2010 HSC Notes from the Marking Centre — Dance
Contents
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 2010 Higher School Certificate examination, indicating the quality of the responses and highlighting their relative strengths and weaknesses.
This document should be read with the relevant syllabus, the 2010 Higher School Certificate examination, the marking guidelines and other support documents which have been developed by the Board of Studies to assist in the teaching and learning of Dance.
General Comments
Candidates need to be familiar with the Board's Glossary of Key Words which contains some terms commonly used in examination questions. However, candidates should also be aware that not all questions will start with or contain one of the key words from the glossary. Questions such as 'how?', 'why?' or 'to what extent?' may be asked or verbs may be used which are not included in the glossary, such as 'design', 'translate' or 'list'.
Practical Examination
Core
Core Performance
General Comments
In general, candidates presented skills with a great awareness of their anatomical structure and body limitations. However, there were some candidates whose high-risk practices are safe dance issues. These include:
- use of inverted positions with forced weight on the head, neck and shoulders
- high-risk falls onto the knees from elevated positions or over-flexed knee take-off positions
- over-forced toe plantar flexion with the top of the foot forced into the floor
- gymnastic skills.
Teachers are advised that candidates' ability to consistently control dance skills is of paramount importance to safe dance practice. Students should be advised that heavy contact of the knees on the floor during falls and diminished control of the torso into and out of inverted movement over the course of the dance are safe dance practice issues.
It is also important to note that the dance should give the candidate the opportunity to demonstrate a range of skills that includes floor, aerial, locomotor and non-locomotor skills. Dances in which the candidate spends long periods of time sitting, lying or rolling on the floor, with much less time spent on the higher levels, give the candidate less opportunity to demonstrate a range of strength, coordination, flexibility and endurance and may affect the range of mark opportunities.
Dances should be within the correct time limits – dances that are under or over time incur a penalty. It is important to remember that the time of the dance is taken from the beginning of the first movement to the end of the last movement, not from the beginning or ending of the music.
In better performances, candidates demonstrated efficient and safe execution of movement. These candidates presented a range of locomotor and non-locomotor sequences and body skills, performing dances that were suited to their body type and level of control of skills. Through the execution of the dance, they demonstrated a skilled performance of complexity in spatial, temporal and dynamic variations, weight shifts, control of strength and flexibility. This was seen in their ability to control the torso through off-centre movement, balances, changes in direction and weight, and the use and manipulation of floor skills. These candidates worked their anatomical structure to its limits, demonstrating the ability to maintain alignment through the correct application of strength balanced against range of motion.
At this level, some minor inconsistencies of the knee, hip and foot alignment in controlling speed and dynamic were evident but this was balanced against the degree of skill evident in the dance. The energy demands required of complex movement occasionally had an effect on endurance but did not affect alignment, placement and interpretation within these complex sequences. In better performances, candidates consistently coordinated speed, space and dynamic demands.
In better performances, candidates personalised the dance, manipulated the dynamic and space, and moved from one skill to another with efficiency and control. They cleanly placed and finished lines, sustained focus, extended lines and energy, and presented a confident execution of a dance under examination conditions.
In weaker performances, candidates demonstrated less ability to control alignment and execute a combination of skills. In the effort to attempt more complex skills, candidates pushed beyond their anatomical limits or lost control of the torso, leading to a consistent loss of alignment of the hip, torso, knee and foot.
Other candidates in this mark range demonstrated an inability to consistently control alignment, placement, use and manipulation of space, time and dynamics. There was an inconsistency in 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.
Core Performance Interviews
The performance interview is structured so that both dance technique, including safe dance practice, and performance quality are all addressed. The interview questions are based on practical application seen by the markers in the demonstration of the dance.
Some candidates' level of knowledge was superficial. It was noted that some candidates had more knowledge of criteria 1 (Dance Technique Including Safe Dance) than for criteria 2 (Performance Quality). Candidates should be able to demonstrate an understanding of the interrelationship of dance technique and performance quality.
