2012 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 2012 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 2012 Higher School Certificate examination, the marking guidelines and other support documents 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 that are not included in the glossary may be used, such as ‘design’, ‘translate’ or ‘list’.
Practical examination
Core
General comments
In general, candidates showed an awareness of their anatomical structure, capabilities and body limitations. However, there were some candidates who engaged in high-risk practices. These practices include:
- the 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.
If the unsafe skills were repeated during the timeframe of the dance, a reduced understanding of the control of the skill generally occurred. Therefore, the execution level was affected, which was reflected in the mark values allocated.
The ability of the candidate to consistently control dance skills is of paramount importance. 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 not safe dance practice and do not demonstrate kinaesthetic awareness.
The dance should give the candidate an opportunity to demonstrate a range of skills that includes floor, aerial, locomotor and non-locomotor skills. Dances that contain long periods of time with the candidate sitting, lying or rolling on the floor, with much less time spent on higher-level skills, such as locomotor skills and the use of spatial elements, 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 not be too hard or too easy for the candidate, as this disadvantages the candidate’s ability to achieve the best result for their standard of skill. It also has implications across both criteria in the candidate’s ability to demonstrate a standard of kinaesthetic awareness and manipulation of the elements related to interpretation.
Dances should be within the correct time limits, as dances that are under or over time incur a penalty. 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 end 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. 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 shown in the dance. The energy required by complex movement occasionally affected endurance, but not alignment, placement and interpretation in 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 could not control alignment or execute combinations 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. This affected control of spatial elements and control of kinaesthetic awareness.
There were 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 Performance interviews
The performance interview is structured so that both dance technique, including safe dance practice, and performance quality are addressed equally and carry equal weighting. The interview questions are based on practical application seen by the examiners in the demonstration of the dance. Examiners are seeking to find the candidate’s level of understanding of the application of knowledge to their dance. Candidates should explain as clearly as possible their knowledge and understanding of the questions being asked. Candidates may ask for clarification. In better responses, candidates linked both physical and oral demonstrations to their own work, performance, process and experience in preparing for the exam while using the dance syllabus terminology. These candidates provided further physical evidence to support their response.
The majority of candidates had more knowledge of criterion 1 (dance technique, including safe dance) than of criterion 2 (performance quality). Candidates should be able to demonstrate an understanding of the interrelationship of dance technique and performance quality. Some candidates still prepared rote responses that detracted from the conversation style and did not address the performance/composition viewed.
Candidates must be able to articulate the relationship between the execution of skill and the interpretation. Also, the words ‘interpretation’ and ‘intent’ can be used interchangeably.
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. They may ask for clarification and may physically demonstrate their depth and breadth of understanding. Core interviews/elaborations can be up to six minutes.
Core Composition
Candidates need to carefully consider the concept/intent of the composition dance that can be realised within the timeframe of 3–5 minutes and consider the appropriateness of the content of the work. 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.
The originality of students’ work must be checked before certifying. It is plagiarism for candidates to use choreography (large movement phrases/sequences or dances) from YouTube or similar sources.
Certification forms are to be given to the examiners who may ask to see Practical Progress Log forms in order to verify certification and originality of the dances. This particular form can be found on the Schools Online website.
In better compositions, candidates linked 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 seen to be conscious and developmental to the purpose of the work as a whole. There was consistency in the application of the elements of dance to the 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(s) that clearly made movement links to the purpose of the concept. These candidates demonstrated consistency in the development of structure and the relationship of structure to the furthering of the concept.
In better compositions, candidates used transitions effectively to make seamless links between movement within phrases and between phrases and sections. These transitions assisted the development of the concept as did appropriate repetition, variety and contrast of movement.
In weaker compositions, movement choices were seen as favourite shapes/movements to which a meaning was attached 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 the application of time and dynamics were often less explored and manipulated purposefully to developing the concept. Movement became predictable and repeated, rather than manipulated and developed across the continuum of the dance.
