Introduction

This guide is designed to help IB Dance educators and students leverage the power of Generative AI to enhance teaching, learning, and creative exploration. The prompts are directly aligned with the latest IB Dance curriculum (first assessment 2024), focusing on the core areas of Performance, Composition and Analysis, and Dance Investigation.

How to Use These Prompts:

1. Copy and Paste: Select a prompt that fits your needs.
2. Customize: Replace bracketed text [like this] with your specific details (e.g., a dance style, a choreographic stimulus, a specific prescribed work).
3. Iterate: Use the AI’s initial response as a starting point. Ask follow-up questions to refine, expand, or reformat the information. Treat the AI as a creative partner and a knowledgeable assistant, not as a final authority.

Section 1 – Educator Prompts (50)

These prompts are designed to assist teachers with every stage of the course, from long-term planning to creating engaging classroom activities.

A. Curriculum & Lesson Planning (15 Prompts)

1. Syllabus Outline: “Act as an experienced IB Dance teacher. Create a two-year course outline for IB Dance [SL/HL] in a table format. Columns should include: Term, Unit Title (e.g., ‘Foundations of Choreography’), Key Syllabus Links, Core Activities, and Formative Assessment Ideas.”
2. Unit Plan: “Generate a detailed unit plan for a 6-week unit on ‘Composition and Analysis’. The plan should include weekly learning objectives, key vocabulary, suggested practical tasks, theoretical components, and links to the final assessment criteria.”
3. Lesson Objective Generator: “Create 5 distinct lesson objectives for a 90-minute practical class focused on developing choreographic skills using [improvisation as a stimulus]. Ensure objectives are measurable and address both physical and cognitive skills.”
4. Connecting Components: “Explain in a clear, concise paragraph how the skills developed in the ‘Performance’ component directly support the ‘Composition and Analysis’ assessment. Provide 3 concrete examples.”
5. HL vs. SL Differentiation: “Create a table that clearly differentiates the expectations for the ‘Dance Investigation’ at SL and HL. Focus on differences in scope, research depth, analytical rigor, and word count.”
6. Integrating Dance History: “Design a lesson plan that integrates the study of [postmodern dance pioneer Merce Cunningham] with a practical workshop on using chance procedures in choreography.”
7. Resource List: “Generate a curated list of 10 essential online resources (videos, articles, archives) for studying [Japanese Butoh]. For each resource, provide a brief description of its relevance to the IB Dance curriculum.”
8. Stimulus Brainstorm: “Provide a list of 20 diverse stimuli for the ‘Composition’ task, categorized into: Auditory, Visual, Kinesthetic, and Ideational.”
9. Guest Artist Plan: “Outline a plan for a guest artist workshop with a [professional contemporary choreographer]. Include pre-workshop activities for students, key questions for the artist, and post-workshop reflection tasks.”
10. Interdisciplinary Links: “Suggest 3 interdisciplinary project ideas connecting IB Dance with [IB Visual Arts]. For each idea, outline the project goal, potential student activities, and assessment criteria.”
11. Year-at-a-Glance: “Create a ‘Year-at-a-Glance’ calendar for IB Dance [HL] students, mapping out key internal and external assessment deadlines, suggested study periods, and major practical milestones.”
12. Safety and Ethics: “Generate a student-friendly checklist on ‘Health, Safety, and Ethical Considerations’ in the dance studio. Cover topics like physical warm-ups, safe partnering work, injury prevention, and intellectual property in choreography.”
13. Developing Analytical Skills: “Design a sequence of 5 mini-lessons (15 minutes each) aimed at building students’ skills in analyzing dance, starting with basic elements (space, time, energy) and progressing to complex structural and thematic analysis.”
14. Cultural Context: “Create a lesson plan framework for introducing the ‘Dance Investigation’. The framework should guide students on how to research and understand the cultural and historical context of a chosen dance form like [Samba].
15. TOK Integration: “Generate 5 TOK (Theory of Knowledge) discussion prompts related to IB Dance. Prompts should explore questions about the body as a way of knowing, aesthetic judgment, and the role of intention in art.”

