NATIONAL QUALIFICATIONS CURRICULUM SUPPORT
Dance
Higher Dance Practice:
Practical Assignment
Laura MacNeill
[HIGHER]
The Scottish Qualifications Authority regularly reviews
the arrangements for National Qualifications. Users of
all NQ support materials, whether published by
Learning and Teaching Scotland or others, are
reminded that it is their responsibility to check that the
support materials correspond to the requirements of the
current arrangements.
Acknowledgement
Learning and Teaching Scotland gratefully acknowledges this contribution to the National
Qualifications support programme for Dance.
© Learning and Teaching Scotland 2009
This resource may be reproduced in whole or in part for educational purposes by educational
establishments in Scotland provided that no profit accrues at any stage.
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Contents
Teacher information sheets
4
Student course notes
Introduction
7
Part (i) Choreography
Overview
The process of composing a dance
Starting point, research and movement development
Choreographic structure and devices
Methodology for working with dancers
Theatre arts
16
17
18
29
43
46
Part (ii) Dance performance
Strengths and development needs of the performer
Training programme – personal action plan
57
95
Appendix
Glossary of dance terms
References
Lecture notes
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TEACHER INFORMATION SHEETS
Teacher information sheets
Higher Dance Practice requires students to complete four chosen techniques
from the six national units available for Hi gher Dance Practice:






alternative
classical
contemporary
ethnic
jazz
Scottish.
On successful completion of the units, students must undertake a practical
assignment which requires them to plan, choreograph and teach a two -minute
group piece, and then analyse their own strengths and weaknesses in dance
before selecting their two preferred techniques to study in depth. Students
then learn two tutor-taught solo performances in order to demonstrate their
personal competence in dance.
There are three stages to the practical assignment:
 planning
 development
 evaluation.
Higher Dance Practice and Curriculum for Excellence
Higher Dance Practice meets the requirements of Curriculum for Excellence
as it develops successful learners, confident individuals, respo nsible citizens
and effective contributors. The practical assignment for Higher Dance
Practice provides opportunities to underpin and enrich learning in many other
curriculum areas, including music, drama and art. Teachers can guide
students towards selecting a theme which they are currently studying in
another aspect of the curriculum, therefore enhancing their learning and
understanding of that subject. By supporting them as they prepare for and
participate in concerts, shows and events which the local co mmunity can
enjoy, staff can provide opportunities for students to develop confidence and
inter-personal skills, and gain an understanding of the dance profession.
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Course assessment
The assessment of the Practical Assignment for Higher Dance Practice is not
concerned exclusively with practical activities but is designed to allow the
student to plan and choreograph their own original work as well as
demonstrating their own ability in dance through tutor taught solo
performances.
Candidates are provided with a choice of briefs to follow when carrying out
the Practical Assignment and are expected to demonstrate attainment relating
to interpreting the brief, gathering information to clarify the brief , deciding
on an appropriate theme and dance styles to devel op, selecting and managing
resources and materials, delivering the performance and evaluating both the
process and performance.
Assessment at a glance
1.
Planning stage – written plan of action (which students work on
throughout the year and hand in prior to beginning the development
stage).
2.
Development stage – candidates choreograph a two minute group dance
based on a theme of their choice for a minimum of two dancers
excluding themselves and learn and perform two tutor taught solo
dances in varying genres to demonstrate their own personal competence
in dance.
3.
Evaluating stage – 1500 word evaluation, which allows the student to
reflect on the planning and development stages. This is completed under
exam conditions, within 4 weeks of completing the practical exam.
Evidence requirements will be:
 a plan of action
 evidence of an organised activity or a performance
 evidence which documents the processes underpinning the practical
activity
 evidence showing extended evaluation of the practical assign ment.
A total of 200 marks are allocated to the practical assignment, split as
follows:
Planning stage:
Development stage:
Evaluating stage:
40 marks
120 marks
40 marks.
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TEACHER INFORMATION SHEETS
This practical assignment is subject to Type 2 Visiting Assessment. The
evidence for the development stage must be in the form of a live performance
in front of an SQA visiting assessor. Centres should refer to the publication
Project-based National Courses: procedural guide for centres (A1312, April
2001) for full procedural details of Type 2 Visiting Assessment.
(www.sqa.org.uk)
Exemplar material can be found on the SQA secure website and all dance
DVDs and resources included in these notes can be obtained from
www.dancebooks.co.uk or www.amazon.co.uk.
The planning stage
The planning stage involves completing an action plan , which takes the form
of a formal piece of written work (approximately 1000 words). The plan
should also include appendices, which may include factual information,
visual stimuli, video footage, floor plans and patterns, diagrams and images
of theatre arts such as lighting, costume and set. The action plan can be
displayed creatively or in an essay format.
This should be completed before starting the development stage and accounts
for 20% of the overall grade for Higher Dance Practice.