Motif development in weaker compositions relied more on the application of spatial elements, mainly a shape or several shapes to which meaning was attached. There was a lack of consideration in the integration of all 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.
Development within spatial elements was achieved, but with a lack of consistency in the application of purposeful dynamic and temporal choices to assist the clarification of the intent. Sequencing appeared to be logical but predictable, due to an overreliance on repetition.
Core Composition rationale and elaboration
The rationale should be no longer than 300 words. It needs to reflect the process that the candidate has undertaken according to the areas of study in the syllabus and the marking guidelines. The markers require three copies of the rationale to be presented at the beginning of the composition sessions. The rationale is not marked.
Candidates generally explained and demonstrated manipulations of motif, but did not explain the development of motif relative to their chosen concept. They needed to demonstrate better understanding of the application of terminology to their own process. They also needed to be aware of the link between their choice of form and how that choice enhances the development of their concept/intent. In better responses, candidates had a holistic approach and demonstrated 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 and floor skills, as well as shifts of weight and the use of off-centre movement. The interpretation of the concept is equally as important as the demonstration of technical expertise. It is important to note that the basis of the execution of skills is a generic study of technical skills and that a variety of thematic considerations can be implemented. However, the selected thematic consideration needs to be seen in the context of dance as an art form and the two marking criteria are interrelated. There needs to be a development of an idea/theme/feeling, etc in the work that reflects dance as an art form. The performance also should reflect the extra amount of time allocated to the study of the subject.
The 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 affected the development of a clear interpretation through movement.
Care should be taken in the choice of music so that there is opportunity to explore dynamic, musicality and performance quality.
Costumes and props, if used, should be integral to the choreography of the work and should not detract from the purpose of the work nor 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. These candidates presented a range of technical skills, such as turns, jumps, falls, floor work and balances, which 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 also temporal and dynamic consideration that assisted the thematic ideas.
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. These candidates projected confidence and focus in engaging 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 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 and shoulder, which were exacerbated by attempts to control speed or shifts in direction and level.
Major Study Performance interview
The interview is based on the work that was performed and questions asked are based on what was seen in this work. Candidates are expected to be able to talk about technical execution, knowledge and interpretation of a concept in relation to performance quality. This may include a more extensive knowledge of the theoretical concepts of anatomy, the context of the work, training and the link between the chosen accompaniment and its physical realisation in movement. The interview is longer; therefore more depth and breadth of knowledge from the theoretical concepts of the syllabus is expected.
Major Study Composition
Major Study Composition rationale and elaboration
The comments related to the Core Composition rationale and elaboration also apply to the Major Study. Additionally, the candidate is expected to have a more extensive knowledge and understanding of the process of composition as it relates to the selection of the number of dancers, the link between the chosen accompaniment and the number of dancers, and the relationship of the chosen accompaniment to the movement. Candidates need to address in detail their movement choices in relation to the chosen concept and its development through the structuring of the work.
The Work
Major Study Compositions 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, is the cornerstone of the work. Manipulation of motif(s) 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 designs of bodies, shapes or performance space. The work should be structured so that the chosen concept develops through phrases and sections purposely, using the chosen dancers to clearly portray the concept.
Many candidates had motifs that were either simple shapes or movement of limbs, such as reaching, that 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 prescribed 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 motif(s) 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 relationships 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 the development of the intention of the work.
In weaker compositions, candidates created designs of bodies in space, with manipulation. However, these were mechanical and repetitive and did not assist with the development of a concept. There was less consideration given to the application of time and dynamics in clarifying or developing the intention of the work.
Major Study Composition Dance and Technology
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 at www.boardofstudies.nsw.edu.au/syllabus_hsc/dance-2011-exam-info.html.
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 edited 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 of the development of a clear concept. The work is designed for two to three dancers only, which is the same as the other Major Study Compositions.
