Dance 2022 HSC exam pack

Students should:

• personalise choreography to suit individual anatomical structure and ability level using dance technique and safe dance practices to support these qualities
• work with their teacher to ensure performance pieces address syllabus outcomes and support the capabilities of students
• avoid relying on pre-prepared responses such as memorised syllabus definitions and references to the areas of study
• demonstrate application of knowledge to the question(s) asked in the interview, and consider ‘how’ and ‘why’ this information relates to the student’s performance focus work from the perspective of the dancer, not the choreographer, in the Major Study
• actively participate in the interview as a conversation led by markers, and ensure appropriate examples are being chosen to demonstrate and/or analyse concepts
• during the interview, support the physical demonstration of knowledge seen in the dance
• adhere to the time limits as set by NESA in the Assessment and Reporting document.

In better responses, students were able to:

• consistently apply safe dance practice, dance technique and performance quality during the interview and address both the ‘how’ and ‘why’
• acknowledge physically and in discussion their application of aspects of space, time and dynamics, and how this enhances their performance quality
• execute a high level of body articulation, coordination and complex body skills in multiple ways
• choose the appropriate skills to best show the dancer’s abilities, demonstrating control and consistency throughout the performance
• apply understanding of their anatomical structure to their dance, demonstrating control of alignment, flexibility, strength and/or coordination
• display a good level of endurance to sustain a consistent level of performance.

Areas for students to improve include:

• understanding their own physical capabilities and limitations in relation to the complexity of the chosen movement
• demonstrating ability to sustain endurance throughout the performance
• applying safe dance technique and performance quality to the performance of the dance as a whole, not one area in isolation of the others
• avoiding the use of acrobatic skills that do not enhance the interpretation or demonstrate the skill of dance
• personalising the movement to ensure the link between the dance choreographed and the performer is strong, and demonstrates understanding of the syllabus outcomes
• avoiding the use of pre-prepared movement examples in the interview
• ensuring examples used directly relate to the questions asked in the interview.

Students should:

• develop an appropriate and achievable concept or intent
• organise the work into an appropriate form relevant to the concept/intent
• ensure the rationale is within the 300-word limit
• show an understanding of how the exploration of the elements of dance supports their concept or intent
• understand why manipulation supports the concept or intent.

In better responses, students were able to:

• establish motif(s) in relation to the concept or intent
• construct well-formed phrases driven by a motif
• use motif(s) to create phrases of movement clearly establishing, reinforcing and developing the concept/intent
• consider choices in manipulating a motif relevant to the concept or intent
• demonstrate logical phrase development throughout the dance
• purposefully apply transitions
• demonstrate physically and orally, reasons for the movement choices and relevance to the concept or intent
• consider the choice of accompaniment relevant to the concept/intent.

Areas for students to improve include:

• general understanding of the structure of a phrase
• incorporating a clear resolution to create unity
• demonstrating an understanding of variation and contrast to enhance the choreography
• showing a greater understanding of the choices or types of structure in both the elaboration and physical demonstration
• demonstrating a greater understanding of the difference between repetition and re-stating or developing the movement to support the concept/intent
• demonstrating the choreographer’s point of view through movement ensuring the elaboration matches concept/intent through purposeful movement choice.

General feedback

Students should:

• read each question carefully to ensure they recognise the key words and refer to the relevant aspects of the dance work and choreographer
• develop a plan to assist with structuring information which is succinct, logical and easily read
• avoid repeating or simply rephrasing ideas or points
• support the ideas in the introduction with more in-depth explanation in each paragraph
• refer to relevant, significant and detailed examples to support the response
• use appropriate descriptive language and dance terminology
• conclude the response by summarising and affirming arguments and making clear interpretive or supporting statement
• write legibly using clear sentences and paragraphs.

Question 1 – Mats Ek, Juliet and Romeo

In better responses, students were able to:

• clearly explain ‘love’ shown through the movement of Juliet and Romeo, for example, the movement supporting the narrative and/or indicating the character(s) thinking, or emotion(s)
• refer to movement in terms of the action of body parts and the application of spatial, time and dynamic characteristics
• describe the characters’ interactions in personal space
• consider and describe the action of the characters within the stage or active space, for example, direction, floor pattern, pathway and level
• consistently relate all three parts of the question (movement, love and the relationship between Juliet and Romeo)
• use appropriate language and terms when describing relevant movement examples
• contrast the movement of Juliet and Romeo with other characters as part of the forbidden love narrative.

Areas for students to improve include:

• answering the question, not just recalling or listing information about the choreographer and/or the work and/or the dance company
• identifying relevant sections of the work, choosing an appropriate scene(s)
• describing the overall structure and tone of chosen scene(s) through movement (with its beginning, development and resolution) rather than single specific movements
• using movement examples accurately with appropriate compositional terms and descriptive language.