Choreography
It is advisable to teach students the theory that accompanies the choreography
aspect of the assignment through practical workshops and theory lessons.
Throughout the process students should keep a choreographic journal
detailing what they have learnt, ideas for movement, formation group work
and choreographic devices. After fulfilling each section students should write
a paragraph containing all the relevant information. Once they have
completed the choreography section the students should start work on
choreographing their group dance. The longer they have to choreograph and
teach their piece, the higher quality the outcome will be.
Dance performance
During this section the students will learn the theory through practical
sessions which will be supplemented by theory sessions. Students will work
through the process of identifying their own st rengths and weaknesses to
create a personal training programme that will improve specific aspects of
their performance in each of their solo performances.
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Student course notes
Introduction
Reason for choosing the brief, ie theme for choreography, selection of
techniques, studio or site-specific performance.
(5 marks)
The introduction must:




define the aims and objectives of the practical assignment
select and interpret a brief
provide a rationale for selecting the chosen brief
specify the chosen theme for choreography and the two chosen dance
techniques for dance performance.
The aims and objectives of the practical assignment
The practical assignment for Higher Dance Practice is made up of two parts:
1.
2.
choreography
dance performance.
To complete the choreography aspect of the assignment you must
choreograph a two-minute dance for a minimum of two dancers excluding
yourself. Your choreography should be based on a stimulus of your choice.
The dance performance aspect of the assignment requ ires you to demonstrate
personal competence in dance. To do this you must study two chosen dance
techniques in depth, analysing your strengths and weaknesses with the view
to developing a training programme to overcome these weaknesses. You will
then demonstrate personal competence in dance through a two -minute tutortaught solo performance in each technique.
The two chosen techniques must be from the six national units available for
Higher Dance Practice:
 alternative
 classical
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STUDENT COURSE NOTES




contemporary
ethnic
jazz
Scottish.
You must justify why you have chosen these two particular techniques to
demonstrate personal competence.
Selecting a brief
To begin the planning process you must select a brief which you will follow
to complete the practical assignment. The briefs which you can choose from
are stated in the National Course Assessment document on the SQA website
and in the student worksheet 1.
The difference between the briefs is the performance area. You must decide
whether to complete both aspects of the pr actical assignment in a studiobased environment or a site-specific location, or one part in each area.
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Student worksheet 1
Introduction
Before you begin your action plan, you must select a brief to follow. Read the
briefs below as well as Information sheet 1 before selecting the one that best
meets your needs as a performer and choreographer.
Brief 1: Studio-based performance
(i)
Choreography
You must choreograph a dance for two or more dancers (excluding self)
which should last for a minimum of two minutes.
(ii)
Dance performance
You must provide evidence of personal competence in two specialist
dance techniques by performing tutor -led dance sequences, both lasting
a minimum of two minutes.
Both part (i) and part (ii) of this brief must be perfor med in a studio.
Brief 2: Site-specific performance
(i)
Choreography
You must choreograph a dance for two or more dancers (excluding self)
which should last for a minimum of two minutes.
(ii)
Dance performance
You must provide evidence of personal comp etence in two specialist
dance techniques by performing tutor -led dance sequences, both lasting
a minimum of two minutes.
Both part (i) and part (ii) of this brief must be performed in a specific site .
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STUDENT COURSE NOTES
Brief 3: Studio-based performance and site-specific performance
(i)
Choreography
You must choreograph a dance for two or more dancers (excluding self)
which should last for a minimum of two minutes.
(ii)
Dance performance
You must provide evidence of personal competence in two specialist
dance techniques by performing tutor-led dance sequences, both lasting
a minimum of two minutes.
Part (i) and part (ii) of this brief may be performed in different locations .
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Information sheet 1
Analysing the brief: The performance space
The performance space
The type of space that the performance will be in will affect the design of the
choreography. The dancers will perform to a higher standard if they feel
comfortable in the environment. This handout analyse s the advantages and
disadvantages of a site-specific performance space and a studio-based
performance space.
What is a site-specific performance space?
Site-specific dance performances use the location and its fixed set as an
important component of the dance piece. Literally, the dance is specific to the
site where the dancers are performing, and the site becomes part of the dance
itself. A site-specific performance could take place in any venue or setting,
for example a football ground, a church, a castle, the playground, an airport,
an art gallery or the school canteen. For a site-specific performance to be
successful, the location and the surrounding environment should provide the
stimulus for everything, including the choreographer’s inspiration. The
material itself should not be able to be performed an ywhere else, it is not
about choreographing something in the studio and then adapting it to make it
fit in the site-specific location.
