state
of affairs that has a solid validity.

If we consider the world, we see that movement is closely linked to change. Indeed, moving
implies to a certain extent changing a certain relationship with respect to other objects. This is so
to the extent that objects occupy a certain place in space, a place that is easily considered in
relation to other objects. When one of these objects moves, the magnitude of space between it
and other objects is said to change in relation to time. This circumstance occurs fundamentally
because the body was impelled by a force that generates this change of place in space in relation
to time. The concept of movement is somehow related to the concept of energy, to the extent that
this is defined as an ability to do work.

Bodies have a tendency to maintain movement as well as rest. This type of circumstance is called
inertia and is the ability that they have to maintain a constant speed when no new forces are
applied. In our world this is a common experience when we move at considerable speed and try
to stop suddenly. However, it must be considered that in these circumstances forces such as
gravity act that do not make the effect fully observable.

Pulse .- In music it is the unit of measurement used to measure rhythm. It is a constant

succession of pulses that are repeated, dividing time into equal parts.

Relevés .- In dance this is the name given to the act of standing on the toes and metatarsus of
the foot.

January 2018 Page39 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

VIII.Bibliography

• Aragón Monroy, Fernando. First Update Workshop on Study Programs. Secondary Education
Reform . Art, Dance I. Mexico, SEP, 2006.

• Aragon Monroy. Fernando , Second Update Workshop on Study Programs. Secondary

Education Reform . Art, Dance II. Mexico, SEP, 2007.

• Baril, Jacques. Modern dance . Mexico, Paidós, 1977.

• Barlow, Wilfred. The beginning by Matthias Alexander. Mexico, Paidós, 1974.
• Calais-Germain, Blandine. Anatomy for movement . Volume I, Introduction to the analysis of
body techniques. Spain, The March Hare, 2004.

• Cámara, Elizabeth and Hilda Islas. Teaching contemporary dance. A collective research
experience . Mexico, UACD-INBA, 2007.

• Camera, Elizabeth. Panorama of technical offers for training, awareness and body exploration ,
Mexico, CENIDI Danza “José Limón”-CENART-INBA, 2001. (Specific material for working with
children.)

• Camera, Elizabeth. Thought and action. The Leeder Method of the German School . Mexico.
Tecnológico de Monterrey-CONACULTA-INBA.

• Dallal, Alberto. How to approach dance, México, Plaza y Valdés, 2000.

• Ferreiro, Alejandra; Josefina Lavalle (2006). Creativity development program through
movement and dance. Didactic packages, Mexico, CENIDI Danza “José Limón” CENART-INBA
digital library. SEP, Development of creativity through movement and dance (three television
programs), 2007.

• Laban, Rudolf. Modern educational dance , México, Paidós, 1989.

• Lamotte, Andrée. Anatomy for movement. Exercise bases . Volume II. Spain, The March Hare,
2004.

• Lavalle, Josefina and Alejandra Ferreiro, Stories in motion: let's play at creating dances, Mexico,
CONACULTA/FONCA, 2007.

Specific material for working with children.

• Tortajada, Margarita and Luis Fandiño. Generous and perfect dance . Mexico, INBA, 2000.
Body expression materials.
• _____, Body expression and the adolescent, Buenos Aires, Barry Editores, s/f.

January 2018 Page40 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

• Aguilar Mendoza, Nora. Dance and Body Expression (The body and space, Music, Rhythm and
objects, Imagination, creativity and dance) . Mexico, SEP, Artistic Education Series, 1999.

• Aguilar Mendoza, Nora. Dance and Body Expression (Dance and the expression of
movement) , Mexico, SEP, Artistic Education Series, 1999.

• Ridocci, Mercedes. Body creativity . Spain, Ñaque Editora, 2005.

• Schinca, Martha. Body expression. Technique and expression of movement, Mexico, Paidós,
2001.

• Stokoe, Patricia and Alexander Schächter, Body expression, Barcelona, Paidós, 1994.
• Stokoe, Patricia and Ruth Harf, Body expression in kindergarten, Barcelona, Paidós, 1980.
• Stokoe, Patricia, Body Expression, Buenos Aires, Ricordi Americana, 1978.
Body expression materials.

