STAGE 2 DANCE ASSESSMENT TYPE 2: RESPONSE Part 1: Historical Perspectives

Purpose To examine the historical foundations of modern dance through the research, analysis and evaluation of the work of a key pioneer in dance history. -

Description of -Assessment Choose one of the essay questions below and develop a structured essay response by: •

developing a logical progression of information and ideas

•

referring to dance works where appropriate

•

using references (from video, textbook and internet) to justify your ideas

•

integrating quotations into your writing where appropriate.

Question: Discuss the career of dance choreographer Twyla Tharp, with reference to at least two 0/ her major works. (You mustfocus on her work and contributions prior to 1986)

Assessment conditions A written response of a maximum of 1000 words. A bibliography must be included with textbook and website references. A minimum of three sources are to be used.

Evidence of your Learning To demonstrate evidence of your learning in this task you should aim to: •

display in-depth knowledge and understanding of the work of dance artists locally, nationally, or globally

•

demonstrate highly developed use of language and terminology relevant to the dance context

•

show sophisticated, coherent, and sustained communication to exchange wellinformed ideas and opinions

•

exhibit in-depth research into, and analysis and interpretation of historical dance works, practice, and issues in context, using a variety of sources

•

show perceptive analysis and in-depth understanding of dance from a variety of perspectives.

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Learning Requirements 1.

2.

3.

4.

5.

6.

demonstrate knowledge and practical application of dance technique in the context of safe dance practice explore, select, refine, and evaluate ideas and processes in the creation of a dance work and in the study of technique. research, analyse, interpret, and give informed opinions about historical and contemporary dance works, practice and issues demonstrate performance or production skills both collaboratively and independently understand the use of various forms of technology relevant to the study of dance as an art form research, analyse, and understand dance from artistic, aesthetic, and cultural perspectives, communicating in different forms, and using appropriate dance terminology.

Assessment Design Criteria Knowledge and Understanding The specific features are as follows: KU1 Knowledge and understanding of the dance technique of a specific genre. KU2 Knowledge and understanding of the work of dance artists, locally, nationally, or globally. KU3 Knowledge and understanding of the aesthetic qualities in technique, choreography and/or performance.

Practical Application The specific features are as follows: PA1 Application of knowledge and technical skills for demonstration, in the context of safe dance practice. PA2 Exploration, selection and refinement of ideas. PA3 Demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. PA4 Application of independent and collaborative performance or production skills.

Presentation and Communication The specific features are as follows: PC1 Use of appropriate skills to communicate expressively and to engage an audience, through practitioners’ onstage or off-stage roles. PC2 Communication of original choreographic intention, with elements of innovation. PC3 Use of language and terminology relevant to the dance context. PC4 Communication, in different forms, to exchange ideas and opinions.

Analysis and Evaluation The specific features are as follows: AE1 Research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using different sources. AE2 Evaluation of the various relationships that interconnect in the process of staging dance. AE3 Critical review of and reflection on dance, and evaluation of dance processes. AE4 Analysis and understanding of dance as a creative art form.

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Performance Standards for Stage 2 Dance A

Knowledge and Understanding

Practical Application

In-depth knowledge and understanding of the dance technique of a specific genre.

Highly proficient and sustained application of technical skills and knowledge demonstrated, using safe dance practice.

In-depth knowledge and understanding of the work of dance artists locally, nationally, or globally.

Broad, varied, and thorough exploration, selection, and refinement of ideas.

In-depth knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

B

Proficient technical skills and knowledge demonstrated consistently, using safe dance practice.

Some depth in knowledge and understanding of the work of dance artists locally, nationally, or globally.

Thorough exploration, selection, and refinement of ideas.

Appropriate knowledge and understanding of the dance technique of a specific genre. Considered knowledge of the work of dance artists locally, nationally, or globally. Appropriate knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

D

Some identification and understanding of the dance technique of a specific genre. Some awareness of the work of dance artists locally, nationally, or globally. Some knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

E

Highly productive, independent, and collaborative performance or production skills.