Question 2 – Frances Rings, Terrain

In better responses, students were able to:

• explain the characteristics of traditional Aboriginal and contemporary dance as seen in the work
• provide relevant and appropriate examples of traditional movement, sourced from Aboriginal culture and identity, customs and stories, connection to country and the natural world, gender, aural elements, the use of props and costumes, and setting and environment
• describe the characteristics of contemporary dance, for example, source, intent and generic movement, vocabulary including specific techniques and performance qualities
• refer to more than one section of the work.

Areas for students to improve include:

• understanding the cultural significance of traditional Aboriginal dance
• understanding the characteristics of contemporary dance as an abstract art form (with its own generic movement vocabularies) conveying intent through the exploration and design of movement, techniques and performance qualities
• choosing and referring to movement examples with appropriate descriptive language and terms
• avoiding irrelevant or unnecessary information or commentary.

General feedback

Students should:

• read each question carefully to ensure the key words and intent are recognised
• develop a plan to assist with structuring information which is succinct, logical, easily read and understood
• support the ideas in the introduction with more in-depth discussion in each paragraph
• demonstrate breadth and depth of knowledge in answering the question and depth in the detail of the examples
• demonstrate knowledge and understanding of the appropriate aspects of the dance work and the choreographer(s) where applicable
• choose relevant, significant examples, when citing movement from the dance work
• ensure their writing is coherent by using succinct language, and referring to relevant concepts using appropriate descriptive language and dance terminology
• conclude the response by summarising and affirming arguments and making clear statements
• write legibly using clear paragraphs and sentences.

Question 1 – Crystal Pite, Betroffenheit

In better responses, students were able to:

• use specific examples to explain Crystal Pite’s communication of personal struggles in the work Betroffenheit, suchas a range of dance styles, theatrical elements, staging, aural elements, costumes and lighting
• identify and elaborate on the collaborative nature of the work between Crystal Pite and the actor Jonathon Young, and link to the concept and intent of the work
• demonstrate understanding and knowledge through detailed explanations and descriptions of the personal struggles referenced in both sections of the work
• use clear and relevant descriptive language
• identify relevant scenes showing personal struggles using theatrical elements and movement such as, the industrial set, the game show, the grotesque cabaret, the deconstruction and reconstruction in section two
• explain the relevant emotions within sections, for example, grief, anger, emptiness, escapism, coping mechanisms, psychological impact, despair, humour, masking pain, redemption, recovery, saving what is important in your memory.

Areas for students to improve include:

• addressing the question conveying personal struggles using dance elements and theatrical elements
• choosing appropriate examples that address the question
• avoiding a simple ‘re-telling’ of the work or sections from the work
• addressing the question using relevant explanations and descriptions
• avoiding over repetition.

Question 2 – Merce Cunningham 1955–1975

In better responses, students were able to:

• describe how the changing times shaped and were reflected in the choreographer’s works from 1955-1975, for example, rejecting modernist ideals for a progressive and postmodern ideal, challenging the role of dancers and the audience
• demonstrate understanding of the key socio-cultural, historical and political aspects of the time (the changing world 1955-1975) linked to Cunningham’s practices
• explain how the choreographer’s works extend the boundaries of existing dance using chance as a choreographic tool, collaborating with other notable artists and musicians of the post-modern period, developing unique notation and embracing technological developments
• provide relevant examples of choreographic/movement/artistic/design elements, for example, pop art and popular culture, appropriation and experimentation
• describe the development of a technique centred on strength in both body and mind, reflecting ideals of the time
• provide specific examples from works and describe how the examples reflect the times and expanded the boundaries of dance.

Areas for students to improve include:

• providing relevant appropriate detail in information and description
• avoiding repetition
• showing understanding of the era and its relevance to the question
• linking examples from the choreographer’s work to the era
• referring and linking works from the choreographer’s body of work to aspects of the changing world.

Question 3 – Lucinda Childs

In better responses, students were able to:

• identify what constitutes a seminal artist
• explain how Childs’ ideas establish her as a seminal artist
• describe Childs’ controversial avant-garde approach which was initially rejected by audiences
• give examples of Childs’ innovative performance spaces, conceptual dance, music, spatial design, pedestrian movement and found objects
• describe examples from Childs’ works with reference to her ideas and expanding the notion of dance in the post-modern era
• describe Childs’ influences, Cunningham, Judson St Theatre and her subsequent rejection of known dance language
• link Childs to the post-modern era and pedestrian elements, conceptual dance and spatial design with examples.

Areas for students to improve include:

• addressing the question
• referring to and linking works from the choreographer’s body of work to aspects of the changing world
• choosing appropriate examples from Childs’ work to support ideas
• avoiding repetition and retelling the meaning of the example
• linking Childs’ choreographic practices to recognition as a seminal artist, for example, collaboration, improvisation, developing movement vocabularies, associating movement with emotions and psychological states.