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2009 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 2009 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 2009 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.

Teachers and students are advised that, in December 2008, the Board of Studies approved changes to the examination specifications and assessment requirements for a number of courses. These changes will be implemented for the 2010 HSC cohort. Information on a course-by-course basis is available on the Board’s website.

General Comments

Teachers and candidates should be aware that examiners may ask questions that address the syllabus outcomes in a manner that requires candidates to respond by integrating the knowledge, understanding and skills they developed through studying the course. It is important to understand that the Preliminary course is assumed knowledge for the HSC course.

Candidates need to be aware that the mark allocated to the question and the answer space (where this is provided on the examination paper), are a guide to the length of the required response. A longer response will not in itself lead to higher marks. Writing far beyond the indicated space may reduce the time available for answering other questions.

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 the following skills presented in some of the core performances are high-risk and unsafe dance practices and should be avoided:

  • 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 on the floor
  • gymnastic skills.

Teachers are advised that the ability of candidates to consistently control dance skills is of paramount importance regarding safe dance practice. Students should be advised that heavy contact of the knees on the floor during falls is an issue concerning safe dance practice. Diminished control of the torso into and out of inverted movement over the course of the dance is also an issue.

In the better performances, candidates demonstrated efficient and safe execution of the movement in relation to their anatomical structure. 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, use and manipulation of floor skills. Candidates worked their anatomical structure to its limits, with the ability to maintain alignment through the correct application of strength balanced against range of motion.

Some minor inconsistencies of the knee, hip, foot alignment in control of speed and dynamic were evident at this level, but this was balanced against the degree of skill evident in the dance. This level was still seen as acceptable. 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. They consistently coordinated speed, space and dynamic demands.

The link between technique and performance quality was evident through the ability to personalise the dance, manipulation of dynamic and space and the ability to transition from one skill to another with efficiency and control of the elements of dance. This ability presented itself as the ability to cleanly place and finish lines, sustain focus, extend lines and energy and present a confident execution of a dance under examination conditions.

In weaker performances, candidates were challenged by the demands of execution. This was seen in a lesser ability to control alignment and execution of combinations of skills. In an 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 or an inability to complete skills safely.

Some candidates presented choreography with a limited range of skills. Dances contained simple shapes and locomotor movements with combinations of feet, arms and legs, that did not demonstrate a range of coordination skills.

Some 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, use and manipulation of weight into and out of the floor, and kinaesthetic awareness in completion of turns.

Core Composition

Teachers and candidates need to carefully consider the concept/intent of the candidate’s dances. It is often better to consider intents that can be realised within the timeframe 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 or 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.

It is also important that the dances are within the correct time limits, as dances that are under or over time incur a time 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.

The purpose of composition within the framework of Dance as an artform is to relate to the audience a dance that communicates meaning, ideas, emotions etc. It 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.

The composition needs to focus on the ability to compose movement that is personalised and organised into developmental phrases that use the motif as their foundation, which then leads to a clear development of a concept. The level of interrelationship of shape, quality, time and space in motif was often inconsistent. Internal structure was seen to be a general weakness.

The purpose of phrases is to form a structure that leads to the clear communication of the meaning of the Dance. The holistic perspective of the dance needs to be determined before the candidate begins structuring. Variation and contrast and the application of transitional movement needs to be more consistently applied to both internal and external structure to lead to a clearer development of the concept.

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.

They 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 seen to be conscious and 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.

Better compositions used appropriate levels of personalisation and abstraction of movement. This was explored through purposeful choices of the elements to develop a well-designed motif that clearly made movement links to the purpose of the concept.

Most candidates at this level were able to construct phrases that used the motif as the basis of phrase development, even if they showed some inconsistency in the way some phrases used the supporting movement around the motif to create the phrase.

They demonstrated a consistency of development of structure and of the relationship of structure to the furthering of the concept. Inconsistencies in unity were evident, but these were seen more as the result of a flawed internal structure rather than external development. Some of these weaknesses were evident through an inconsistent integration of variation and contrast within both internal and external structures.

In the better compositions, candidates used transitions effectively to make seamless links between movement within phrases, between phrases and sections. Transitions assisted purpose in relation to the development of the concept through wise choices in motif manipulation for transitions.

