2013 Notes from the Marking Centre – Dance
Introduction
This document has been produced for the teachers and candidates of the Stage 6 Dance course. It contains comments on candidate responses to the 2013 Higher School Certificate examination, indicating the quality of the responses and highlighting their relative strengths and weaknesses.
This document should be read along with:
- the Dance Stage 6 Syllabus
- the 2013 Higher School Certificate Dance examination
- the marking guidelines
- Assessment and reporting in Dance
- Dance practical examinations – Frequently asked questions
- Advice for HSC students about examinations
- other support documents developed by the Board of Studies, Teaching and Educational Standards NSW to assist in the teaching and learning of Dance in Stage 6.
Written examination
Section I: Question 1 – Alvin Ailey
Candidates showed strength in these areas:
- outlining and identifying influences on Alvin Ailey
- linking the influences to the work and/or C/I
- demonstrating knowledge of Alvin Ailey – his background and training and why he created the work.
Candidates need to improve in these areas:
- writing detailed descriptions of the movement
- choosing the appropriate movement example to support the chosen influence
- linking both parts of the question logically and cohesively.
Section I: Question 2 – Nacho Duato
Candidates showed strength in these areas:
- describing the link between relationships and movement
- structuring responses
- selecting relevant movement examples
- using appropriate and relevant language.
Candidates need to improve in these areas:
- addressing both aspects of the question
- providing sufficient detail when describing the movement
- answering the question asked rather than telling a story.
Section II: Major Study – Appreciation
Candidates showed strength in these areas:
- demonstrating knowledge of the artists, their works and relevant contextual information
- understanding and using dance terminology
- structuring responses
- addressing the influences and giving relevant examples
- giving quality descriptions.
Candidates need to improve in these areas:
- making sure that all parts of the question are addressed
- answering the question asked rather than telling a story
- understanding the terms used in the question.
Practical examination
Core Performance
Characteristics of better responses:
- moving efficiently and safely
- presenting a range of locomotor and non-locomotor sequences and body skills
- performing dances that were suited to their body type and level of skills
- performing skilfully with spatial, temporal and dynamic variations, weight shifts, control of strength and flexibility
- controlling the torso through off-centre movement, balances, changes in direction and weight, and using and manipulating floor skills
- working their anatomical structure to its limits
- maintaining alignment through the correct application of strength balanced against range of motion
- personalising the dance, manipulating the dynamic and space, and moving from one skill to another with efficiency and control
- cleanly placing and finishing lines, sustaining focus and extending lines and energy.
Characteristics of weaker responses:
- pushing beyond their anatomical limits
- losing control of the torso, leading to a consistent loss of alignment of the hip, torso, knee and foot
- not controlling spatial elements and kinaesthetic awareness
- inconsistencies in the control of movement in transitions to and from locomotor to non-locomotor movement, in the use and manipulation of weight into and out of the floor, and in kinaesthetic awareness in completion of turns, finishing body lines in the upper and lower body, and projection.
Core Composition
Characteristics of better responses:
- using appropriate levels of personalisation and abstraction of movement explored through purposeful choices of the elements
- developing a well-designed motif(s) that clearly made movement links to the purpose of the concept
- demonstrating consistency in the development of structure and the relationship of structure to the furthering of the concept
- using transitions effectively to make seamless links between movement within phrases and between phrases and sections
- having appropriate repetition, variety and contrast of movement.
Characteristics of weaker responses:
- choosing favourite shapes/movements to which a meaning was attached then repeated, with very little development to assist clarity of the concept
- attempting abstraction and personalisation but not exploring to assist with the realisation of the concept
- exploring space, shapes, levels, directions and pathways
- not exploring the application of time and dynamics to develop the concept
- moving predictably and with repetition, rather than manipulating and developing movement across the continuum of the dance
- relying on the application of spatial elements, mainly a shape or several shapes to which meaning was attached, to develop a motif
- not integrating all the elements of dance in creating a motif(s)
- developing within spatial elements, but with a lack of consistency in the application
- sequencing logically, but predictably, due to an overreliance on repetition.
Major Study – Performance
Characteristics of better responses:
- showing a strong relationship between the execution of technique and the application of the elements of dance to achieve the interpretation of the thematic consideration
- demonstrating a range of technical skills, such as turns, jumps, falls, floor work and balances, which were combined in complex sequences
- relating skills directly and consistently to the themes of the work
- demonstrating highly controlled variations of spatial elements and also temporal and dynamic consideration that assisted the thematic ideas
- demonstrating highly skilled control of the elements of dance and conscientious manipulation of the dynamics to aid interpretation of the work
- displaying a highly skilled quality of line in movements
- engaging audience response.
Characteristics of weaker responses:
- presenting works that were more restricted in their range of skills
- presenting sequences that varied in complexity, relying on less complex skill combinations and individual skills
- attempting combinations that pushed beyond the limits of their anatomical structure, leading to loss of control of alignment
- lacking control in the core muscles leading to misalignments of the hip, ankle and shoulder, which were exacerbated by attempts to control speed or shifts in direction and level.
Major Study – Composition
Characteristics of better responses:
- being clear about the purpose of the movement in relationships between the dancers and integration of the elements of dance
- using motif(s) and phrases that created relationships
- linking to well-chosen accompaniment
- presenting movement manipulations that were purposeful to the development of the concept through the relationships between the dancers
- creating unity through a focus on a development of phrases, logical structure with subtleties and some unpredictability that enhanced interest
- using phrases with interesting variations and contrast that assisted the development of the intention of the work.
Characteristics of weaker responses:
- creating designs of bodies in space, with manipulation that was mechanical and repetitive and did not assist with the development of a concept
- giving less consideration to the application of time and dynamics in clarifying or developing the intention of the work.
Major Study – Dance and Technology Film/Video
Characteristics of better responses:
- using concepts that were achievable in movement development and enhanced by filmic considerations
- using motif and movement phrases that were further developed and manipulated by skilled use of framing, angles and shot selection
- having a close relationship between setting, costume, accompaniment and lighting that enhanced the development of the concept and supported the movement choices
- using editing effectively to assist with the development of the intent
- seamlessly sequencing the work, with well-chosen use of editing transitions that purposefully developed the intent.
Characteristics of weaker responses:
- relying on repetition of similar movement or unrelated movement that lacked purpose in the development of the concept
- using filmic considerations that were mechanical in nature
- lacking purpose with regard to the development of the intent and seeming instead to reflect favourite transitions or choices that might enhance the look of the film.
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