• , Dance and Body Expression (Dance and the expression of movement) , Mexico.
Artistic Education Series, 1999.

• _____, Body expression and the adolescent, Buenos Aires, Barry Editores, s/f.
• Ridocci, Mercedes. Body creativity . Spain, Ñaque Editora, 2005.
• Schinca, Martha, Body expression. Technique and expression of movement, Mexico, Paidós,
2001.

• SEP, Dance and Corporal Expression (The body and space, Music, Rhythm and objects,
Imagination, creativity and dance) , Mexico, Artistic Education Series, 1999.

• Stokoe, Patricia and Alexander Schächter, Body expression, Barcelona, Paidós, 1994.
• Stokoe, Patricia and Ruth Harf, Body expression in kindergarten, Barcelona, Paidós, 1980.
• Stokoe, Patricia, Body Expression, Buenos Aires, Ricordi Americana, 1978.
Hemerography.
• _______ “History of dance teaching in Mexico”, in Correo para el maestro.

• Aragón Monroy, Fernando, “The Reform of Secondary Education and its educational approach
to dance”, in Correo para el maestro. Magazine for basic education teachers . Mexico,
November 2007, Year 12, number 138.

January 2018 Page41 of 43 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

• Cámara, Elizabeth, “From traditional dance to Folklore and “folkloric ballets”, Casa del tiempo
Magazine . Mexico, UAM, vol. II, period III, numbers 23 and 24. (Reflection material on teaching
activity.)

• Parties . Unknown Mexico Guide , number 9, Year, 1993. (Approach material to dance
contextualization content).

• Magazine for basic education teachers . Mexico, August 2007. Year 13 Number 13.
(Appreciation and contextualization of dance).

Videography.

• National Geographic. The incredible human machine . Atlas of the human body

January 2018 Page42 of 43 Key:3000-022-316

 Appendix 1

"Check list"

January 2018 Page1 of 4 Key:3000-022-316

 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

Check list

In the example shown below we observe, in the vertical direction on the left side, the learning
indicators that are linked to the dance work seen in this teaching guide at a specific time in the
course. This instrument allows counselors to record the achievement of certain learning in the
user population, through observation.

EK 1 MEXICAN SOCIAL SECURITY INSTITUTE

•.5)/ SECURITY AND SOCIAL SOLIDARITY

Check list
Delegation (1)
UOPSI (2)
Name of the staff teaching the course:
(3)
Module name: (4)
Teaching level: (5)
Schedule: (6)
First assessment at the beginning of
the course (7)
Second assessment at the end of the
course (8)
Learning indicators
Identify the basic principles of
movement (9)
Recognizes the possibilities of
(10)
movement of one's own body.
Identify how your movements are
coordinated with your emotional state. (11)

(12)
Memorizing step sequences
Handling of props and accessories (13)
Interpretation (14)
Relationship (15)
scenic driving (16)
Identification of emotions from
(17)
movement and music.
Integration with the group. (18)

Code: 3150-DC-009-004

January 2018 Yo Page2 of 4 Yo Key:3000-022-316

 TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY

Appendix 1
“Checklist” Filling instructions

No FACT ANNOTATE
. Delegation: Name of the IMSS State Delegation in which the
1. counselor works.

2. UOPSI:
Name of the Institutional Social Benefits Operational Unit
to which the counselor belongs.

3. Name of the staff

Full name of the counselor starting with the first last name.
teaching the course:

4. Module name: The teaching level module according to this teaching

guide.

5. Teaching level:
The level of the course according to this teaching guide.

6. Schedule: Start and end of session by group.

7. First assessment:
From 1 to 10, according to the performance of the user in
the development of some basic exercises indicated by the
counselor, when starting each module that forms the
teaching level.

8. Second assessment: From 1 to 10 according to the performance of the user in

the development of some basic exercises indicated by the
counselor at the end of each level.