The weaker compositions generally were a result of an inability to realise the intent through movement choices. Movement choices were seen as favourite shapes/movements to which a meaning was attached and then repeated, with very little development to assist clarity of the concept. Abstraction and personalisation were attempted but not explored to assist with the realisation of the concept.

In weaker compositions, candidates explored space, shapes, levels, directions and pathways, but at times were more mechanical rather than purposeful to the development of the chosen concept. The application of time and dynamics was often less explored. Movement became predictable, demonstrating explorations of time and dynamics when sections became evident, rather than conscious choices that were then interrelated with space in the development of phrases in order to consolidate and enhance the concept.

Motif development relied on the application of space elements, mainly a shape – or several shapes – to which meanings were attached. There was a lack of consideration of the integration of all of the elements of dance in creating motif(s). As a result, phrase development relied on repetition of movement, or became a sequence of unrelated movement to which the motif was attached. This resulted in weak internal phrase structure.

External structure in many weaker compositions relied on repetition of a sequence with some changes in space and time to achieve a sense of development of the concept. Development in space elements was achieved, but there was a lack of consistency in the application of purposeful dynamic and time choices to assist the clarification of the intent. Sequencing appeared to be logical but predictable due to the composition’s reliance on repetition.

Candidates need to consider the application of variation and contrast of the elements in both internal and external structure to reinforce understanding and development of the concept.

There is a need for candidates to consider the practicality of attempting to compose material in which the concept cannot be clearly identified in the movement choices. It is important to realise that the concept has to be realised and reach a resolution in 3–5 minutes. The time constraint often makes large-concept ideas very difficult to achieve.

Major Study

Major Study Performance

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 interprets a theme.

In the stronger performances, candidates presented a Work with a strong relationship between 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, combined in complex sequences. Skills were appropriate and directly and consistently related to the theme 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 that 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 projected confidence and were consistently committed to engaging an audience response.

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 safe, less complex skill combinations and individual skills, or attempted combinations that pushed 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 or shoulder, which was exacerbated by attempts to control speed or shifts in direction and level.

Some candidates’ choices of skills did not meet syllabus requirements, leading to the presentation of ‘dances’ rather than Works.

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. These concepts are integral to the clear development of understanding of the process demonstrated in the movement and development of the Work.

Appropriate choices of concept, content, music and length of the work are also important, as already discussed in Core Composition.

The motif and its development into phrases that clearly link the dancers and the concept are the cornerstone of the work. Manipulation of motif(s) and phrase development are what leads to a clear development of the intention of the work. Manipulation should be seen as purposeful to concept development and not just mechanical manipulation of movement to create design of bodies, shapes or performance space.

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 motif(s) and phrases were seen to create relationships and there was a clear link to well-chosen accompaniment.

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 the development of the intention of the Work.

Weaker compositions demonstrated the ability to create design of bodies in space, with manipulation. However, these were seen to be mechanical and repetitious and did not assist the development of a concept. Less consideration was given to applying time and dynamics to clarify or develop the intention of the Work.

Dance and Technology Options

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. The essential need to develop relationships between dancers is still important in these options.

Major Study Dance and Technology – Film and Video

The better films used concepts of movement development that were enhanced by the filmic considerations. Motif and movement phrases 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 both 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 that were purposeful to the development of the intention.

Weaker films relied on repetition of similar movement, or unrelated movement that lacked purpose in the development of the concept. Filmic considerations were mechanical in nature. The editing lacked purpose to the development of the intent and were seen to be more like choices that might simply make the film look good, or were favourite transitions.

Major Study Dance and Technology – Virtual Body

Candidates are advised to bring their work to the examination space on their computer.

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 to 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.
  • Movement from the software library is acceptable to assist the development of motif movement, provided it is 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.

Accompaniment

Most candidates used a CD. It is essential that candidates provide an unlabelled copy and backup, 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.

Also, if candidates use MP3 format burned onto a CD, it is important that it be compatible with all CD player systems.

In Composition, there is a need when selecting accompaniment with lyrics that they are not used in a literal manner. The accompaniment needs to be integral to supporting the concept/intent, not solely relying on the music to communicate the intent.

Dance Attire

All candidates need to wear appropriate attire for all examination components, including all viva voce. Some candidates’ performances and responses were hindered by inappropriate dancewear. Teachers and candidates should refer to the Stage 6 Dance Syllabus.