Detailed knowledge and understanding of the dance technique of a specific genre.

Well-informed knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

C

Highly proficient and sustained demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Awareness of some basic dance technique of a specific genre. Emerging awareness of the work of dance artists locally, nationally, or globally. Emerging awareness of the aesthetic qualities in technique, choreography, and/or performance.

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Proficient demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Mostly productive, independent, and collaborative performance or production skills.

Generally competent application of technical skills and knowledge, using safe dance practice. Appropriate exploration, selection, and refinement of ideas. Generally competent demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Generally competent, independent, and collaborative performance or production skills.

Basic technical skills and knowledge, with some understanding of how to apply safe dance practice. Some exploration, selection, and refinement of ideas. Basic demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Some independent and collaborative performance or production skills.

Emerging technical skills, with limited awareness of safe dance practice. Attempted exploration, selection, and refinement of ideas. Emerging demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Some attempt to work independently or collaboratively in performance or production.

Presentation and Communication

Analysis and Evaluation

Productive use of an extensive variety of appropriate skills to communicate sensitively and expressively and to engage an audience through practitioners’ onstage or off-stage roles. Coherent and sustained communication of original and innovative choreographic intention. Highly developed use of language and terminology relevant to the dance context. Sophisticated, coherent, and sustained communication, to exchange well-informed ideas and opinions.

In-depth research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using a variety of sources. A purposeful evaluation of the relationships that interconnect in the process of staging dance. Critical review of and reflection on dance, and perceptive evaluation of dance processes. Perceptive analysis and in-depth understanding of dance as a creative form.

Mostly productive use of a variety of skills to communicate expressively and to engage an audience through practitioners’ on-stage or off-stage roles.

Thorough research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using several different sources.

Clear communication of the original choreographic intention with some innovation.

A thoughtful evaluation of the relationships that interconnect in the process of staging dance.

Capable use of language and terminology relevant to the dance context.

Critical review of and reflection on dance, and well-considered evaluation of dance processes.

Consistent and clear communication, to exchange informed ideas and opinions.

Well-considered analysis and some depth in understanding of dance as a creative art form.

Competent use of appropriate skills to communicate with some expression and to engage an audience through practitioners’ on-stage or off-stage roles.

Competent research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using different sources.

Competent communication of an original choreographic intention, with elements of innovation.

Considered evaluation of the relationships that interconnect in the process of staging dance.

Competent use of language and terminology relevant to the dance context.

Critical review of and reflection on dance, and considered evaluation of some dance processes.

Appropriate and generally clear communication to exchange ideas and opinions.

Considered analysis and understanding of dance as a creative art form.

Some skills in communicating to an audience, with some engagement, through practitioners’ on-stage or offstage roles.

Some research into, and description of, one or more historical and contemporary dance works, practices, or issues, using more than one source.

Some communication of aspects of choreographic intention.

Some consideration of the relationships that interconnect in the process of staging dance.

Basic use of language and terminology with some relevance to the dance context. Attempted communication to exchange ideas and opinions.

Superficial review of and reflection on dance, and some description of dance processes. Description of dance as a creative art form.

Emerging skills when attempting communication of an idea to an audience.

Attempted search for information on historical or contemporary issues or practice, using at least one source.

Attempted communication of an aspect of choreographic intention.

Emerging recognition that relationships interconnect in the process of staging dance.

Attempted use of some language or terminology with limited relevance to the dance context. Emerging skills in communication of ideas or opinions.

Identification of an element of dance or dance processes. Identification and brief description of dance as a creative art form.

Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Dance Historical Perspectives

Written Response

Discuss the career of dance choreographer TwyJa Tharp, with reference to at least two of her major works. Twyla Tharp (1941 - present) has been a significant contributor to the development of modern dance. She began choreographing around 1965 and continues today. Throughout her career she has choreographed over one hundred and thirty five dances, five Hollywood movies and directed and choreographed four Broadway shows. Tharp has collaborated with and choreographed dances for The Joffrey Ballet, American Ballet Theatre, Paris Opera Ballet, Martha Graham Dance Company, Miami Citi Ballet and Pacific Northwest Ballet. Tharp's work developed significantly over time, the use of music, virtuosic technique, pedestrian movement, popular dance genre, humour and technology all combining to create iconic Tharp choreography. Tharp grew up in an incredibly intellectual environment. As a child she was exposed to a broad range of artistic and cultural experiences. I started formal piano training when J was four. From there I had little

violas~

and I had dancing lessons of every sort and

lessons. I had German and shorthand.

II

1

description~

and painting

This variety of artistic and cultural experiences fostered

Tharp's imagination, her broad movement vocabulary and the enormous range of inspirations she draws from and allowed her to incorporate different elements of life and society into her choreography. Moving to New York had a Significant influence on Tharp's career, providing her opportunities to work with other respected choreographers including Martha Graham, Merce Cunningham, Paul Taylor and Erik Hawkins. Tharp admired the intellectual and emotional depth of Graham's work and Cunningham's use of technology became a major inspiration for Tharp. Such artistic influences led Tharp to found her own dance company in 1965, Twyla Tharp Dance.

TwyJa Tharp Quotes -, -, accessed 13 June 2012, .

1

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Dance Historical Perspectives

Written Response

Tharp created using improvisation techniques that she described as Iffutzing".

Using this

technique she learnt about her body, explored new movements and developed an original and unique nlovement vocabulary and repertoire. Tharp used a broad range of· different dance genres including jazz} tap, ballet, contemporary, and ballroom} all fused to create her unique style. Sometimes combining highly disciplined ballet techniques with normal pedestrian movements such as running, walking,. skipping and jumping., Tharp broke down the barriers r

between traditional classical ballet, contemporary dance and the social dance of the time. Tharp believes everything is inspiration for dance, from the gesture inspired movement of the overexaggerated family in The Catherine Wheel (1981) to more classically influenced pieces such as Deuce Coupe (1973). This eclecticism is also apparent in her use of music.

A significant amount of Tharp's work is closely reflective of the different layers and sounds of the musical accompaniment. The Fugue (1971) demonstrates this. A fugue is a musical form which involves more than two parts combined simultaneously to create a contrapuntal fonn. Tharp's The Fugue~is inspired by ttA musical offering" by Bach. The choreography acknowledges all sections, soprano, alto and bass, in the music with one or more dancers moving to each of these parts. Tharp also shows significant contrast in her choice of music styles. In contrast to the more classical Bach in The Fugue, Deuce Coupe (1973) uses a montage of Beach Boys pop songs. In one duet section of this work, a dancer moves to the voice of the song while the other moves to the instrumental line. Deuce Coupe was a major development for Tharp; it was her first, big public success and the first of several collaborations with Bob Joffrey of the Joffrey Ballet and Twyla Tharp Dance. The work was a fusion of modern contemporary dance and traditional classical ballet using pop music. At this time crossing the barriers between sodal and theatrical dance and the blurring of genre was uncommon and was not approved of in traditional dance circles. However, Tharp believed that all music styles could be danced to, and became famous for this.

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Dance Historical Perspectives