B. Instruction & Delivery (15 Prompts)

1. Warm-up Plan: “Design a comprehensive 20-minute dance warm-up suitable for an IB Dance class. It should include cardiovascular exercises, dynamic stretching, joint mobilization, and core strengthening, preparing students for [complex floorwork].
2. Worksheet Creation: “Create a worksheet for analyzing a short dance film. The worksheet should guide students to identify and describe the choreographer’s use of movement vocabulary, dynamics, spatial design, and relationship to the aural setting.”
3. Discussion Starter: “Provide 5 thought-provoking, open-ended questions to start a class discussion after watching a performance of [Akram Khan’s ‘Until the Lions’].”
4. Differentiated Task: “Design a differentiated practical task for a mixed-ability class. The task is to create a 32-count phrase based on the stimulus of [a poem by Maya Angelou]. Provide a simplified version for beginners and an extension challenge for advanced students.”
5. Peer Feedback Form: “Create a peer feedback form for the ‘Composition’ task. The form should be structured around the IB assessment criteria (e.g., Choreographic Intention, Use of Movement, Structure) and use constructive language.”
6. Technique Class Plan: “Outline a 90-minute technique class plan focused on [Graham technique]. Structure it with barre work, center work, and traveling sequences, specifying the key technical focus for each exercise.”
7. Improvisation Score: “Generate a structured improvisation score for a 10-minute exploration. The score should guide students through different states of dynamic energy, spatial pathways, and interactions with a partner, themed around [conflict and resolution].
8. Video Analysis Guide: “Create a step-by-step guide for students on how to effectively annotate a video of their own performance rehearsal, focusing on alignment, musicality, and performance quality.”
9. Role-Play Scenario: “Create a role-play scenario for students. One student is the ‘Choreographer,’ and the other is the ‘Dancer.’ The Choreographer must effectively communicate a complex movement idea without demonstrating it physically, focusing on verbal cues and imagery.”
10. Exit Ticket Questions: “Generate 5 quick ‘exit ticket’ questions to assess student understanding at the end of a lesson on [Laban’s Efforts]. Questions should be a mix of recall and application.”
11. Building Movement Vocabulary: “Design a creative task where students must generate 5 unique movements for each of the following action words: ‘shatter,’ ‘melt,’ ‘suspend,’ ‘vibrate,’ ‘slash’.”
12. Rehearsal Schedule Template: “Create a template for a 4-week rehearsal schedule for the ‘Duet/Trio Performance’ task. The template should include sections for goal-setting, task allocation, feedback sessions, and run-throughs.”
13. Explaining Abstract Concepts: “Explain the choreographic concept of ‘motif and development’ using an analogy related to [cooking a meal]. Provide simple, actionable steps for a student to apply this in their work.”
14. Gallery Walk Activity: “Design a ‘gallery walk’ activity. Post images of [5 different iconic dance works] around the room. Create a corresponding question for each image that prompts students to analyze its historical context or choreographic style.”
15. Socratic Seminar Prompts: “Develop a set of Socratic seminar questions to explore the theme of ‘Identity’ in dance. The questions should encourage students to draw on personal experience, observed performances, and their theoretical knowledge.”

C. Assessment & Feedback (10 Prompts)

1. Rubric Creator: “Act as an IB examiner. Create a student-friendly rubric for the ‘Solo Performance’ task, breaking down each criterion (e.g., Technical Skill, Performance Quality) into descriptive levels from ‘Limited’ to ‘Excellent’.”
2. Mock Exam Question: “Generate a mock written exam question for the ‘Composition and Analysis’ paper. The question should ask students to analyze how they used [a specific choreographic device] to communicate their artistic intention in their composition.”
3. Feedback Generator: “A student’s draft ‘Dance Investigation’ on [Capoeira] is strong on historical context but weak on movement analysis. Generate 3 constructive ‘I notice…’ statements and 3 actionable ‘I wonder…’ questions to guide their revisions.”
4. Report Card Comments: “Provide 5 sample report card comments for an IB Dance student who is excelling in practical work but needs to improve their written analysis and research skills.”
5. Self-Assessment Questionnaire: “Create a self-assessment questionnaire for students to complete after their ‘Composition’ showing. Questions should prompt reflection on their creative process, challenges, and achievement of their choreographic intention.”
6. Analyzing Exemplars: “You are an IB workshop leader. Write a guide for teachers on how to use a high-scoring student exemplar for the ‘Dance Investigation’ as a teaching tool without encouraging plagiarism.”
7. Oral Presentation Rubric: “Design a rubric to assess a student’s oral presentation of their ‘Dance Investigation’ research proposal. Criteria should include clarity of research question, viability of methodology, and quality of sources.”
8. Practical Exam Scenario: “Create a practical exam scenario. Students have 60 minutes to create and perform a 1-minute solo based on a previously unseen stimulus: [a photograph of a crowded city street]. What would be the key assessment points?”
9. Marking Practice: “Here is a short, anonymized student response to a question about [Pina Bausch’s choreographic style]: [Insert 150-word student text here]. Act as an examiner and provide a mark out of 10 with a brief justification, referencing IB command terms.”
10. Predictive Questions: “Based on the IB Dance syllabus, predict three potential themes or focus areas that could appear in future written exam questions related to the analysis of prescribed works.”