Examples of professional works which could be used to gain a greater
understanding:
 The Cost of Living (2004) DV8 Physical Theatre
 Out of the Windy Beach (1998) Lea Anderson
Advantages of using a site-specific location
A site-specific performance engages with its surrounding environment,
whether that is through architecture, community, or a combination of those
factors. Site-specific performances can also be process oriented, rather than
simply performance oriented. In the exploration of a new space, in
endeavouring to rediscover or redefine any given place, performers and their
collaborators may seek any number of things : a better understanding of
history, a deepened community network or transformation of a public place.
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Disadvantages of using a site-specific location
Site-specific environments are often informal and pose problems for
choreographers, for example:







safety
availability
environmental factors such as the weather
whether the dancers will be comfortable in the environment
the dancers will not have experience dancing in the setting
whether the environment is suitable for dancing
the movement can get lost in the surrounding architecture or amongst
passers-by
 it takes time to get to the site
 access might be restricted to certain times and it could be an
uncomfortable environment for the audience to be standing watching due
to the weather etc.
What does studio-based mean?
Studio-based means that your dance must be choreographed to be performed
either in a dance studio or on a stage. A dance studio would be used for an
informal performance where as a stage would be used for a formal
performance. This is the most common performance space and there are four
different types of stage design that your dance could be projected onto: a
proscenium stage, a thrust stage, a theatre in the round or created and found
stages, which may be constructed specifically for a performa nce or may
involve a space that is adapted as a stage to suit the performance.
Examples of professional works which could be used to gain a greater
understanding:






Nutcracker! (2005) Matthew Bourne
Ocean (1994) Merce Cunningham
Revelations (1960) Alvin Ailey
Wildlife (1984) Richard Alston
Swansong (1987) Christopher Bruce
Frontline (2002) Henri Oguike
Advantages
Dancers train every day in a dance studio and usually perform in a dance
studio or on a stage in a theatre, therefore they have experience performing in
this area. Both the stage and the studio offer rich possibilities for showing
movement clearly, the movement will not be lost to the surroundings. A
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dance studio and a theatre are safe environments for dance as they have
sprung floors, are clean, the temperature is appropriate for dancing so that the
muscles are kept warm, and they are clear and large enough so that the
dancers can perform to the best of their ability. Theatre arts can be used to
enhance the theme of the dance.
Disadvantages
The audience are not involved in the performance and they must use their
imagination to fully understand the set for the performance. There are not as
many possibilities for using levels and depth unless staging is used.
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STUDENT COURSE NOTES
Student worksheet 2
Once you have selected a brief for your practical assignment you must justify
why it is the best choice for you and how it will influence the planning for
your choreography and dance performance.
The two techniques that I have chosen to demonstrate personal competence in
dance are:
1. ___________________________
2. __________________________
Why have you decided to perform these two particular techniques?
Reasons for selecting technique 1:
Reasons for selecting technique 2:
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What is the theme of your choreography and how has it influenced your
choice of brief?
Now put the information from worksheet 1 and 2 together to form the
introduction. It should be approximately 125 words.
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STUDENT COURSE NOTES
Part (i): Choreography (20 marks)
Overview
As identified in the introduction, the first part of the assignment requires you
to choreograph a two-minute dance for a minimum of two dancers excluding
yourself. You should use the action plan to plan your choreography and any
additional information that is used to inform your work can be included in the
appendices. This section should provide evidence that you can:
 work practically to research a chosen starting point
 experiment, improvise and rehearse movement ideas that will embody your
chosen theme within your choreography
 understand and effectively use choreographic form and devices to enhance
your choreography
 establish good working relationships with performers , communicate
effectively with them and be able to respond to their attitudes, feelings and
views
 discuss, set and use SMART targets (specific, measurable, achievable,
realistic, time limited) with the performers
 select movements which are safe and appropriate to t he needs of the
performers
 understand and manipulate the constituent features of dance and, where
necessary, obtain resources for costume, music, design.
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Information sheet 2
The process of composing a dance
The process of composing a dance can be compa red to problem solving. The
choreographer must solve a series of problems sequentially in order to
produce a creative and meaningful composition. Below is the process you
should go through when creating your choreography.
Select a stimulus as a starting point.
Research and explore starting point.
Improvise and experiment with movement relating to chosen
theme.
Select and refine movement material which conveys your chosen
theme.
Organise movement to create a motif which embodies the
essence of the theme.
Develop motif using choreographic devices.
Repeat the process to create more material.
Select a structure.
Work with dancers and adapt material to suit their needs.
Select theatre arts to enhance your choreography.
The procedure above can be broken down into the following manageable
sections, which relate to the marking criteria for the planning stage:




starting point, research and movement development
choreographic devices and structure
methodology for working with dancers
theatre arts.
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STUDENT COURSE NOTES
Information sheet 3
Starting point, research and movement development
Research and rehearse movement, eg starting points, themes, motifs, etc.
(5 marks)
Starting point
What is a starting point?