Written Response

Tharp'sec1ecticism was also highlighted by her long term working relations with Mikhail Baryshnikov. In 1976, Tharp worked with Baryshnikov in Push Comes to Shove. This piece was ground-breaking for Tharp. Mikhail Baryshnikov was a famous classical dancer but with Tharp was dancing in a style unfamiliar to both himself and his audiences. Push Comes to Shove was a crossover between the traditional classical ballet and the current social dance, recreated into Tharp's own movement. Push Comes to Shove was the first of many collaborations between Tharp and Baryshnikov. Tharp also worked with film. Hair produced in 1979 was the first film she choreographed, and a good example of Tharp's frequent use of humour and unpredictability. In the opening scenes of the film Tharp's movement mimicked the movement of the horses, in a most humorous way. ~Hair'

marked a significant development in Tharp's career, working on a number of films and

then on Broadway. Tharp's work in film may well have come from her interest in technology, as inspired by Merce Cunningham. Cunningham was one of the first major choreographers to explore the use of technology with dance. This influence led Tharp to experiment and incorporate digital technology into her works. The Catherine Wheel (1981), incorporates significant amount of computerised images and visual effects. At times the dancers create silhouetted shapes behind a white curtain at the back of the stage and projected images are used frequently. Throughout The Catherine Wheel, Sarah, the main dancer tries to attain perfection by trying to replicate a

computerised image of a dancer on the screen next to her; she follows the computer's lead on many occasions throughout the work. Throughout the years, Tharp has been a significant influence on modern dance. Tharp still choreographs today and during the course of her career has won numerous awards for her choreography. Tharp is an innovator, not afraid to challenge traditional dance boundaries and incorporate contrasting elements into her works. She has worked on stage, television and film and has also written books including her own autobiography. Her ability to reach popular

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Dance Historical Perspectives

Written Response

audiences rather than just the elite has broadened dance audiences. She has influenced many other dancers and choreographers in a long and extremely successful career.

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Word Count 998 words

Bibliography

Di Nardo, T 2008, 'Pennsylvania Ballet: Tharp's Push Comes To Shove Shows Its Sense of Humor', Playbill Arts, -, accessed 9 June 2012, Twy/a Tharp 2012, Unknown, accessed 5 May 2012, . Twyla Tharp Biography 2007, Unknown, accessed 6 May 2012,

. The Fugue 2010,

Unknown~

accessed 10 May 2012,

. Deuce Coupe 2010, Unknown, accessed 10 May 2012,

. 'Fugue (music)' 2012, in Talktotalk, accessed 28 May 2012, . Warta, T -, Twy/a Tharp, Unknown, accessed 9 June 2012, . Twy/a Tharp Quotes - , - , accessed 13 June 2012,

..

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Discuss the work created by Garry Stewart since he took over as the Artistic Director of the Australian Dance Theatre. Include mention of at least three (3) works Stewart has choreographed for the ADT, to justify your discussion.

Garry Stewart has made major change to the Australian Dance Theatre (ADT) and he is now one of the most well-known choreographers in Australia. Stewart took over the Artistic Directorship of the ADT in late 1999. The work that has been created since his appointment has engaged audiences locally and overseas. With its own distinctive style" Stewa rt's works include the use of extensive multi-modal technology, an eclectic movement vocabulary, collaborations with artists from a range of media and the use of text in a wide variety of ways. ,

Many aspects of technology are incorporated into Stewart's ADT pieces. These technologies include use of electronic sound, video projection and complex lighting. Be Yourself choreographed and performed in 2010, is based on the different aspects of the human body, exploring the question 'what makes you, you'. The computer generated soundscape is designed to synchronise seamlessly with the movement incorporating a range of sound effects, such as, cracking bones, stomach gurgling and breathing. The soundscape is, at other times, loud and droning whilst also soft and lyrical, contrasting well with the sound effects and the punctuating loud bursts of sound.

In both Birdbrain (2000) and Proximity (2012), video projections are displayed on a screen. In Birdbrain Stewart's deconstruction of Swan Lake. and salute to, the tradition of classical ballet, is

the first f\Jlllength work he created for the ADT:Video projections are used extensively in this piece. Images are shown on a screen, centre back of the stage, revealing different elements of the original story of Swan Lake, examples of these projections are the swans swimming across the screen throughout the piece and the countdown of the 32 fouette turns, whilst the dancers are turning in a canon like formation: On the screen, behind the dancers\ there is a countdown of numbers displaying the number of turns the dancer has done. Proximity also makes extensive use of projection. Throughout the work dancers film one another from different angles and the images are projected and significantly manipulated onto three large screens behind the performers. One such image features a female dancerl lifting and lowering her arms through second position slowly, the prOjection being manipulated to create an image of her with multiple arms.

