Dance 2023 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/elaboration, and address both the ‘how’ and ‘why’
• acknowledge physically and in the interview, their application of different aspects of space and time dynamics, and how this enhances their performance quality
• execute a high level of body articulation, coordination and complex body skills in multiple ways
• choose appropriate skills to best showcase the dancer’s abilities, demonstrating control and consistency throughout the performance
• apply understanding of their anatomical structure to their dance, therefore 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, dance technique and performance quality to the performance as a whole, not just in 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 movement to ensure the link between the dance choreographed and the performer is strong, and demonstrates understanding of the syllabus outcomes
• embodying the elements of dance to communicate the interpretation of the work
• 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 the motif
• manipulate and develop motif(s) to create phrases of movement that clearly establish, reinforce and develop the concept/intent
• consider choices in how they manipulated and developed the motif in relevance to the concept or intent
• demonstrate logical phrase development throughout the dance
• purposefully apply transitions
• demonstrate physically and orally the reasons for the movement choices and the relevance to the concept or intent
• consider the choice of accompaniment relevant to the concept/intent.

Areas for students to improve include:

• demonstrating 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 the physical demonstration
• demonstrating a greater understanding of the difference between repetition and restating or developing the movement to support the concept/intent
• demonstrating the choreographer’s point of view through movement
• ensuring the interview/elaboration matches the concept/intent through purposeful movement choices.

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.

Question 1 – Mats Ek, Juliet & Romeo

In better responses, students were able to:

• clearly explain both parts of the question in relation to ‘spatial elements’ and ‘rebellion’
• refer to spatial elements such as shape, level, direction, personal space, active space, and stage space. Then link them to the expression of emotions and rebellion such as the warring families, characters’ relationships, familial conflict, arranged marriage and societal expectations
• use appropriate language and terminology when describing relevant movement examples.

Areas for students to improve include:

• address the requirements of the question, not just recalling or listing information about spatial elements and/or the narrative and/or rebellion
• using movement examples accurately with appropriate spatial elements and descriptive language
• structuring the response with a beginning, development and conclusion
• avoiding the use of irrelevant information that does not assist with answering the question.

Question 2 – Frances Rings, Terrain

In better responses, students were able to:

• explain how both threat and natural beauty are portrayed within the context of Kati Thanda-Lake Eyre. For example, through the use of movement, the elements of dance, props/costumes, scenic elements, lighting, aural elements, the dancers featured in the episode(s) and/or the relationships between the dancers
• use relevant and appropriate examples from the work which refer to ‘threat’. For example, the impact of colonisation, culture, kinship, connection to country, land rights, the destruction of land and ‘natural beauty’ such as flora and fauna, regeneration and the geographical features, landscape, sky, water(s)
• refer accurately to sections of the work.

Areas for students to improve include:

• making relevant observations/explanations concerning the concepts of beauty and threat
• selecting and referring to examples with appropriate descriptive language
• avoiding irrelevant or unnecessary information or commentary or story telling
• further developing ideas and concepts stated in the introduction through the remainder of the response.

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.

Question 1 – Crystal Pite, Betroffenheit

In better responses, students were able to:

• observe and identify dance styles and explain the representation of their characteristics in this context. For example, Musical Theatre, Tap dance, Cabaret, Vaudeville, Physical Theatre and abstract Contemporary dance, and how they were used to communicate ideas in both acts
• explain a variety of themes and ideas expressed in both acts of the work such as shock, bewilderment, trauma, loss, sorrow, anger, struggle, despair, survival, coping strategies, humour, absurdism
• use clear, relevant and descriptive language to explain how dance styles contribute to the communication of ideas.

Areas for students to improve include:

• addressing the requirements of the question and making links between dance styles and communication of ideas
• avoiding a simple ‘re-telling’ of the work and/or sections from the work without supporting examples
• considering, understanding and explaining the contrast between the two acts
• avoiding the repetition of statements.

Question 2 – Era: 1955–1975

In better responses, students were able to:

• refer to one (or more) of the following within the era: the influence of popular culture, the challenge to political and social convention, protest movements, civil rights, technology, television, mass media, women’s liberation, feminism, American influence in Europe and vice versa
• explain how the era caused a change in the Arts in relation to the post modern art movement, the combination of theatre and dance, eclectic dance styles, the philosophies and practices of a seminal artist(s)
• cite more than one artist to explain change and challenges to existing dance conventions
• provide specific example(s) from work(s) from the era.

Areas for students to improve include:

• making connections between the social/historical events to dance challenges, changes and artists
• being able to cite artists, work, challenges and changes beyond the scope of the two prescribed artists.

Question 3 – Merce Cunningham or Lucinda Childs

In better responses, students were able to:

• show understanding related to the meanings of the terminology ‘choreographic style’ and ‘seminal artist’
• identify the key characteristics of a choreographer’s style and link these to appropriate examples from their works. For example, Cunningham collaborating with other notable artists (designers, musicians), dissociating meaning from movement, embracing technology, the use of chance as a choreographic tool; Childs’ use of innovative performance spaces, conceptual dance, spatial design, pedestrian movement and her rejection of known dance movement vocabulary
• provide appropriate examples from the choreographer’s body of work to support the idea of seminal or influential artist.

Areas for students to improve include:

• understanding what constitutes choreograph style, for example, common features, ideas, themes within the choreographer’s works.