D. Enrichment & Extension (10 Prompts)

1. Career Pathways: “Generate a list of 15 career pathways for a graduate with a strong background in IB Dance. Go beyond ‘performer’ and include roles in arts administration, therapy, technology, and education.”
2. University Course Finder: “List 10 top university programs (globally) for studying dance, choreography, or dance studies. For each, briefly describe its unique focus (e.g., performance-intensive, research-focused, interdisciplinary).”
3. Choreographic Challenge: “Design a 30-day ‘Choreographic Challenge’ for advanced HL students. Provide a unique, one-word stimulus for each day to inspire the creation of short movement studies.”
4. Dance Film Festival: “Curate a ‘mini dance film festival’ list with 5 films that challenge traditional notions of choreography and performance. For each film, write a short synopsis and one critical thinking question.”
5. Community Project Idea: “Outline a CAS (Creativity, Activity, Service) project proposal where IB Dance students choreograph and teach a short dance piece to [elementary school students], culminating in an informal performance.”
6. Reading List: “Create an advanced reading list for an HL student wanting to deepen their understanding of [dance anthropology]. Include key authors, seminal texts, and academic journals.”
7. Podcast Episode Idea: “Generate an outline for a 15-minute student-led podcast episode titled ‘Beyond the Stage.’ The episode should feature a discussion on the role of dance in [social activism], referencing at least two specific artists or companies.”
8. Digital Portfolio Guide: “Create a guide for students on how to build a professional digital portfolio showcasing their IB Dance work (performance clips, choreography, research excerpts). Suggest platforms and best practices.”
9. Grant Proposal Simulation: “Create a simplified grant proposal template. Ask students to ‘apply’ for funding for their ‘Composition’ project, requiring them to articulate their artistic vision, budget, and intended impact.”
10. Future of Dance: “Write a 300-word speculative article on ‘The Future of Dance,’ exploring the potential impact of [AI and virtual reality] on choreography, performance, and audience experience. Use this to spark a debate.”

Section 2 – Student Prompts (50)

These prompts are designed to empower students to take ownership of their learning, from understanding foundational concepts to mastering assessment tasks.

A. Understanding Core Concepts (15 Prompts)

1. Explain It Simply: “Explain the choreographic principle of ‘retrograde’ as if you were talking to a 10-year-old. Use a simple, non-dance example.”
2. Key Term Definitions: “Define the following key terms in the context of IB Dance: [Kinaesthetic Awareness, Stylistic Nuance, Somatic Practices]. For each term, provide an example of how it might be applied in the studio.”
3. Compare and Contrast: “Create a Venn diagram comparing and contrasting the choreographic styles of [Martha Graham] and [Twyla Tharp]. Focus on their use of torso, relationship to gravity, and movement vocabulary.”
4. Summarize a Theory: “Summarize Rudolf Laban’s theory of ‘Effort’ in three short paragraphs. Explain the four factors (Space, Weight, Time, Flow) and provide a movement example for each.”
5. Historical Context: “Provide a bullet-point summary of the key social and historical factors that led to the emergence of [American postmodern dance] in the 1960s.”
6. Role of a Dramaturg: “Explain the role of a ‘dance dramaturg.’ What are three ways a dramaturg could support the creation of a new choreographic work?”
7. Anatomy for Dancers: “Explain the function of the [rotator cuff muscles] in dance. Suggest two specific exercises to strengthen them and one stretch to maintain their flexibility.”
8. Musicality Explained: “Describe three different ways a choreographer can relate movement to music, beyond simply dancing ‘on the beat.’ Use the terms [visualization, counterpoint, and narrative].”
9. Choreographer Profile: “Create a one-page profile of the choreographer [Crystal Pite]. Include a brief biography, a description of her signature choreographic style, and a list of 3 of her major works.”
10. Concept Map: “Generate a concept map showing the connections between ‘Choreographic Intention,’ ‘Movement Vocabulary,’ ‘Structure,’ and ‘Dancers & Environment’ in the ‘Composition’ task.”
11. What’s the Difference?: “Clarify the difference between ‘technique’ and ‘style’ in dance. Provide an example using [ballet].”
12. Cultural Significance: “Explain the cultural significance of [the Haka] in its original context. How does its meaning change when performed on a concert stage?”
13. Lighting Design: “Describe how a lighting designer could use color, angle, and intensity to create a mood of [suspense and anxiety] for a dance piece.”
14. Improvisation vs. Choreography: “Write a short dialogue between two dancers arguing about the merits of improvisation versus set choreography in performance.”
15. Paraphrase This: “Take this academic sentence about dance aesthetics: [Insert complex sentence, e.g., ‘The phenomenological experience of the spectator is intrinsically linked to the kinaesthetic empathy evoked by the performer’s dynamic embodiment.’] and rephrase it in simple, clear language.”