A starting point is a stimulus that rouses the mind and incites ac tivity. It is
the inspiration and the basis of the dance. From a stimulus a choreographer
then creates movement material.
There are five types of stimuli that you can choose from.
1.
Auditory: This is also known as the aural setting for the dance and the
most obvious choice is music. However, there are other options such as
poems, songs, words, percussion instruments, human voice sounds and
silence. If the stimulus is auditory then the dance is normally performed
to that stimulus.
For example, music from any of the following artists would be
appropriate choices as a stimulus or as an accompaniment for
choreography:







2.
Michael Nylan
Yiling Huang
Hans Zimmer
Luis Bacalov
John Williams
John Powell
Sigur Ros.
Visual: A visual stimulus is something that you can see, for example
pictures, sculptures, objects, patterns or paintings. The choreographer
will take the idea behind the images or the shapes and translate this into
movement.
For example:
A chair could be viewed:
– for its angularity
– for its purpose
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–
–
–
–
as
as
as
as
a throne
a trap,
an object to hide behind/underneath
a weapon.
Water could be explored for:
– the different forms it adopts
– how it moves
– the sounds it makes
– the contrasts between when the sea is calm and rough
– the fact that it is a basic but essential unit of life.
Famous sculptures which you may have seen, such as the statue of Eros
or the Angel of the North.
It may be interesting to explore a human character from a painting , for
example Hotel Lobby (1943) by Edward Hopper (1882–1967) or
Composition VIII (1923) by Wassily Kandinsky (1866–1944).
Candidates may also like to explore paintings from the following
artists:
–
–
–
–
–
–
3.
Salvador Dali
M.C. Escher
Picasso
Magritte
Matisse
Andy Warhol.
Ideational: This is the most popular stimulus and it will result in the
choreography conveying an idea or unfolding a story.
For example:
 The candidate may decide to base their choreography on a specific
historical or political event such as:
–
–
–
–
–
–
–
–
–
the fall of the Berlin Wall
landing on the moon
assassination of John F Kennedy
Martin Luther King’s speech, ‘I have a dream…’
the twin towers (ground zero)
the end of World War II
the bombing of Hiroshima (atomic bomb)
the Boxing Day tsunami
the credit crunch.
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STUDENT COURSE NOTES
 You may want to base your choreography on a poem, a case study, a
well known saying, mythology, a story or a news article that you
have studied in another subject or that you are particularly interested
in, for example:
– Dulce et decorum est (1917) Wilfred Owen
– Mockingbird Don't Sing (2001) Harry Bromley Davenport
 You may prefer to base your choreography on one of the following
ideas:
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
4.
recycling
rainforests
the carbon footprint
opposites
films
different phobias
the weather
the four elements (earth, air, fire ,water)
witchcraft
addiction
a labyrinth
a city street
everyday movements
storm at sea
the stages of growing old.
Tactile: This type of stimulus may produce a kinaesthetic response
which then becomes the starting point for the piece. The feel of
something, such as a piece of soft velvet, might inspire the
choreographer. A tactile stimulus can often become an accompanying
object in the dance.
For example:
 A silk scarf may inspire you to incorporate flowing, sustained
movements whereas a rope may inspire the candidate to incorporate
aspects of feeling trapped and tied down.
5.
Kinaesthetic: Movement itself and movement phrases may inspire you
to create a dance piece. There is no communication purpose other than
the nature of the movement.
Any movement can take the role of a kinaesthetic stimulus and the
dance is then derived from this basis. The dance is then about the
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movement itself. This is usually referred to as a dance study, in which
you select a particular choreographer and study their choreographic
style and methodology and use this as the basis of your choreography.
The movement does not have to have a communicative purpose other
than the nature of itself, but it can have a:




style
mood
dynamic range
pattern or form.
Similarly you may decide to base your dance on specific movement
components such as:






impulse, momentum and falling
swing, suspend and drop
legato, staccato and allegro
circles, spiral and strike
ricochet and revolution
velocity.
Or you could compare and contrast the movement associated with the
following words:





hold out and surrender
suppression and expression
torment and pleasure
vulnerable and confident
agitation and contentment.
Once you have selected a starting point or stimulus you must identify a
theme on which to base your choreography and articulate why you have
chosen this particular theme. You will be guided through this process in
worksheet 3.
Ask your teacher for guidance in selecting a theme.
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STUDENT COURSE NOTES
Information Sheet 4
Research
Before creating any movement you must research your chosen theme in depth
so that you can portray it in a realistic manner which is sensitive to the
audience. You must also decide which aspect of your chosen theme you wish
to portray through your choreography and what you hope to convey to the
audience through the performance of your choreography. Research will also
provide the choreographer with an insight into their theme , which will inspire
movement ideas.
There are a wide variety of methods you can use to research such as the
internet, books, documentaries, case studies, museums, the library, the media
and professional dance repertoire. You should use as wide a variety as
possible to gain a broad understanding of your theme and inspire your
imagination.