Candidates may be asked a number of questions to ascertain their level of knowledge and understanding of the theoretical concepts in the syllabus. Examiners may change the concepts being addressed in the interview in order to ascertain depth of understanding. Candidates should be aware that this is normal practice and should not feel uneasy if this occurs. Candidates may ask for clarification and may physically demonstrate their depth and breadth of understanding.
Core Composition
Teachers and candidates need to carefully consider the concept/intent of the composition dance. It is important to consider an intent that can be realised within the time frame of 3–5 minutes. It is also necessary to consider the appropriateness of the content of the dance. Issues such as drug abuse, sexual issues, suicide and bullying are not considered appropriate as HSC dance compositions. It is also necessary to consider the lyrics of the chosen music within the same parameters as the content of the dance movement and concept.
Teachers must check the originality of their students' dances before certifying their work. It is plagiarism for candidates to use choreography (large movement phrases/sequences or dances) from YouTube or similar sources.
Composition is not to be seen simply as an exercise in the manipulation of movement. As the concept is the cornerstone of composition, it is important that it is able to be realised and is clearly identifiable through movement choices.
In better compositions, candidates demonstrated the ability to link their concept and its purpose to the integrated application of space, time and dynamics, rather than relying on stereotypical or gestural, expressive movement.
These candidates presented a purposeful use of space in shape, spatial design of the body and also the performance space. The manipulations of space were evident in the choices and variation of level, dimension, floor pattern and pathway. The integrated application of time and dynamics was developmental to the purpose of the dance as a whole. There was consistency in the application of the elements to a consistent development of the chosen concept.
In better compositions, candidates used appropriate levels of personalisation and abstraction of movement, explored through purposeful choices of the elements, and developed a well-designed motif that clearly linked movement to the purpose of the concept. They demonstrated a consistency of development of structure and the relationship of structure to furthering the concept.
In better compositions, candidates used transitions effectively to make seamless links between movement within phrases and between phrases and sections. They assisted purpose in relation to the development of the concept through wise choices in motif manipulation for transitions.
In weaker compositions, movement choices were seen as favourite shapes/movements to which a meaning was attached and then repeated with very little development to assist in clarifying the concept. Abstraction and personalisation were attempted but not explored to help with the realisation of the concept.
In weaker compositions, candidates explored space, shapes, levels, directions and pathways, but the application of time and dynamics was often not explored or manipulated purposefully in developing the concept. Movement became predictable.
Motif development relied more on the application of space elements, mainly a shape or several shapes to which meaning was attached. There was a lack of consideration given to the integration of all of the elements of dance in creating motifs. As a result, phrase development relied on repetition of movement or became a sequence of unrelated movements to which the motif was attached.
Development in space elements was achieved but there was a lack of consistency in the application of purposeful dynamic and time choices to assist with the clarification of the intent. Sequencing appeared to be logical but predictable due to a reliance on repetition.
Core Composition Rationale and Elaboration
Candidates are reminded that the rationale should be no longer than 300 words. The rationale needs to reflect the process that the candidate has undertaken according to the areas of study in the syllabus and the marking guidelines.
Candidates were generally able to explain and demonstrate manipulations of motif but not able to explain the development of motif relative to their chosen concept. They also needed to be aware of the link between their choice of form and how that enhanced the development of their concept/intent. Better candidates had a holistic approach and understanding when describing their process and choreography.
Major Study
Major Study Performance
The work should contain a range of skills that includes locomotor, non-locomotor, aerial, floor skills, shifts of weight and use of off-centre. It should be noted that the interpretation of the concept is as important as the demonstration of technical expertise.
The same issues that were seen in the Core Performance were also present in a number of the Major Study Performances. This component of the examination relates to the development of a work that represents the interpretation of a thematic consideration. At times the inclusion of 'tricks' in the work had an effect on the development of a clear interpretation through movement.
Teachers are advised that care should be taken to choose music that offers the candidate the opportunity to explore dynamic, musicality and performance quality. Costumes and props, if used, should be integral to the choreography of the work and not detract from the purpose of the work or the skills demonstrated.
In better performances, candidates presented a work 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. They presented a range of technical skills: turns, jumps, falls, floor work and balances that were combined in complex sequences. Skills were appropriate and directly and consistently related to the themes of the work. There was evidence of highly controlled variations of spatial elements and temporal and dynamic consideration that assisted the thematic ideas.