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Discuss the work created by Garry Stewart since he took over as the Artistic Director oj the Australian Dance Theatre. Include mention oj at least three (3) works Stewart has choreographed jor the AD!, to justify your discussion.

The lighting, that is integral to Stewarfswork, is often complex. Devolution (2006), explores the relationship between humans and robots incorp()rating pools of light dividing the stage and highlighting specific dancers at different times. He also uses laser lights androbotically controlled spotlights to suggest the controlling relationship between human and robot.

Since taking overthe Artistic Directorship ofthe ADT, Stewart has developed his own now recognisable movement style which fuses many different genres of dance/His eclectic movement .j./

vocabulary combines break dancing, martial arts, acrobatics, yoga, gymnastics, tumbling, ballet, contemporary and jazz. His works often include high jumps parallel to the floor followed by fast rolls, dancers spinning on their knees, jumps landing on the floor, dive rolls and almost violent physical manipulation of dancers the movement is often incredibly fast and percussive, contrasting to the soft and lyrical movement also shown throughout a number of his works.

Garry Stewart often collaborates with other artists to help develop the themes and inspirations in the body of his work. He has used other dance artists, actor, designers, dramaturges, writers and more. Held is a collaboration with New York photographer, Lois Greenfield. The work, choreographed in 2004 is largely abstract, but based on revealing the movement that the eye cannot capture. Held, is a dance performance about photography, the photos shot by Lois Greenfield are displayed on screens throughout this piece.\Stewart also collaborated with New York architectural firm 'Diller, Scofidio + Renfro' who created the huge white ramp in Be Yourself. The dancers work their bodies on and through the structure whilst unusual images are projected on their bare skin and the ramp. 'Canadian robotics artist, Louis-Philippe Demers constructed the enormous robotic figures that move around the stage in Devolution. These dominate the stage and complete the confrontational images of man versus machine,

Throughout Stewart's Artistic Directorship of the ADThe has choreographed a number of abstract works exploring global, social, political and cultural issues. The Age of Unbeauty (2003) is a reflection

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Discuss the work created by Garry Stewart since he took over as the Artistic Director of the Australian Dance Theatre. Include mention of at least three (3) works Stewart has choreographed for the AD!, to justify your discussion.

upon man's inhumanity toward man. This piece reflects upon the violence, killings and torture that occur in the contemporary world. Birdbrain and G are also inspired by traditional classical ballets. Birdbrain is a deconstruction of the original classical ballet Swan Lake, While Gis based on the

emotions explored in Giselle.

Of the many design elements which Stewart incorporates into his work, the use of text either spoken or projected as in Be Yourself, or on the costume, as in Proximity: is shown throughout a number of his pieces. Birdbrain uses projected text on screens, in the lights and on the costumes. At the beginning and end of Birdbrain there are big illuminated letters spelling the words {Begin' and 'The end'. Text is also projected on large screens at the back of the stage, at one point scrolling through names of famous ballerinas famous for dancing the Odette Odile role in the original Swan Lake,(the Birdbrain costumes are typically plain, enabling the audience to focus more on the movement.The

dancers wear white or black t-shirts, the t-shirts often with the name of a character, an emotion or a piece of scenery such as 'tree' or 'lake'. The use of text is typical of Stewart, even though it's not always used in the same way.

Since Stewart took over the ADT in 1999, he has created a new ADT, challenging his dancers and his audience. Stewart's use of multi-modal technology, his eclectic movement vocabulary, collaborations with artists from a range of media and the use of text in a wide variety of ways has gained both Stewart and the Australian Dance Theatre accolades and awards internationally. The works they have produced have raised the profile of the company and Stewart himself, not only in Australia but around the world.

