Adaptive Rhythmic Movement

for All Ages and Ranges of Abilitiy

Susan Kramer

This rhythmic and expressive movement teaching text was created from my work as a dance specialist with children to seniors and those challenged since 1965; from observing that people of all ages are adaptable; expressing feelings and thoughts in alternative bodily ways when faced with challenges¾challenges that may be emotional, mental, physical, or in combination.

Music and rhythms provide inspiration for structured and expressive movement. The clapping, floor exercises, and moving on the floor exercises in this text develop coordination of body-mind through right-left brain development; the theory of receiving input through the bodily senses—body to mind and then mind to body for action, powered by spirited, enthusiastic energy—is a basis of somatic education. My relevant educational background and more links are at the end of the text, including Dalroze Eurhythmics and Labanotation.

All levels of mobility will find something useful. Practical hints are given for those confined to bed or wheelchairs or with limited range of motion. Music and rhythmic clapping or rhythm instruments provide the inspiration. For example: Those with impaired hearing can feel the vibrations of music in their hands by touching a piano being played or a sound speaker for a radio, tapes, cds, and some musical instruments; even through their feet on a floor that is vibrating from an instrument being played in the room. More on music's affect on the body-mind can be found in my online commentary Music as a Means of Awakening in English with German translation at the URL: http://www.susankramer.com/Music.html
 

I. Basic Lesson Plan

Considerations:
A Full Lesson or a 'Sponge' Activity?
A Basic 40-minute lesson plan follows, broken up into 8 approximately five-minute segments. But any of the elements can be worked on one at a time, to make them a 'sponge' activity, absorbing a few minutes of extra class time productively. 'Sponge' activities can mostly be done right alongside the furniture as it normally sits in the room. One idea is to spend an equal amount of time practicing set rhythmic movements, and creative expression.
Providing Space
For the full 40 minute lesson there needs to be ample floor space to maneuver. Some choices if using the regular classroom are to move furniture to the outer perimeter of the room to free up the center portion, or to move furniture to the center of the room to work in a large outer circle.

Basic 40-Minute Lesson Plan
—segments, approximately 5 minutes each,
generally alternate between less, (numbers 2, 4 & 7), and more active, (numbers 1, 3, 5, 6, & 8).

1. Floor Exercises
The Rocker; The Squirrel; The Owl; The Starfish; The Resting Snake; The Cat Stretch. Technique explained and suggestions of music for singing or listening are in Part IV of this text. This sequence can be presented at the beginning of every session; dancers memorize it very quickly. It is a complex memorization but the dancers' bodies quickly remember what comes next, achieving a sense a satisfaction and stability to ground them for the rest of the class which will be varied every time. Adapt these exercises for use in wheelchairs or in bed. Partner helps dancer as needed.

2. Clapping Rhythms
Positions in a circle: cross-legged on floor; in wheelchairs; beds arranged so dancers are facing in.  Begin with a familiar basic pattern and work into the rhythm planned for the particular lesson. Technique explained in Part III, number 1.

3. Rhythmic Movements
Out on the floor; adapt to wheelchairs; adapt to moving in bed with partner's help as needed. Use individual rhythmic movements or simple combinations. Technique explained and suggestions for music for singing or listening  are given in Part V. For sets and patterns of rhythmic movements see online text: Clapping, Moving for Learning 16 Basic Rhythmic Movements in English with translations in Dutch, French, German, and Spanish, at the URL: http://www.susankramer.com/clapping.html

4. Resting
Quiet time for the dancers. Relaxing music for listening may be played. Preparation: Lie in The Starfish position from Part IV. letting arms and legs go limp like spaghetti noodles on a plate. If in wheelchair, lean head forward or to one side and proceed. Eyes closed. Breathe in and breathe out evenly; such as 2 counts breath in, and 2 counts breath out. Do not use breath retention. To resume activity, open eyes and stretch out, or come to attention.

5. Learning a New Rhythmic Movement
Reviewing or learning a new rhythmic movement from Part V. Partner helps dancer as necessary.