A highly skilled application of the body's alignment demonstrated efficiency in the way the candidate executed both non-locomotor and locomotor sequences. There was strong evidence of control of endurance with maintenance of focus and interpretation of the concept.
In better performances, candidates demonstrated highly skilled control of the elements of dance and conscientious manipulation of the dynamics to aid interpretation of the work. A highly skilled quality of line was consistently seen in both gestural and technical movements. They were able to project confidence and focus on engaging the audience.
In weaker performances, candidates generally presented works that were more restricted in their range of skills. They either presented sequences that varied in complexity, relied on less complex skill combinations and individual skills, or attempted combinations that were beyond the limits of their anatomical structure, leading to loss of control of alignment. Consistent lack of control in the core muscles led to misalignments of the hip, ankle and shoulder, which were exacerbated by attempts to control speed or shifts in direction and level.
Major Study Performance Interviews
The interview is based on the work that was performed and questions asked are based on what was seen in the work. Candidates are expected to be able to talk about technical execution and knowledge and interpretation of a concept in relation to performance quality. The interview is longer and therefore more depth and breadth of knowledge from the theoretical concepts of the syllabus is expected.
Major Study Composition
Candidates are advised that Major Study Compositions are works that need to portray a close relationship between the chosen concept, the choice of the number of dancers, the chosen accompaniment, movement/motif development and the relationships that develop between the dancers.
The motif and its development into phrases that clearly link the dancers and the concept are the cornerstone of the work. Manipulation of motifs and phrase development are what lead to a clear development of the intention of the work. Manipulation should be seen as purposeful to concept development relative to the chosen dancers and not just mechanical manipulation of movement to create design of bodies, shapes or performance space. The work should be structured so that the chosen concept develops through phrases and sections across the chosen dancers.
Many candidates had motifs that were either simple shapes or movement of limbs (eg reaching) and this inhibited their ability to develop motif in relation to the chosen concept. Some candidates tried to work with concepts that were too broad to achieve in the limited time of 4–6 minutes.
In better compositions, there was clarity about the purpose of the movement in relationships between the dancers and integration of the elements of dance to assist in the development of the intent of the work. The motifs and phrases were seen to create relationships and there was a clear link to well-chosen accompaniment. The movement manipulations represented what was purposeful to the development of the concept through the relationship between the dancers.
Unity was clearly seen through a focus on a development of phrases, logical structure with subtleties and some unpredictability that enhanced interest. Phrases used interesting variations and contrast that assisted with the development of the intention of the work.
In weaker compositions, candidates created design of bodies in space, with manipulation. However, these were seen to be mechanical and repetitious and did not assist with the development of a concept. There was less consideration given to the application of time and dynamics for a purpose in clarifying or developing the intention of the work.
Major Study Composition Dance and Technology Rationale and Elaboration
The elaboration questions are based on the content of the rationale. The rationale is limited to 300 words as indicated in Information regarding the HSC examination in Dance from 2010.
The components of the syllabus and areas of study should be integrated in choices of filming and camera techniques in relation to organising phrases and motif manipulation, then editing in relation to structuring the work. Candidates need to be able to discuss all of these components in their elaboration.
Major Study Dance and Technology – Film and Video
Dance and Technology options are essentially compositions and, as such, the creation of movement motif and phrase development is the cornerstone to the development of a clear concept.
Better works used concepts that were achievable in movement development that was enhanced by filmic considerations. Motif and movement phrases were seen, and these were further developed by skilled use of framing, angles and shot selection to assist purposeful manipulation of the motif and phrases. There was a close relationship between the choices of setting, costume, accompaniment and lighting that enhanced the development of the concept and supported the movement choices.
Editing was effective in assisting the development of the intent, seamlessly sequencing the work with well-chosen use of transitions.
Weaker works relied on repetition of similar movement, or unrelated movement that did not assist the development of the concept. Filmic considerations were mechanical in nature. The editing was ineffective, seemingly directed more towards enhancing the look of the film or using favorite transitions than developing the intent of the work.