The candidate who presents the Film option is expected to be the choreographer, camera operator and editor, but not a dancer in the film.
In better works, candidates used concepts that were achievable in movement development and enhanced by filmic considerations. Motif and movement phrases were seen and 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 used effectively to assist the development of the intent. In these better works, candidates seamlessly sequenced the work, with well-chosen use of editing transitions that purposefully developed the intent.
In weaker examples of works, candidates 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 with regard to the development of the intent and seemed instead to reflect favourite transitions or choices that might enhance the look of the film.
Major Study Dance and Technology – Virtual Body
The creation of movement motif and phrase development is the foundation of the development of a clear concept.
Candidates who present this Major Study should consider the following:
- 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
- consideration of the application of the snap menu to control the figures in the stage space and in relation to each other
- movements from the software library are acceptable 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, view the space from all angles to ensure that the positioning is as intended.
Conduct of the examination
The format of the examination is Core Performance, followed by Core Composition then Major Study Performance/Composition, then Film/Virtual.
Accompaniment
Most candidates used CDs; however, a number used MP3 format. Both options were successful. Candidates should provide an unlabelled copy and a 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.
If candidates are using MP3 format, it is essential that the music is cut to the correct length. It should be the only music in the folder and each component should have a separate folder.
If candidates are using MP3 format burned onto a CD, they should check that the CD will play in the CD player at their chosen venue.
The accompaniment needs to be integral to supporting the concept/intent.
Dance attire
As indicated in the Stage 6 Dance syllabus, all candidates need to wear appropriate attire for all examination components or they will 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 dancewear is adhered to. Some candidates’ performances were hindered by inappropriate dancewear.
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
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
In better responses, candidates showed a clear understanding of the question and a thorough knowledge of the work. They discussed both aspects of space and subject matter and demonstrated a consistent understanding of how one reinforced the other. Movement examples were detailed and relevant to their responses, which were well organised, coherent and logical. Candidates made clear choices regarding the number of spatial aspects to discuss to answer the question.
In weaker responses, candidates made a superficial link between space and subject matter and lacked detail of how it was achieved. Candidates made poorer choices regarding the aspects of space selected to answer the question and the examples were less detailed and not always relevant.
Question 2 – Nacho Duato’s Jardi Tancat
In better responses, candidates showed a synthesised knowledge of the work, the choreographer and his manipulation of movement phrases and could link these to the question with varying degrees of success. These responses were logically sequenced, with detailed and/or specific examples referenced to support statements. In these responses, candidates established an understanding of unity through communicating how it was achieved through the compositional process.
In weaker responses, candidates showed limited understanding of the words ‘to achieve unity’. They could describe movement examples and/or manipulations of movement phrases within the work, but these were not always relevant. Other information about the work was often included but was not always linked to the question.
Major Study Appreciation
Question 1
In better responses, candidates accurately identified relevant movement characteristics of the artist that made them unique, ground breaking or influential. Examples were detailed, relevant and consistently supported statements were made throughout. Responses were logical and coherent.
In weaker responses, candidates generally described movement characteristics and/or made statements about the choreographer that were not always relevant to the question.
Question 2
In better responses, candidates discussed how the issues in the era, such as themes, movement, examples or intent of the work were evident in the chosen works. Issues were described accurately and supported by detailed examples. The focus of the response was consistent throughout.
In weaker responses, candidates generally described a work and/or made statements about the era. Irrelevant information about the background of the choreographer was often included.
Question 3
In better responses, candidates consistently showed how successfully the intent was communicated by discussing how the two concepts were linked and by choosing appropriate examples relating to the link. The language used demonstrated a clear understanding of the work and the areas of study from the syllabus required to answer the question. Candidates demonstrated varying depth and breadth in their description of their chosen choreographic tools.
In weaker responses, candidates described some aspects of the tools used and made a statement about the intent of the Work. The examples were less detailed and irrelevant information was often included.
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