6. Expressive Movements
In response to music or rhythm instruments; time for freely moving in different dynamics, directions, levels, turns, combination of rhythms, mime, pantomime, folk songs.  Explore qualities of movement by listening and moving to the tempo and color of music. See Part VI.

7. Clapping Syllables of Words and Rhythms of Songs
Sitting cross-legged, or in wheelchairs or beds, listen and clap to the syllables of the words or the rhythmic pulse of a song. For instructions go to Part III, number 2.

8. Energizing
Dancers enjoy leaving on a note of exuberance, energized by either rhythmic movements Part V, or expressive movements Part VI. If in an academic setting, after the movement session would be a time to practice math or language skills as the dancers have just had body-mind somatic practice in counting, or sets, or syllables of words. See text Clapping While Singing to Learn Basic Math at the URL: http://www.susankramer.com/singing.html
 
 

II. General Notes

Guidelines:
Some exercises in the practice sections will not be suitable for every situation.
1. Each participant is called a dancer; the partner is the person helping the dancer with the exercises.
2. When possible use eye to eye contact with dancers to develop their attention span.
3. Participate with the dancers, as an example of cooperation between those in different roles.
4. Wait for all dancers to give you their attention before beginning, developing concentration and self-discipline.
5. Keep a positive attitude with each dancer as they practice. Remind them that practice breeds progress. Progress breeds self-esteem, especially in the dancer who has difficulty learning just by seeing, listening, memorizing. Differently-abled dancers benefit through the coordination developed in body-mind, right-left brain movement. Encourage each dancer's progress. Success here encourages the dancer to try new, alternative ways of expressing.
6. If working with a group of dancers with similar abilities, allow dancers to 'star' in the lesson by moving individually in a rhythm going across the room or around the perimeter of dancers who are in a circle. Again, this builds the dancer's self-esteem.
7. Go on to the next segment of the lesson if dancers lose interest, and likewise stay longer with a segment that is developing. This shows the dancer that it is okay to be flexible in changing circumstances.
8. If appropriate for the setting and dancers, end a full-length lesson on an upbeat note by having the students move in a way that has them using most of their body in motion; the exuberance generated by enthusiastic activity is energizing and a tenet of somatic education.
 
 

III. Clapping to Songs and Rhythms

 

1. Clapping Rhythms

Guidelines:
Partner and dancer sit on the floor, or sit together on a bed, or partner sits in a chair facing dancer who is sitting in a chair. While working on the floor, dancer sits cross-legged in front of partner, facing forward so that his back faces partner. If needed, partner holds dancer's right wrist with right hand and left wrist with left hand, so that partner can lead dancer's clapping pattern.

Dancers watch as the teacher claps the starting pattern:
1, 2, 3, 4 / 1, 2, 3, 4 / 1, 2, 3, 4 / 1, 2, 3, 4 / etc.

Dancers pick up the pattern by watching the teacher, feeling the rhythm within themselves. Now everyone closes their eyes, and by listening follows the clapping pattern in unison when the teacher changes it. One set of hand claps is followed by one set of floor claps; repeat sequence over and over.

Note to teachers:
While the dancers eyes are closed, silent claps can be included by clapping with hands and then resting hands in lap for 1 or 2 claps. Repeat the sequence till the dancers are repeating it:
1, 2, lap, 4 / 1, 2, lap, 4 / 1, 2, lap, 4 / 1, 2, lap, 4 / etc.

Clapping the rhythms of different time signatures;
one possible version is given for each, as well of examples of songs:

4/4 time
1, 2, 3, 4 / 1, 2, 3, 4 / 1, 2, 3, 4 / 1, 2, 3, 4 / etc.
"Red River Valley"; "My Grandfather's Clock"; "Alouette"; Evening Prayer from "Hansel and Gretel" by E. Humperdinck; "Hark! The Herald Angels Sing" by E. Mendelssohn.

2/2 time
Clap the pattern of the previous exercise of 4/4 time, except clap twice as fast:
1, 2, 3, 4, 5, 6, 7, 8 / 1, 2, 3, 4, 5, 6, 7, 8 / 1, 2, 3, 4, 5, 6, 7, 8 / 1, 2, 3, 4, 5, 6, 7, 8 / etc.
"Sailor's Hornpipe"; "Jingle Bells"; "There Is a Tavern in the Town."