You should collect all of your research in a folder and take time to organise
your information and describe your theme by making mind maps,
brainstorming words relating to your theme and finding images, pi eces of
music and art work that relate to the theme. All of these resources will help
you to choreograph movements that illustrate your theme. These movements
will later combine to form a motif. Examples of the most influential research
should go into the appendices of the action plan.
Once you have completed your research you should search for an aural setting
that will enhance your theme. There are many ways you can do this
depending on what type of aural setting you decide to use; advice can be
found in the section on theatre arts.
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Information sheet 5
Movement development and forming a motif
Once the aural setting has been decided the choreographer can then analyse it
and see how they might reflect the music in their choreography, for example
what is the structure of the music and is there a climax? Is more than one
piece being edited together? Following this, the choreographer will be able to
take all the research and accompaniment into the dance studio and use it to
experiment and improvise movement that will relate to the theme. The
movements that the choreographer creates will be inspired from the research
and will therefore embody the essence of the chosen theme.
Improvisation
Improvisation is when dancers create movement spontaneously, ranging from
free-form to highly structured environments, but always with an element of
chance. It provides the dancer with the opportunity to bring together elements
quickly, and requires focus and concentration. Improvisation is instant and
simultaneous choreography and performance.
Movements created through improvisation are evaluated through the
following questions:






What
What
What
What
What
What
movements
movements
movements
movements
movements
movements
feel right?
fit into the image to be portrayed?
have meaning and are relevant to the dance idea?
are interesting?
are original?
have potential for development?
From the evaluation, you will be able to select and refine the movements that
you want to use in your choreography. The choreographer will then deve lop
these movements through rehearsal to form the initial motifs and sequences
for their choreography.
What is a motif?
A motif is an easily identifiable single movement or short movement phrase
which embodies the style or intention of the dance and whic h can be
manipulated and developed. How you devise your motif will depend on the
stimulus of your dance, but the actions should link clearly to your theme. For
example, if your stimulus is a picture then the movement in your motif might
reflect the shapes, lines and colour of the images. A motif must be seen more
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STUDENT COURSE NOTES
than twice within a dance, as a dance without a motif is like a song without a
chorus. The motif can be repeated, varied and developed by manipulating the
movements within it. This allows the choreographer to develop the essence of
the idea and move their choreographic ideas on. The audience has a sense of
coherence as it sees echoes of significant movement recur but with something
adapted, creating more variety and interest. The motifs may be asso ciated
with character, enabling the audience to identify clearly the essence of
specific characters.
Once the original motif has been composed, pictures can be taken of the
individual movements and put into the appendices along with an explanation
of each movement.
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Student worksheet 3
Part (i): Choreography
Starting point and movement development
Every dance has an intention or a starting point. For example, choreographers
might have an idea of what they want to convey to the audience or an idea
they want to explore in order to arrive at a new understanding. The starting
point may come from personal experiences, cultural and societal influences,
fantasy, memories, feelings, dreams, emotions, literature, music, sculpture or
movement itself.
What is your starting point or the intention for your choreography?
Briefly explain why you chose this as your starting point and how it helped
you arrive at your theme for your choreography.
Provide a description of your theme for your choreography.
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What do you plan to achieve through the performance of your choreography?
Before you begin to create any movement for your choreography you must
research your theme in depth. How are you going to research your theme?
List all of your research sources (for example, website address es and title of
page, documentaries, newspaper articles, photographs, paintings, books,
films) and explain how you plan to use them as a stimulus for your
movement.
It is important that you keep a record of all of your research and record it in
your appendices. The information can be placed as an appendix at the back of
your plan.
For example:
Books
Author/editor’s surname and initials, (year of publication), title of book:
including subtitles (in italics or underlined), edition (if applicable), place of
publication: (followed by a colon) name of publisher.
Eg MacNeill, L., (2009) Higher Dance Practice: Practical Assignment,
Glasgow: LTS.
Website
Author/editor’s surname, initials, (or name of owning organisation eg LTS),
(year of publication), title of page (in italics or underlined) [online]
Available from : <url> [Accessed (enter date you viewed website)]
Eg LTS, (2009), Higher Dance Practice: Practical Assignment [online]
Available from <www.LTScotland.org.uk/nq/dance> [Accessed 10/08/09)
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Using all of your information sources you should now be able to go into the
dance studio and improvise and experiment with movement to form your
initial motifs and sequences.
What will you do once you have finished all of your research?
What are your thoughts behind the movements within your motif and how
does it embody the theme for your choreography? You may want to take
pictures of the movements and put them in your appendices with a brief
description.
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Information sheet 6
Choreographic structure and devices
Demonstrate knowledge of choreographic devices and how they will be used
in the choreography, eg choreographic structures, unison, canon, repetition,
layering, motif and development, etc.