I Word Count: 1,004 Page 10 of 13

Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Discuss the work created by Garry Stewart since he took over as the Artistic Director of the Australian Dance Theatre. Include mention of at least three (3) works Stewart has choreographed for the ADT, to justify your discussion.

Bibliography Be Yourse/f2010, DVD, Australian Dance Theatre, Adelaide} Adelaide. The Company - } ADT, accessed 02 April 2012, . Birdbrain 2000, DVD, Australian Dance Theatre, Adelaide, Adelaide. Devolution 2006, DVD, Australian Dance Theatre, Adelaide, Adelaide. Held 2004, DVD, Australian Dance Theatre, Adelaide, Adelaide. The Age of Unbeauty 2003, DVD, Australian Dance Theatre} Adelaide, Adelaide. Tonkin, M 2012, '\'Proximity\", - ,28th February, accessed 28 March 2012, .

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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Additional Comments This Assessment Type includes 2 written responses, each to a maximum of 1000 words:  Task 1: Historical Perspectives  Task 2: Contemporary Issues Knowledge and Understanding Both pieces of writing show evidence of thorough research into the life and work of the dance artist in focus in each case (KU 2, AE 1). In the study of the career of Twyla Tharp there is evidence of an understanding of the local and global contribution of this choreographer. The report explores the way in which Tharp breaks down barriers between ‘classical, contemporary and social dance’ using a range of media. In a similar way, the second report shows ‘depth in knowledge and understanding’ (KU 2) of the contribution of Garry Stewart as artistic director of ADT. This is done through a consideration of a number of his works that show innovation in the use of multimodal technology – lighting, video projections, sound – as well as the fusion between various dance genres and ‘an eclectic movement vocabulary’. Presentation and Communication Both pieces of writing demonstrate ‘capable use of language and terminology relevant to the dance context’ (PC 3). In each piece of writing the writer shows confidence in the use of dance terminology appropriate to the innovative styles of the dance artists that are the subjects of study. At the same time the writing communicates information effectively to a non-specialist reader. The writing is authoritative and the material is presented coherently and logically (PC 2). Analysis and Evaluation Both pieces demonstrate ‘thorough research into and analysis and interpretation of’ the careers and works of the dance artists under scrutiny (AE 1). The research, using a variety of sources in each case, enables the writer to demonstrate knowledge about the development of the artist over time and also to focus on particular works that show innovation, eclecticism and trends that combine together into what is seen as the unique ‘style’ of each (AE 2). Whilst the list of sources in each case is impressive, the written pieces would have been improved by more careful attention to in-text referencing or footnotes. The analysis of the material in each case is ‘well-considered’ and shows an understanding of the innovative contribution of each artist to ‘dance as a creative art form’ (AE 2). Overall Grade: B This work fits comfortably into the B Band. It shows ‘some depth in knowledge’ and is expressed in language comfortable with the ‘terminology’ of dance and able to communicate ideas and opinions in a ‘clear’ and coherent manner. The research is ‘thorough’, though there needed to be more acknowledgement of the sources used for the ideas and information. The analysis is ‘well-considered’ and shows an understanding of the contribution of each artist to the development of dance as an art form.





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Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015

Performance Standards for Stage 2 Dance A

Knowledge and Understanding

Practical Application

In-depth knowledge and understanding of the dance technique of a specific genre.

Highly proficient and sustained application of technical skills and knowledge demonstrated, using safe dance practice.

In-depth knowledge and understanding of the work of dance artists locally, nationally, or globally.

Broad, varied, and thorough exploration, selection, and refinement of ideas.

In-depth knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

B

Proficient technical skills and knowledge demonstrated consistently, using safe dance practice.

Some depth in knowledge and understanding of the work of dance artists locally, nationally, or globally.

Thorough exploration, selection, and refinement of ideas.