2/4 time
All hand claps; no floor claps. Accent the claps with numbers.
1 & 2 & / 1 & 2 & / 1 & 2 & / 1 & 2 & / etc.
"Oh, Where Have You Been Billy Boy, Billy Boy"; Brother, Come and Dance With Me from "Hansel and Gretel" by E. Humperdinck; "Mary Had a Little Lamb"; "Baa, Baa, Black Sheep"; "Bobby Shaftoe.

3/4 time
1, 2, 3 / 1, 2, 3 / 1, 2, 3 / 1, 2, 3 / etc.
"The Man on the Flying Trapeze"; "Hey Diddle Diddle"; "Rock-a-bye Baby"; "Pat-a-Cake, Pat-a-Cake, Baker's Man."

6/8 time
1, 2, 3, 4, 5, 6 / 1, 2, 3, 4, 5, 6 / 1, 2, 3, 4, 5, 6 / 1, 2, 3, 4, 5, 6 / etc.
"The Farmer in the Dell"; "Hickory, Dickory, Dock"; "Humpty, Dumpty"; "Here We Go Round the Mulberry Bush"; "Jack and Jill."
 

2. Clapping Syllables of Words  and Rhythms of Songs

This exercise is to differentiate between the 'syllables of the words' and the 'rhythm' of a song. Dancers may need assistance from their partners to clap their hands.  Begin by sitting cross-legged on the floor, or in wheelchairs, or in beds. 'Bobby Shaftoe' is shown here as an example of clapping the syllables of words in the melody, and the different pattern of clapping the rhythm of the music. Clapping syllables of the words in songs teaches somatically about the meaning of syllables in words.
 

Clapping the syllables: Each syllable clapped individually:

Bob by Shaf toe's gone to sea,
Sil ver buck les on his knee,
he'll come back and mar ry me,
Bon ny Bob by Shaf toe.
 

Clapping the rhythm: Each syllable and underlined space clapped individually:

Bob by Shaf toe's gone to sea ,
Sil ver buck les on his knee ,
he'll come back and mar ry me ,
Bon ny Bob by Shaf     toe    .
 
 

IV. Floor Exercises

These exercises can be done with a partner assisting dancer that is in bed or on the floor. To assist a dancer in bed, the partner can sit on or stand beside the bed. Parts of each exercise can be deleted for those with restricted mobility.

The exercises stretch and strengthen while promoting balance, coordination, the ability to concentrate, and increased energy. They promote musicality and ease of movement across the floor in coordinated patterns and free expression, and they contribute to the overall development of the individual's right-left brain development.

Guidelines:
1. Each dancer begins at their current level of ability; progressing at their own rate.
2. Exercises can be practiced in order, as each one leads into the next; alternately, they can be practiced individually, depending on the circumstance.
3. It is best to exercise before, rather than right after eating.
4. Breathe in and out evenly during practice, such as 2 counts breath in and 2 counts breath out.
6. All the floor exercise rhythms are in slow to moderate 4/4 time.

Examples of music: "Red River Valley"; "My Grandfather's Clock" by Henry C. Work; "Alouette"; Evening Prayer from "Hansel and Gretel" by E. Humperdinck; "Hark! The Herald Angels Sing"; "Toreador Song from "Carmen" by G. Bizet; "Theme from "Finlandia" by Sibelius.
 
 

1. The Rocker Sitting cross-legged with hands palm down on floor at sides of body, proceed to rock side to side, rhythmically, balancing on one hand then the other. Develops balance and control of muscles in torso. Rhythm is even.

 

2. The Squirrel Sitting cross-legged, raise both arms overhead and stretch one at a time slowly towards the ceiling, looking up. Then stretch arms out to sides, making forward and backward arm circles, large and small, looking forward. Rhythm is even.