(5 marks)
When composing a piece of formal writing you are expected to have a
particular structure, ie a beginning, middle and an end. Similarly, when
choreographing a dance it should have a structure which is clear to the
audience.
Choreographic structure or form
Choreographic structure or form refers to how the motifs and sections are
linked together. Motifs are typically known as motif A, motif B and motif C
for ease of explaining the well-known structures.
The choreographic structure of your piece will depict the shape of the overall
dance. Choreographic structures are traditional framew orks which have set
patterns. Using these pre-set structures for your choreography can be a
helpful way to put your ideas in order. You must use them in a way which is
appropriate to what your dance is trying to convey. The form that you select
will affect how your dance performance is organised. It is the framework into
which your movement motifs can be organised.
A-B structure: binary (two parts)
Binary form involves two related motifs, A and B, like a verse and a chorus
in a song. The first section is contrasted by a second section. A and B are
repeated many times and in any order: A -B-A-B, A-B-B-A etc. This form is
typical of many folk dances.
A-B-A structure: ternary (three parts)
This is a three part structure where A is the unifying theme that re turns either
as an exact repetition or as a recognisable variation or development. The final
section can be a development of the first section but it needs to be closely
connected. The A phrases need to offer a contrast to the middle B section. It
is used to create a clear structure, which returns to the beginning going round
full circle which gives a satisfying feeling of completeness, balance and
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unity. Although these sections are independent they are also connected,
giving the piece balance and unity.
A-B-A-C-A-D structure: rondo form
In rondo form, the principal theme A alternates with one or more contrasting
themes, for example A-B-A-C-A or A-B-A-C-A-B-A. A must appear at least
three times, but it can itself be varied. The number of themes can vary and the
recurring element is sometimes embellished or shortened in order to provide
variation. The contrasting sections should be linked by appropriate transitions
to provide continuity for the audience.
Theme and variation
This compositional form involves developing variations of an individual
motif. The initial dance statement is followed by variations of this. Each
becomes the basis for the next. The framework for this dance therefore
becomes A-A 2 -A 3 . For example, you are taught motif A in class and t hen put
into groups and instructed to adapt the original motif. Group one’s motif will
then becomes A 1 , group two’s motif will become A 2 , etc.
Chance
Merce Cunningham and composer John Cage were the pioneers of this type
of structure in the early 1950s. Cunningham made a detailed chance system
showing timing, spatial designs, sound and movements , and then through
using dice, cards or tossing coins worked out the order of movements in the
performance.
Narrative
If your choreography has a narrative structure then it will have a gradual
unfolding of a story or idea.
Echo/call and response
This is a choreographic structure that is most often associated with African
dance and musical forms in which a leader, or leading group, performs a
movement or phrase and a follower, or group of followers, repeats the same
movement or phrase.
You must decide on the structure for your dance and clarify why you have
chosen that particular structure.
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Student worksheet 4
Choreographic structure
A choreographic structure is the specific compositional form in which
movement is structured to create a dance.
Which choreographic structure have you chosen for your choreography and
why?
Explain what each of the sections will represent and what type of movement
you will include within each section, for example A will represent the
differences between the characters and B will highlight the attraction between
them.
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Information sheet 7
Choreographic devices
You should select a minimum of four choreographic devices and structures to
develop your motif. For each device that you select you should give an
explanation of why you have chosen to use it, how you plan to use it and how
will it enhance the meaning of your choreography.
Motif development
Motif development is a way of producing a lot from a little, while avoiding
too much repetition, which may be monotonous for the audience.
The motif is the ‘building blocks’ of a dance. Rather than continually
inventing new movements for a dance once a motif has been developed
variations can be used to develop the motif into a dance composition. By
varying the motif the choreographer is making the dance unique.
How to develop a motif using choreographic devices?
Choreographic devices are technical tools that will enable you to choreograph
your dance. They are tools that can be used to change the way a movement is
performed. The motif can be repeated, varied and developed by manipulating
the movements within the motif.
Repeated
This is the easiest one to begin with. The same actions are performed in the
same order in the same place on the stage.
A direct repeat can be effective if you are trying to communicate:
 a sense of rhythm and routine
 a feeling of boredom or tedium
 a sense of pattern in an abstract piece.
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Varied
This is slightly more complicated. The same actions are performed in the
same order, but one or more of the following might change.
1.
Space: The stage area is typically split into nine areas:
up stage right
(USR)
stage right
(SR)
down stage right
(DSR)
up stage
(US)
centre stage
(CS)
down stage
(DS)
up stage left
(USL)
stage left
(SL)
down stage left
(DSL)
The placing is always taken from the performers’ point of view.