Code: 3150-DC-009-004
January 2018 Page 3 of 4 Key:3000-022-316
TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY

Learning indicator
No. FACT ANNOTATE
9. Identify the basic principles
of movement. Recognize
10. the possibilities of
movement of your own
body.
Identify how your
11.
The counselor will determine of
movements with his according to the module and the teaching level of
emotional state. this didactic guide, the 10 indicators of
12. Memorization of learning that should be valued.
Sequences of steps
13. Handling of props and Important: These indicators must be the
accessories themselves to evaluate the user population of
14. Interpretation each of their groups.
15.
16.
17.
Couple relationship Stage
management Identification
of emotions from
18.
movement and music.
Integration with the group.

Code: 3150-DC-009-4
January 2018 Page 4 of 4 Key:3000-022-316
 Appendix 2
“Descriptive rating scale”

January 2018 Page1 of 4 Key:3000-022-316

 Descriptive rating scale

In the example shown below, the specific Learning Indicators for each level of the course appear
on the left side; and to the right, spaces where the counselors can indicate the frequency with
which the user population demonstrates the use of a certain indicator.
Example of a descriptive rating scale:
fKA 1 MEXICAN SOCIAL SECURITY INSTITUTE
SECURITY AND SOCIAL SOLIDARITY

Descriptive rating scale

Delegation (1)
UOPSI (2)
Name of the staff teaching the course:
(3)
Module name: (4)
Teaching level: (5)
Schedule: (6)
First assessment at the beginning of
the course (7)
Second assessment at the end of the
course (8)
Many times Sometimes
Learning indicators Always Never

Recognize some aspects

related to body alignment, breathing and its (9)
relationship with movement, as well as the
functioning of the human body.
Relates body work to concepts and actions
of dance that promote the care of the body
and mind.
(10)

Locate the sociocultural context of the

selected dance/dance (11)
Memorizing step sequences (12)
Handling of props and accessories (13)
Interpretation (14)
Relationship (15)
scenic driving (16)
Identification of accents and sound pauses
(17)
Integration with the group (18)
Code: 3150-DC-009-005

January 2018 Page2 of 4 Key:3000-022-316

TO 1 MEXICAN SOCIAL SECURITY INSTITUTE
))1A SECURITY AND SOCIAL SOLIDARITY

Appendix 2
“Descriptive rating scale” Filling instructions

No. FACT ANNOTATE

1. Delegation: Name of the IMSS State Delegation in which the
counselor works.

2. UOPSI:
Name of the Institutional Social Benefits Operational Unit
to which the counselor belongs.

3. Name of the staff

Full name of the counselor starting with the first last name.
teaching the course:

4. Module name: The teaching level module according to this teaching

guide.
5. Teaching level: The level of the course according to this teaching guide.

6. Schedule: Start and end of session by group.

7. First assessment:
According to the descriptive assessment (Always, many
times, sometimes or never) that predominates in the
user's performance in the development of some basic
exercises indicated by the counselor, at the beginning of
each level of teaching .

8. Second assessment:
According to the descriptive assessment (Always, many
times, sometimes or never) that predominates in the
user's performance in the development of some basic
exercises indicated by the counselor at the end of each
level of teaching .

Code: 3150-DC-009-005
January 2018 Page3 of 4 Key:3000-022-316
 Learning indicators

No. FACT ANNOTA

9. Recognizes some aspects related to the alignmentTE
body, breathing and its relationship with movement, as well as the functioning of the
human body.
10. Relates body work to concepts and actions of dance that promote the care of the body
and mind.
11. Locate the sociocultural context of
The counselor will determine, according to the
the selected dance/dance
module and the teaching level of this teaching guide,
12. Memorizing step sequences
the 10 learning indicators that must be assessed.
13. Handling of props and
accessories
Important: These indicators must be the same to
14. Interpretation
evaluate the user population of each of their groups.
15. Relationship
16. scenic driving
17. Identification of accents and
sound pauses
18. Integration with the group

Code: 3150-DC-009-005

January 2018 Page4 of 4 Key:3000-022-316