 

3. The Owl head turning    head leaning Sitting cross-legged with hands palm down on floor at sides of body. Begin by looking straight forward, then turn head to look over right shoulder and smoothly turn head to look over left shoulder. Just as an owl turns its head. Rhythm is slow. Count 1,2 over one shoulder and then 3,4 over other shoulder. Next, dancer may also be able to lean his right ear toward right shoulder and left ear toward left shoulder; all the while looking forward; same rhythm and counting as head turns.

 

4. The Starfish Dancer lies on his back, arms out to side and legs comfortably apart as a starfish on a rock would lay. Partner kneels or stands and leans over to assist. Dancer raises and then lowers one leg or one arm at a time. Later with the partner's assistance opposite arm and leg to be raised at the same time. Rhythm is a slow. 2 counts up and 2 counts down.

 

5. Resting Snake Dancer lies on back, legs touching, knees flexed, bottom of feet on floor or bed, arms resting along side of body on floor or bed. Lower spine below waist presses toward floor or bed, upper back is relaxed. Breathing evenly, contract abdominal muscles while breathing in, and relax abdominal muscles while breathing out. Rhythm is a slow. 2 counts to breathe in and 2 counts to breathe out.

 

6. Cat Stretch    cat stretch Partner assists: On hands and knees, dancer allows back to slope towards floor, stomach and abdomen sagging, eyes looking forward and slightly up. Change position by rounding spine, contracting abdominal and stomach muscles and looking down to front of thighs. This exercise gives flexibility to the spine countered with strengthening of the muscles alongside the lower spine through the tightening of the abdominal and stomach muscles. Rhythm is a slow. 2 counts up and 2 counts down.

 

V. Rhythmic Movements

These are movements out on the floor for dancers who can move on their feet or in wheelchairs.

Guidelines:
1. Partner assists dancer as necessary.
2. These exercises promote balance, coordination, the ability to concentrate, and increased energy.
3. Each dancer begins at their current level of ability; progressing at their own rate.
4. Rhythm is primary to technique. I have found that if the student first learns to move in the correct rhythm, the technique of the step improves through practice.
5. It is best to exercise before, rather than right after eating.
6. Breathe evenly in and out during practice, such as 2 counts to breathe in and 2 counts to breathe out.
7. The individual rhythms can be done repetitively in open circles¾clockwise or counter-clockwise, or in straight lines¾across the room, front to back, or diagonally.
8. Examples of music to sing are included with each rhythmic movement; for accompaniment while singing, the partner or teacher can clap or use rhythm instruments.
9. Directions are given for the movements which are listed in order of developmental ability. Example: A student learns to gallop before learning to waltz. This knowledge comes from the training I received in my Cecchetti studies and has borne out in my years of teaching.

The key I developed and use for clapping rhythmic movements:
tum = an accented clap
ta = a short clap
& = a very brief clap for a pause or transition in action

More examples of clapping sets and patterns are in my online text Clapping, Moving for Learning 16 Basic Rhythmic Movements  with links to translations in Dutch, French, German, and Spanish at the url: http://www.susankramer.com/clapping.html
 
 

The Sequence

 

1. The Swing For dancers on their feet While standing with legs slightly apart for good balance, stretch arms overhead and let body and arms bend forward and then come back upright. With arms still stretched overhead bend to one side, straighten up, then bend to the other side and come back up. Bring arms down to sides. For dancers in wheelchairs: Substitute just doing stretches overhead. One arm at a time is raised, stretched high, lowered, then the other arm is raised, stretched high, lowered. To maintain balance, do not bend the body side to side. Rhythm is slow. Examples of music to sing: "Red River Valley"; "My Grandfather's Clock"; "Alouette"; Evening Prayer from "Hansel and Gretel" by E. Humperdinck; "Hark! The Herald Angels Sing" by E. Mendelssohn. Clap:  tum, tum, tum, tum, tum, tum, tum, tum

 

2. Running Even quick steps varying in length and dynamic energy. Each foot pushes off to the other foot. Many directions and levels. Rhythm is very quick. Examples of music to sing: "Oh, Where Have You Been Billy Boy, Billy Boy"; Brother, Come and Dance With Me from "Hansel and Gretel" by E. Humperdinck; "Mary Had a Little Lamb"; "Baa, Baa, Black Sheep"; "Bobby Shaftoe." Clap quickly:  ta, ta, ta, ta, ta, ta, ta, ta