Whilst this is useful for describing where the action takes place it gives the
choreographer little indication of where a motif should take place to further
communicate the mood or atmosphere of the dance. The dancer and
choreographer Doris Humphrey analysed the stage areas in fur ther detail and
suggests that the black areas should be considered strong areas and the grey
areas are weaker.
The centre stage area can fluctuate between strong and weak in a solo : if the
actions are small and vulnerable the dancer can look lost in an enormous
space, but if the actions are strong and commanding then the dancer seems to
‘own’ the whole stage.
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Further to the strong and weak areas the choreographer should consider the
difference between up stage and down stage. The c horeographer should use
upstage when trying to communicate ideas such as:
 solitude
 alienation
 vulnerability.
Whereas the down stage areas build:
 intimacy
 familiarity
 detail.
Finally, when travelling from one section to another, Humphrey suggests that
in Western culture it is stronger for the performer to move from stage right to
stage left, simply because this is the direction in which we read and thus we
associate it with important information. Therefore if you wish to make a
strong statement in your work you should use a right to left pathway, if you
need to make a character weaker then you should use the reverse. This used
in conjunction with the stronger and weaker areas as well as the down
stage/up stage rule indicates that the strongest pathway is A, followed by B.
These both thread through the strong areas of the stage. If people move away
from you they automatically get weaker, therefore moving backwards
between the grey areas of the stage would make for weaker pathways.
2.
Timing: one movement or the whole motif can be performed at a
different speed, for example slow motion or in double time.
3.
Rhythm: this can be used to change the way the movements are
performed because you will alter the pattern of the beats, without
altering the tempo or length of the motif.
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4.
Size: the movements can be exaggerated, extending the movement/motif
through space, time or energy. This can be done by using more space,
time or energy to perform a specific movement or motif.
5.
Direction/staging: performing the motif or movement in a different
place, or facing a different direction in the performance space.
6.
Dynamics: are the expenditure of energy in relation to the movement
therefore the movement can either be performed with greater strength or
flow. Changing the dynamics can assist in the communication of the
meaning, attribute certain qualities to the movement or simply provide
variation within the composition.
7.
Levels and planes: Change the motif to a different level. Use different
planes to perform the same motif – vertical, horizontal, sagittal.
We are referring to the body in terms of
anatomical planes (flat surfaces). These
planes are imaginary lines - vertical or
horizontal - drawn through an upright body.
Each rotational movement that you make
will rotate around one of these planes
1. Vertical axis
2. Sagittal axis
3. Horizontal axis
8.
Inversion: perform the motif upside down or on the other side, for
example if your original motif was performed standing up change the
body base to lie on the floor or if you originally p erformed the motif on
the right change to the left.
9.
Embellishment: adding detail to a movement.
10.
Transposition: means shifting from a movement achieved in the upper
space (standing up) to a movement in the lower space (from a move led
by the elbow to a move led by the knee) or a jerky movement to a slow
and continuous movement.
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11.
Instrumentation: use a different body part to perform the movement
motif, for example the original motif is performed centre stage facing
the front. This might be later varied by performing it downstage, left,
facing the side.
Variation is useful to demonstrate the following:
 The use of different locations or directions can imply a sense of building
panic.
 The use of different dynamics can affect the mood: slower usually suggest s
calmer; faster often implies anger.
 Size can infer a sense of freedom or restriction.
 Different levels can give a sense of power. Performing a movement at a
low level, such as floor work, can give a sense of weakness where as using
higher levels, such as elevation, can give a sense of power.
Development
This is the most involved methodology of using a motif. In development, the
motif may make significant changes.
The order of the actions can be changed through the following:
 Addition: while doing your original motif, simultaneously (at the same
time) execute any kind of jump, turn or travelling pattern (triplet, run,
slide).
 Deletion: taking away a movement from the motif.
 Substitution: changing a movement to another movement.
 Repetition: repeating one section of the motif.
 Retrograde: reversing the order in which a motif is performed, like re winding a film.
 Stillness: moments of stillness
 Fragmentation: using only a part of the motif, any part. Consider it as an
entity in itself. Try using several parts of the motif (a piece a third of the
way through, a piece part way through, a piece at the end) to create a new
movement.
 Accumulation: this is a choreographic pattern in which movements and
phrases are repeated in a sequence, adding a new movement/phra se at the
end of each repetition. For example, do one short movement, repeat it and
add a new one. Repeat the two movements and add another one, for
example
– turn
– turn, jump
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– turn, jump, twist
– turn, jump, twist, swing, etc.
As well as changing the order of the movements the changes possible through
‘variation’ can also be used. A fast and forceful travelling sequence may be
reduced to a simple gesture sequence or a motif of three actions may be
increased to a motif of eight or nine actions that lace the or iginal three
together in a new order.
Combination: To develop interesting possibilities, combine any of the above
choreographic devices so that they happen at the same time , eg
inversion/retrograde and time or instrumentation/additive and staging.