Major Study Dance and Technology – Virtual Body
The creation of movement motif and phrase development is the cornerstone to the development of a clear concept.
Candidates who present this Major Study should consider the following:
- there needs to be a strong relationship between the choice of the number of virtual dancers and the chosen intent
- movement needs to be personalised to reflect the nature of the concept
- relationship is an important consideration in the development of the concept
- the anatomical limitations of the figures as performers should be considered as part of the aesthetic of the work
- it is important to consider the application of the snap menu to control the figures in the stage space and in relationship to each other
- it is acceptable to use movements from the software library to assist the development of motif movement, provided they are personalised by manipulation to more clearly reflect the concept
- when making adjustments to figures in the stage space, candidates should ensure that it is viewed from all angles so that it is maintained where they want it to be.
Accompaniment
Most candidates used CDs, but a number used MP3 format. Both options were successful. It is essential that candidates provide an unlabelled copy and back up, and bring both of these into the examination room. Candidates need to ensure that there is no school or family name on the CD. No explicit lyrics are to be used.
If candidates are using MP3 format burned onto a CD, they should check that the CD will play in the CD player.
The accompaniment needs to be integral to supporting the concept/intent not solely relying on the music to communicate the intent.
Dance Attire
As indicated in the Dance Stage 6 Syllabus all candidates need to wear appropriate attire for all examination components or risk a mark penalty. If short shorts are chosen as attire, it is essential that tights are worn underneath. It is important that the protocol of plain coloured dance wear is adhered to. Some candidates' performances were hindered by inappropriate dance wear.
Candidates who choose costumes for Major Study Performance, Major Study Composition and Technology need to consider the attire's relevance to the intent of the work. If costume is used in Performance the efficiency of the movement should also be a consideration. Costuming for Core Composition and Core Performance is not permitted for the examination.
Jewellery is not appropriate for Dance examinations. All bracelets, large earrings, necklaces and rings should be removed.
Footwear
There is an increase in the use of footwear, especially foot thongs. Socks are not permitted. It is the responsibility of candidates to choose the most appropriate footwear and accept responsibility for any difficulties and possible safety issues.
Written Examination
Core Appreciation
Question 1 Alvin Ailey's Cry
Better responses showed a clear understanding of the contribution of the dynamics of the movement to the actual structure of the work through the intent, and consistently linked both parts of the question. Relevant movement examples from the work were described in detail (using space, time and/or dynamics terminology) to consistently support chosen statements. These responses were well organised, coherent and logical.
Weaker responses identified dynamics of movement in various sections of the work in general terms but did not make the link to how it assisted in the overall structure. The examples lacked detail and were not always relevant.
Question 2 Nacho Duato's Jardi Tancat
Better responses showed a clear understanding of the relationship between the influences and how they are reflected in his choreographic style. Candidates described multiple influences and linked them consistently to his style/choice of movement used in the work. Relevant movement examples from the work were described in detail (using space, time and/or dynamics terminology) to consistently support chosen statements. Better responses used a synthesised approach where the aspects of the question were treated holistically throughout.
Weaker responses provided information about different aspects of the question but could not make the relevant links and/or give appropriate examples. Some candidates showed more understanding of influences but did not show an understanding of choreographic style. These candidates tended to resort to storytelling about Nacho Duato and/or the intent of the work.
Major Study Appreciation
Question 1
In better responses, candidates described how the chosen artist's works broke traditional moulds and used appropriate examples to support their description. The response was logical.
Weaker responses lacked detail, and choices made in examples were often sweeping statements that were not relevant to the chosen artist and/or their works.
Question 2
In better responses, candidates provided descriptions that were accurate and provided a range of examples from the era that could be linked to the works.
In weaker responses, candidates provided vague and/or inaccurate information. References to the works were general and lacked detail. Candidates tended to describe or tell the story of the artist and/or their work.
Question 3
In better responses, candidates explained the relationship between the concepts in the question, using appropriate terminology and giving appropriate examples.
Weaker responses provided descriptions of movement with only a superficial link to the meaning. Candidates were not always able to explain their choices and/or provide accurate information.
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NSW Government