Candidates who choose costumes for Major Study Performance or 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.

Footwear

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.

Candidates are strongly advised to familiarise themselves with the performance space and flooring in the scheduled viewing time before their examinations. This is especially relevant to tap shoes in Major Study Performance.

Viva Voce

In better responses, candidates provided evidence of their knowledge and understanding of the components of the questions through the detail of their response and the relevance of their demonstration from their dance/work. They made well-reasoned connections between the parts of the questions.

In better responses, candidates:

  • contextualised the essential principles of the topics in the question
  • gave detailed explanations
  • provided relevant links between the concepts of the question
  • shaped their discussion with depth of understanding
  • made appropriate references to knowledge of the topic
  • supported their discussion with well-supported movement references
  • examined both parts of the question
  • organised their response logically
  • showed evidence of wider reading and study
  • justified movement decisions or reasons for movement choices
  • identified the application of safe dance concepts in their movement examples.

In weaker responses, candidates tended to:

  • paraphrase the question
  • list facts
  • recall information
  • summarise their dance/execution of the dance
  • make little reference to both concepts in the question
  • be superficial in movement examples, with very little explanation of the movement choice
  • attempt to give definitions with superficial discussion of the topic.

Teachers and candidates are reminded that in the Dance HSC examination in 2010 and beyond, the viva voces have been removed from the practical components of the Dance examination, with the following provisions:

  • In Core and Major Study performance, an interview takes place between the examiners and the students to allow students to orally and physically explain key features of their performance.
  • Students undertaking a Core Composition, Major Study Composition or a Major Study in Dance and Technology are required to submit a 300-word rationale to the examiners. Students will have the opportunity to orally and physically elaborate on their process of composition or technology option.

Written Examination

General Comments

Candidates need to answer the actual question and not become involved in storytelling and/or giving irrelevant information about the works and/or choreographers. There is a tendency for some candidates to use a prepared response to begin any question which can sometimes confuse the issue and the candidate’s logical thought processes in answering the question itself. Students should use the five-minute reading time to organise their response.

Core Appreciation

Question 1 Jiri Kylian’s Falling Angels

Better responses showed a clear understanding of the relationship of the motifs to the organisation of the dance and consistently linked both parts of the question. Relevant movement examples from the work were explained in detail and consistently used in support of their statements. These responses were well organised, coherent and logical.

The weaker responses identified motif/s and described them in general/basic terms but did not make the link to the organisation. They did not understand the link of the motif to the overall organisation of the work. Sometimes the link was made to the intent rather than the organisation of the dance. The examples lacked detail and were not always relevant.

Question 2 Nacho Duato’s Jardi Tancat

Better responses addressed the concepts of spatial elements and explained how these were used through movement to engage an audience, for example by communicating thematically, emotionally and/or aesthetically, linking to groupings/formations and using variation and contrast. These candidates supported their explanations with examples from the work, using appropriate terminology and detailed descriptions consistently. Better responses used a synthesised approach where the aspects of the question were treated holistically throughout.

The weaker responses provided information about the Work but did not make links with spatial elements and/or audience engagement. Audience engagement was sometimes implied rather than explained in terms of emotion/empathy or by retelling the narrative in movement examples. Some spatial elements were described but not convincingly. Examples were not consistently used.

Major Study Appreciation

Question 1

Better responses showed a definite understanding of the conventions of dance and how they were challenged by the chosen seminal artist in their Works. The linking to examples was relevant in support of their statements.

The weaker responses provided information about the chosen artist and/or the Works but did not make the link between how the conventions of dance were challenged by the artist in their Works.

Question 2

Better responses addressed the question in detail, giving relevant links between aspects of the era and where they were reflected in the artist’s Works. These responses were well structured and used appropriate dance terminology.

The weaker responses lacked detail in describing aspects of the era and/or links to the Work. There was an unevenness in the treatment of the two aspects of the question. Often there were descriptions of aspects of the era rather than the Work(s).

Question 3

Generally, candidates focused on one or two aspects of the Work as being significant. Better responses described sections of the work in detail, continually referring to its significance and providing relevant examples. These responses provided a descriptive and detailed use of dance terminology in a logical and well-structured manner.

Weaker responses lacked detail as to why it was a significant Work, but could provide information about it. Any links that were attempted were superficial and came from prepared responses.

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