3. Marching Brisk even steps. Supporting leg remains straight. Working knee bends with thigh raised parallel to floor. Many directions and patterns possible. Arms swing in opposition, which means that when right knee is raised in front the left arm swings forward. Rhythm is moderate. Music to sing to sing: "Red River Valley"; "My Grandfather's Clock"; "Alouette"; Evening Prayer from "Hansel and Gretel" by E. Humperdinck; "Hark! The Herald Angels Sing" by E. Mendelssohn. Clap:  tum, tum, tum, tum, tum, tum, tum, tum

4. Galloping Rhythmic loping movements leading with the same foot forward throughout. Front foot steps forward, and back foot pulls up to front foot with a shuffle. Arms in opposition, (as described in marching). Rhythm is moderate. Examples of music to sing: "Oh, Where Have You Been Billy Boy, Billy Boy"; Brother, Come and Dance With Me from "Hansel and Gretel" by E. Humperdinck; "Mary Had a Little Lamb"; "Baa, Baa, Black Sheep"; "Bobby Shaftoe." Clap:  ta tum, ta tum, ta tum,ta tum

5. Sliding Many variations of basic step of keeping knees slightly bent while feet slide along the floor. One foot leads, the other slides to meet it, and then the opposite foot leads. Arm position varies: Hands on waist; arms outstretched to sides; arms in opposition for big slides. Rhythm is slow to moderate. Music to sing: "Red River Valley"; "My Grandfather's Clock"; "Alouette"; Evening Prayer from "Hansel and Gretel" by E. Humperdinck; "Hark! The Herald Angels Sing" by E. Mendelssohn. Clap:  tum, tum, tum, tum, tum, tum, tum, tum

6. Jumping Done with both feet leaving floor and landing in unison. In take-off, knees bend and feet press into floor to give power to push off. In landing, feet come down to floor in gradual succession. First balls of feet, (half toe position), then heels, then knees bend to absorb the shock of landing. Arms outstretched to sides for balance. Rhythm is moderate. Examples of music to sing: "Oh, Where Have You Been Billy Boy, Billy Boy"; Brother, Come and Dance With Me from "Hansel and Gretel" by E. Humperdinck; "Bobby Shaftoe"; "Mary Had a Little Lamb";  "Baa, Baa, Black Sheep"; "Bobby Shaftoe." Clap:  & tum & tum & tum & tum

7. Skipping Series of step-hops changing lead foot after hop. One knee is raised, thigh parallel to floor. Arms swing from shoulders, one forward, one back, in opposition to knee that is raised in front. Rhythm is moderate. Examples of music to sing: "The Farmer in the Dell"; "Hickory, Dickory, Dock"; "Humpty, Dumpty"; "Here We Go Round the Mulberry Bush"; "Jack and Jill." Clap:  tum ta, tum ta, tum ta, tum ta

8. Waltzing Set of 3 walking steps alternating feet. One count per step. Count one is emphasized by bending that knee slightly as it steps. Arms outstretched to side for balance. Rhythm is moderate. Examples of music to sing: "The Man on the Flying Trapeze"; "Hey Diddle Diddle"; "Rock-a-bye Baby"; "Pat-a-Cake, Pat-a-Cake, Baker's Man." Clap:  tum ta ta, tum ta ta, tum ta ta, tum ta ta

 

VI. Expressive Movements

While dancers move, the teacher sings or plays music or a rhythm instrument such as a tambourine or hand drum.

Dancers with limited mobility can express with scaled down movements on the floor, bed, or in a wheelchair.

Some ideas for moving expressively to music or rhythmic clapping are: feelings of joy; peace; happiness; sadness; birthday and  holiday music; nursery rhymes and poems; folk dance music, classical music, etc. Dalcroze Eurhythmics is one way that explores the relationship of music and movement.

