Dance 2025 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:

• apply safe dance practice, dance technique and performance quality consistently during the interview/elaboration, and address both the ‘how’ and ‘why’
• acknowledge physically and in the interview, their application of different 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
• execute a range of body skills, varying in complexity with control in transitions between skills
• 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
• demonstrating the skill of dance, rather than using acrobatic skills that do not enhance the interpretation
• 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
• ensuring examples used directly relate to the questions asked in the interview, rather than using pre-prepared examples of movement.

Students should:

• develop an appropriate and achievable concept or intent
• organise the work into an appropriate form relevant to the concept or 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 or intent
• consider choices in how they manipulated and developed the motif with relevance to the concept or intent
• demonstrate logical phrase development throughout the dance
• apply transitions purposefully
• 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 or intent.

Areas for students to improve include:

• demonstrating general understanding of the structure of a phrase
• understanding of time and dynamics applied to further the concept or intent
• 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 or intent
• demonstrating the choreographer’s point of view through movement
• ensuring the interview/elaboration matches the concept or 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 easy to 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 statements.

Question 1 – Frances Rings, Terrain

In better responses, students were able to:

• explain how Frances Rings uses storytelling, for example, through themes (natural features of the lake, land rights, call to Country), cultural aspects and the components of dance in the work Terrain
• consistently use descriptive and relevant language in the explanation of storytelling.

Areas for students to improve include:

• selecting and referring to relevant examples with appropriate and descriptive language
• further developing and explaining the ideas and concepts stated in the introduction through the remainder of the response
• avoiding irrelevant or unnecessary information, listing or retelling the sections of the work.

Question 2 – Mats Ek, Juliet & Romeo

In better responses, students were able to:

• integrate and explain the destiny of characters effectively throughout the response in a logical and cohesive way
• use relevant and detailed examples consistently, and use correct language to address the destiny of characters throughout the response.

Areas for students to improve include:

• developing ideas and explanation of the destiny of characters in the work, providing more than just a narrative, recount or list of information about destiny and/or characters.

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 provide depth of detail in 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 and uses succinct language
• refer 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:

• convey specific and relevant movement, (specific to the genre of dance) and theatrical choices (costumes, lighting, setting, props and accompaniment) that connect to the ideas of suffering and survival such as pain, distress, hardship or depression
• use clear, relevant and descriptive language and terminology to explain how movement and theatrical elements are used to explore the ideas of suffering and survival, such as grief, shock, addiction, relapse, trauma, guilt and recovery
• articulate their ideas and present a logical and coherent response.

Areas for students to improve include:

• addressing clearly and consistently how movement and/or theatrical elements are used in the work to support the ideas of suffering and survival, rather than providing a simple retelling of movement and/or theatrical elements and/or suffering and/or survival with no supporting example or explanation
• providing more detailed and relevant examples.

Question 2 – Era: 1955–1975

In better responses, students were able to:

• identify how the era provided stimulus for dance, such as social, cultural and historical influences, movement(s), individual(s)/group(s), school(s) of thought or widely held attitudes, and relate how dance was a response to these
• refer to one or more of the following as a stimulus within the era: civil rights, women’s liberation, feminism, challenges to social convention
• refer to a range of artists, such as Alvin Ailey, Merce Cunningham and Judson Dance Theatre
• provide specific example(s) from artists and their work(s) from the era.

Areas for students to improve include:

• describing, with detail, both the era and the dance artists/companies
• understanding how the era was a stimulus/starting point for dance creativity
• linking specific examples of stimulus to artists/companies consistently
• supporting their response with integrated examples and language.

Question 3 – Merce Cunningham or Lucinda Childs

In better responses, students were able to:

• identify the ways in which their chosen artist's body of work and choreographic practice altered audience perceptions of dance
• articulate features of their chosen artist's practice and how it caused audiences to rethink traditional notions of dance due to it being ground-breaking, unique or unusual. For example, Child's use of unconventional performance spaces, minimalistic, pedestrian movement and everyday objects as a source of choreographic stimuli; or Child's and Cunningham's engagement with technology to develop and influence their work, rejection of conventional narratives and fluid approaches to collaboration with other artists of their era
• provide appropriate examples from the work(s) of their chosen artists. For example, Child's Carnation, Dance, Pastime and Cunningham's Summerspace, Rainforest, Canfield.

Areas for students to improve include:

• recognising the choreographic practices of their chosen artist that had the clearest effect on audiences and changed perspectives about the function of dance as an artform
• having specific knowledge of the key works in their chosen artist's repertoire
• writing detailed explanations to reinforce the relevance of the examples chosen
• sustaining logic and cohesion throughout the response and including a concluding paragraph.