B. Developing Practical Skills (15 Prompts)

1. Choreographic Stimulus: “I need to choreograph a solo. My stimulus is [the feeling of nostalgia]. Generate 10 action verbs, 5 body parts to initiate movement from, and 3 different dynamic qualities to explore.”
2. Solo Structure: “I am creating a 2-minute solo for my ‘Performance’ task. Suggest a simple three-part structure (e.g., ABA) and describe the potential energy and spatial focus for each section.”
3. Rehearsal Plan: “Act as my personal rehearsal director. Create a 90-minute rehearsal plan for me to improve the clarity of my ‘Solo Performance.’ The plan should include a warm-up, skill drills, section-by-section cleaning, and a full run-through with specific focus points.”
4. Overcoming a Creative Block: “I’m stuck on my ‘Composition’ and have no new ideas. Suggest 5 creative tasks I can do in 20 minutes to break through this block.”
5. Developing a Motif: “Here is my choreographic motif: [Student describes a short sequence of 3 movements]. Suggest 4 ways I can develop this motif using choreographic devices like fragmentation, change of scale, reordering, and embellishment.”
6. Feedback into Action: “My teacher told me my performance quality lacks ‘projection.’ Give me a bulleted list of 5 physical and mental exercises I can practice to improve my performance projection and stage presence.”
7. Duet Interaction: “I’m choreographing a duet about [symbiosis]. Suggest 5 different ways the two dancers can physically interact, moving beyond simple mirroring or unison. (e.g., counter-balance, leading/following, lifting/supporting).”
8. Musicality Practice: “I need to improve my musicality. Suggest a short, practical exercise I can do using the song [a specific instrumental track]. The exercise should focus on embodying the different instrumental layers, not just the melody.”
9. Filming for Analysis: “Give me a checklist of 5 things to remember when filming my choreography for self-analysis. Include tips on camera angle, framing, and lighting.”
10. Performance Mindset: “Act as a sports psychologist. Give me 3 mental preparation techniques to use in the 10 minutes before I go on stage for my ‘Solo Performance’ to manage nerves and focus my energy.”
11. Phrase Creation: “Create a 16-count movement phrase using only pedestrian movements (walking, turning, sitting, gesturing) but applying specific dynamic instructions (e.g., ‘a sudden stop,’ ‘a slow, sustained turn’).”
12. Spatial Design: “I want to make my choreography more spatially interesting. Give me 5 challenges related to using space, such as ‘create a phrase that only uses upstage left’ or ‘design a floor pattern based on a figure-eight’.”
13. Transition Troubles: “My choreography feels choppy because the transitions are weak. Give me 3 strategies for creating seamless transitions between a [slow, floor-based section] and a [fast, traveling section].”
14. Communicating with Dancers: “I’m choreographing on my peers for the ‘Composition’ task. Give me 5 sentence starters for giving constructive and respectful feedback to my dancers during a rehearsal.”
15. Journaling Prompts: “Provide 5 journal prompts for me to use after each rehearsal for my ‘Composition.’ The prompts should encourage reflection on the process, challenges, and discoveries.”