The music suggested in this text is appropriate for both set rhythmic and expressive movements. In the free-form of expressive movement encourage dancers to explore moving in different directions such as forward, backward, side to side; to crouch down low or move on tip-toe; to move dynamically or passively as the music or rhythmic accompaniment dictates; to move in circles around themselves in place or move in larger circles; to interact with others in the group perhaps making shapes together; stretch out arms or pull arms in; lean head or turn head side to side; look up or look down, etc. Labanotation, as required for movement notation, analyzes the many possible ways to move dynamically in different directions and levels. My online text, Body-Mind Rhythmic Movement at the URL http://www.susankramer.com/moving.html defines some dynamics of movement.

For myself, and by observing my student dancers, I've seen that feeling music, feeling the rhythm, actually raises enthusiastic energy for moving. When I was first a ballet dancer, and later when I played the harmonium for kirtan; hand drums in a creative drumming group; danced free-form; I was filled with energy while listening to music, making music, moving to music.

For more about music's power to energize go to my online texts: Music as a Means of Awakening http://www.susankramer.com/Music.html in English with German translation, and Kirtan: Inspiring Vibrational Music  http://www.susankramer.com/Kirtan.html

We move through time, space in daily rhythms
energized
by music's rhythms and movement

VII. Appendix of Words to Songs

4/4 Time 1. Red River Valley 2. My Grandfather's Clock 3. Alouette 4. Evening Prayer from "Hansel and Gretel" 5. Hark! The Herald Angels Sing 2/2 Time 6. Jingle Bells 7. There Is a Tavern in the Town 2/4 Time 8. Oh, Where Have You Been Billy Boy, Billy Boy 9. Mary had a Little Lamb 10. Brother Come and Dance with Me  from "Hansel and Gretel" 11. Baa, Baa, Black Sheep 12. Bobby Shaftoe

3/4 Time 13. The Man on the Flying Trapeze 14. Hey Diddle Diddle 15. Rock-a-bye Baby 16. Pat-a-Cake 6/8 Time 17. The Farmer in the Dell 18. Hickory, Dickory, Dock 19. Humpty, Dumpty 20. Here We Go Round the Mulberry Bush 21. Jack and Jill

 

1. Red River Valley Traditional Cowboy Song 4/4 Time   From this valley they say you are going, I shall miss your sweet face and your smile, Just because you are weary and tired, You are changing your range for a while. Refrain Then come sit by my side if you love me, Do not hasten to bid me adieu, Just remember the Red River valley, And the cowboy who loved you so true.

2. My Grandfather's Clock by Henry C. Work (1832-1884) written in 1876 4/4 Time   My grandfather's clock was too large for the shelf, So it stood ninety years on the floor. It was taller by half than the old man himself, Though it weighed not a pennyweight more. It was bought on the morn of the day he was born, And was always his treasure and pride, But it stopped short, never to go again, When the old man died. Refrain Ninety years without slumbering, Tick, tock, tick, tock, His life seconds numbering, Tick, tock, tick, tock, It stopped short, never to go again, When the old man died.

3. Alouette French Canadian Folk-Song 4/4 Time   Alouette, gentile Alouette, Alouette, Je te plumerai, Je te plumerai la tete, Je te plumerai la tete, Et la tete, et la tete, Et la tete, et la tete. Alouette, gentile Alouette, Alouette, Je te plumerai.

4. Evening Prayer  from "Hansel and Gretel" by E. Humperdinck (1864-1921) 4/4 Time   When at night I go to sleep, Fourteen angels watch do keep: Two my head are guarding, Two my feet are guiding, Two are on my right hand, Two are on my left hand, Two who warmly cover, Two who o'er me hover, Two to whom 'tis given, To guide my steps to heaven.

5. Hark! The Herald Angels Sing music by E. Mendelsohn (1809-1847) words by Charles Wesley 4/4 Time   Hark!  The herald angels sing, "Glory to the new born king; Peace on earth, and mercy mild; God and sinners reconciled." Joyful, all ye nations, rise, Join the triumph of the skies; With the angelic host proclaim, "Christ is born in Bethlehem. Hark!  The herald angels sing, "Glory to the new born king."