Appropriate knowledge and understanding of the dance technique of a specific genre. Considered knowledge of the work of dance artists locally, nationally, or globally. Appropriate knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

D

Some identification and understanding of the dance technique of a specific genre. Some awareness of the work of dance artists locally, nationally, or globally. Some knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

E

Highly productive, independent, and collaborative performance or production skills.

Detailed knowledge and understanding of the dance technique of a specific genre.

Well-informed knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

C

Highly proficient and sustained demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Awareness of some basic dance technique of a specific genre. Emerging awareness of the work of dance artists locally, nationally, or globally. Emerging awareness of the aesthetic qualities in technique, choreography, and/or performance.

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Proficient demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Mostly productive, independent, and collaborative performance or production skills.

Generally competent application of technical skills and knowledge, using safe dance practice. Appropriate exploration, selection, and refinement of ideas. Generally competent demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Generally competent, independent, and collaborative performance or production skills.

Basic technical skills and knowledge, with some understanding of how to apply safe dance practice. Some exploration, selection, and refinement of ideas. Basic demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Some independent and collaborative performance or production skills.

Emerging technical skills, with limited awareness of safe dance practice. Attempted exploration, selection, and refinement of ideas. Emerging demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre. Some attempt to work independently or collaboratively in performance or production.

Presentation and Communication

Analysis and Evaluation

Productive use of an extensive variety of appropriate skills to communicate sensitively and expressively and to engage an audience through practitioners’ onstage or off-stage roles. Coherent and sustained communication of original and innovative choreographic intention. Highly developed use of language and terminology relevant to the dance context. Sophisticated, coherent, and sustained communication, to exchange well-informed ideas and opinions.

In-depth research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using a variety of sources. A purposeful evaluation of the relationships that interconnect in the process of staging dance. Critical review of and reflection on dance, and perceptive evaluation of dance processes. Perceptive analysis and in-depth understanding of dance as a creative form.

Mostly productive use of a variety of skills to communicate expressively and to engage an audience through practitioners’ on-stage or off-stage roles.

Thorough research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using several different sources.

Clear communication of the original choreographic intention with some innovation.

A thoughtful evaluation of the relationships that interconnect in the process of staging dance.

Capable use of language and terminology relevant to the dance context.

Critical review of and reflection on dance, and well-considered evaluation of dance processes.

Consistent and clear communication, to exchange informed ideas and opinions.

Well-considered analysis and some depth in understanding of dance as a creative art form.

Competent use of appropriate skills to communicate with some expression and to engage an audience through practitioners’ on-stage or off-stage roles.

Competent research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using different sources.

Competent communication of an original choreographic intention, with elements of innovation.

Considered evaluation of the relationships that interconnect in the process of staging dance.

Competent use of language and terminology relevant to the dance context.

Critical review of and reflection on dance, and considered evaluation of some dance processes.

Appropriate and generally clear communication to exchange ideas and opinions.

Considered analysis and understanding of dance as a creative art form.

Some skills in communicating to an audience, with some engagement, through practitioners’ on-stage or offstage roles.

Some research into, and description of, one or more historical and contemporary dance works, practices, or issues, using more than one source.

Some communication of aspects of choreographic intention.

Some consideration of the relationships that interconnect in the process of staging dance.

Basic use of language and terminology with some relevance to the dance context. Attempted communication to exchange ideas and opinions.

Superficial review of and reflection on dance, and some description of dance processes. Description of dance as a creative art form.

Emerging skills when attempting communication of an idea to an audience.

Attempted search for information on historical or contemporary issues or practice, using at least one source.

Attempted communication of an aspect of choreographic intention.

Emerging recognition that relationships interconnect in the process of staging dance.

Attempted use of some language or terminology with limited relevance to the dance context. Emerging skills in communication of ideas or opinions.

Identification of an element of dance or dance processes. Identification and brief description of dance as a creative art form.

Stage 2 Dance Student Response Ref: A370316 (revised January 2015) © SACE Board of South Australia 2015