C. Research & Analysis (10 Prompts)

1. Research Question: “I want to do my ‘Dance Investigation’ on [flamenco]. Help me narrow my focus. Generate 3 potential research questions that are specific, arguable, and researchable within the scope of the IB task.”
2. Outline Generator: “Create a detailed outline for an SL ‘Dance Investigation’ (1500 words) on the topic of [How the Nicholas Brothers challenged racial stereotypes through their tap dance style]. The outline should include an introduction, body paragraphs with topic sentences, and a conclusion.”
3. Source Evaluation: “Act as a research librarian. I found an article online for my HL ‘World Dance Investigation.’ What are 5 key questions I should ask to evaluate whether this source is credible and academic?”
4. Annotated Bibliography: “Show me an example of an entry for an annotated bibliography for my ‘Dance Investigation.’ Use the book [‘Stepping Left’ by Ellen Graff] and format it in [MLA style]. The annotation should summarize the source and explain its relevance to my research.”
5. Analyzing a Prescribed Work: “I am analyzing [a specific prescribed work] for my written exam. Guide me through a structural analysis. What key things should I look for in terms of form, sections, and overall organization?”
6. Thesis Statement Builder: “Help me write a strong thesis statement for my ‘Dance Investigation.’ My topic is [the evolution of Irish Step Dance from traditional form to competitive spectacle]. Give me three different thesis statement options, each with a slightly different argument.”
7. Integrating Quotes: “Show me how to properly integrate a quote from dance critic [Arlene Croce] into a paragraph analyzing a performance. Provide a ‘before’ (just dropping the quote in) and ‘after’ (smoothly integrating it) example.”
8. Movement Analysis Paragraph: “Write a sample paragraph (approx. 150 words) analyzing a short movement sequence. Describe the dancer’s use of space, time, and energy with specific, descriptive language. The movement is [a slow, spiraling fall to the floor followed by a sharp, quick recovery to standing].
9. Finding Academic Databases: “List 5 online academic databases or journals where I can find scholarly articles on dance studies, performance theory, or dance anthropology.”
10. Primary vs. Secondary Sources: “For my ‘Dance Investigation’ on [the work of Katherine Dunham], provide 3 examples of potential primary sources and 3 examples of potential secondary sources I could use.”

D. Revision & Exam Prep (10 Prompts)

1. Flashcard Creator: “Generate a set of 10 digital flashcards for revising [key choreographers of the 20th century]. The front should have the choreographer’s name, and the back should have 3 key facts about their style and contribution.”
2. Self-Quiz: “Create a 10-question multiple-choice quiz on the topic of [the elements of dance (Body, Space, Time, Energy, Relationship)]. Include an answer key.”
3. Essay Plan: “Create a detailed essay plan for the following mock exam question: ‘Analyze how the choreographer of the prescribed work you have studied used the relationship between dancers to communicate a key theme.’ The plan should include an introduction, 3 body paragraphs with topic sentences, and a conclusion.”
4. Command Term Practice: “Explain the difference between the IB command terms ‘Analyze,’ ‘Evaluate,’ and ‘Describe’ in the context of a dance essay. Give a sample sentence for each.”
5. One-Page Revision Guide: “Condense the key information for the ‘Composition and Analysis’ assessment onto a single-page revision guide. Use headings, bullet points, and bold keywords.”
6. Timed Writing Practice: “Give me a writing prompt about [the role of the audience in completing the meaning of a dance work]. I will write for 20 minutes. Afterwards, provide me with feedback on the clarity of my argument and the structure of my response.”
7. Concept Association: “Help me revise. For the central concept of [Rhythm], list 5 associated ideas, 3 related choreographers, and 1 potential essay question.”
8. Peer Teaching Simulation: “I have to teach the concept of [Somatic Awareness] to a classmate in 5 minutes. Explain it to me in a simple, clear way that I can then relay to them. Include a simple practical task they can do.”
9. Error Analysis: “Here is a weak thesis statement: [‘Pina Bausch was an important choreographer.’]. Explain why it is weak and rewrite it to be a strong, arguable thesis for an analytical essay.”
10. Final Checklist: “Create a final checklist for me to review the night before my ‘Solo Performance’ exam. The list should include practical things (costume, music) and mental reminders (breathing, focus points).”

Section 3 – Bonus Universal Prompt (1)

This prompt is designed for creative, interdisciplinary thinking and can be used by both educators (as a project) and students (as a personal challenge).

1. The Synesthetic Choreographer: “Act as a choreographer who experiences synesthesia (the blending of senses). You have been commissioned to create a 3-minute dance piece based on the ‘taste’ of [a lemon].
   * For the AI: Generate a detailed concept proposal. Describe the movement vocabulary (sharp, acidic, zesty), the structure of the piece (from the initial bitter shock to the lingering fresh aftertaste), the soundscape (crackling, fizzing, sharp electronic sounds), and the lighting and costume design (vibrant yellows and stark whites).
   * For the User (Teacher/Student): Use this AI-generated proposal as a starting point to create and develop an actual piece of choreography.”