6. Jingle Bells written by James Pierpont in 1857 2/2 Time   Dashing through the snow, In a one horse open sleigh, O'er the fields we go, Dashing all the way. Bells on bob-tail ring, Making spirits bright, Oh what fun it is to sing, A sleighing song tonight. Refrain Jingle bells, jingle bells, Jingle all the way, Oh what fun it is to ride, In a one-horse open sleigh.

7. There Is a Tavern in the Town Old Cornish Air 2/2 Time   There is a tavern in the town, in the town, And there my true love sits him down, sits him down, And drinks his wine mid laughter free, And never, never thinks of me.

8. Oh, Where Have You Been Billy Boy, Billy Boy American Folk-Song 2/4 Time   Oh, where have you been Billy boy, Billy boy, Oh, where have you been, charming Billy? I've been to seek a wife, She's the joy of my life. She's a young thing and cannot leave her mother.

9. Mary Had a Little Lamb written by Sarah Hale in 1830 2/4 Time   Mary had a little lamb, little lamb, little lamb, Mary had a little lamb, its fleece was white as snow. And everywhere that Mary went, Mary went, Mary went, Everywhere that Mary went, the lamb was sure to go.

10. Brother Come and Dance with Me from "Hansel and Gretel" by E. Humperdinck (1864-1921) 2/4 Time   Brother, come and dance with me, Both my hands I offer thee, Right foot first, left foot then, Round about and back again.

11. Baa, Baa, Black Sheep Traditional 2/4 Time   Baa, baa, black sheep, Have you any wool? Yes sir, yes sir, Three bags full. One for the master, One for the dame, One for the little boy Who lives down the lane.

12. Bobby Shaftoe Northumbrian folk song 2/4 Time   Bobby Shaftoe's gone to sea, Silver buckles on his knee, he'll come back and marry me, Bonny Bobby Shaftoe. Refrain Bobby Shaftoe's bright and fair, Combing down his yellow hair, He'll be mine for ever more, Bonny Bobby Shaftoe.

13. The Man on the Flying Trapeze written by George Leybourne in 1868 3/4 Time   He flies through the air with the greatest of ease, This daring young man on the flying trapeze, His movements are graceful, all girls he does please, And my love he's purloined away.

14. Hey Diddle Diddle by Mother Goose 3/4 Time   Hey diddle, diddle, the cat and the fiddle, The cow jumped over the moon. The little dog laughed to see such fun, And the dish ran away with the spoon.

15. Rock-a-bye Baby by Mother Goose 3/4 Time   Rock-a-bye baby, in the tree top, When the wind blows the cradle will rock, When the bough breaks the cradle will fall, And down will come baby, cradle and all.

16. Pat-a-Cake Traditional 3/4 Time   Pat-a-cake, pat-a-cake Baker's man. Bake us a cake As fast as you can. Mix it and prick it And mark it with a B Put it in the oven For baby and me.

17. The Farmer in the Dell Traditional 6/8 Time   The Farmer in the dell The Farmer in the dell, Hi-ho, the derry-o The Farmer in the dell.

18. Hickory, Dickory, Dock Traditional 6/8 Time   Hickory, dickory, dock, The mouse ran up the clock The clock struck one, The mouse ran down, Hickory dickory, dock.

19. Humpty Dumpty Traditional 6/8 Time   Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall, All the king's horses, And all the king's men, Couldn't put Humpty Dumpty Together again.

20. The Mulberry Bush Traditional 6/8 Time   Here we go 'round the mulberry bush, The mulberry bush, the mulberry bush, Here we go 'round the mulberry bush, So early in the morning.

21. Jack and Jill Traditional 6/8 Time   Jack and Jill went up the hill To fetch a pail of water, Jack fell down and broke his crown And Jill came tumbling after.

Links in text
Dalcroze Eurhythmics explanation: http://204.98.1.2/isu/music/dalcroze.html#about
Dalcroze Society of America: http://www.dalcrozeusa.org/home.htm
Ann Hutchinson: http://www.whc.net/bhsdance/html/labanotation.html
Labanotation: http://www.rz.uni-frankfurt.de/~griesbec/LABANE.HTML
right-left brain:  http://www.teacher.co.nz/bookrevi.htm