Developing the movement material is useful for demonstrating the
following:
 a clear understanding of motif development
 building up a sense of climax or tension
 complex emotional states evoked through combinations of size, level, and
direction
 conveying the mood or narrative more clearly through new material than
via a direct interpretation of the stimuli.
When choreographing a group piece, unison and canon can also be effective.
Canon
Canon is a compositional form in which the original motif is reinforced and
amplified as it is stretched over a longer period of time. Individuals and/or
groups perform the same movement or phrase beginning at different times.
This device involves at least two dancers performing one or more motifs at
different times. Canon creates interesting relationships within the group such
as leader and follower, question and answer, cooperation and confrontation.
It is satisfying as it has unity and variety built into it and gives a sense of
progression. The fact that the motif is shared gives the dance a sense of
unity.
There are different ways in which this device can be used and some of these
are explained below.
Simple canon: This is the most basic form of canon. Each dancer performs
an entire motif and then stays still while another da ncer takes over. This
device can be developed by having the dancers begin the motif four counts
after each other, placing demands on the dancers’ musicality and ability to
perform in a group.
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Simultaneous canon: involves dancers doing the same motif at the same
time but starting from different points in the phrase. This creates a dense,
coherent and interesting look.
Simple, simultaneous and cumulative canons all have a cohesion and logic to
them, leading to a sense of a solid structure.
Cumulative canon: each dancer joins in with the lead dancer at various
stages during the dancing of a motif and they all finish at the same time. This
gives a look of an increase in force or power as more dancers are added.
Unison
When dancers are performing in unison they are performing the same
movements at the same time.
Groupings
Within your choreography you may have a range of different groupings
which can enhance the meaning of your choreography, for example a solo, a
duet, a trio or a quartet. You may have more than one of these groups
performing at the same time, for example you could have a soloist and a duet
or trio dancing different motifs at the same time.
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Student worksheet 5
Choreographic devices
Choreographic devices are technical tools that will enab le you to choreograph
your dance. They are tools that can be used to change the way a movement is
performed. The motif can be repeated, varied and developed by manipulating
the movements within it. You should use them to enhance your intentions for
your choreography. Choose four choreographic devices and explain how you
plan to use each to develop your motif wi thin each section of your dance and
how this will enhance your choreography.
______________________
______________________
______________________
______________________
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Information sheet 8
Methodology for working with dancers
Describe methods that will be used when working with dancers , eg
communication, goal setting, safe content and attitudes/feelings , etc.
(5 marks)
What is a methodology?
When talking about a choreographer’s methodology we are referring to their
working methods: how they go about creating something to achieve their
results. Every choreographer’s methodology will vary and what works for
them as individuals may differ from your preferred methodology.
In order to formulate your own methodology for choreographing a dance and
working with your dancers you must first understand what a methodology is
and the different methods adopted by professional choreo graphers.
Mathew Bourne and Pierre Lacotte are famous for recreating the classics. The
following excerpt is from an essay comparing and contrasting their
methodologies for creating a ballet d’action and will help you understand the
different approaches choreographers use.
Bourne’s approach to creating a ballet is populist as he attempts to make
ballet more accessible to a wider audience (Acocella, 2007; Sucato, 2007).
Bourne’s purpose in such revisions is not simply satirical but an attempt to
uncover a deeper meaning. Conversely, Lacotte recreates and re -stages a
ballet the way it was first seen to give a fair but enhanced impression of the
original.
The choreographer’s approach
Bourne approaches the entire dance piece as though it is a play as opposed to
choreography for a dance performance. He looks at the plot in terms of a
series of questions, for example what will the first scene be and when will the
hero meet the heroine. It is a dramatic construction not a choreographic one.
Bourne wishes each dancer to identify with their character deeply, so much so
that for the length of the production each dancer assumes the name of the
character they are playing. Bourne (1998) believes that ‘ it‘s almost like pure
cinema….it’s like a silent film’.
This is evident even in the early stages of his methodology as he focuses on
the plot, the acting and the theatrical accoutrements of set design and sound
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effects as much as on the music and technical aspects of the dancing (Lyman,
1998).
Initially, Bourne works alone, listening to the music and plotting out the
show (Acocella, 2007). His inspiration comes from cinematic images as
opposed to conventional stage shows. On the first day of rehearsals he shares
visual stimuli such as photographs, newspaper and magazine cuttings, books
and video footage which have enhanced and developed his inspiration and
understanding of the period that the ballet was originally created in.
While Bourne is developing the ballet into a 21 st century performance and
unravelling its hidden depths, Lacotte remains traditional. He thinks of the
whole ballet as a work of art and commissions a designer to recreate the sets
and costumes of the original version in as much likeness as possible.
Choreographing the movement material
Pierre Lacotte is a natural step maker. He studied classical ballet intensively
and therefore the entire classical vocabulary has gone through his body.
Ashton (1998) believes that you cannot be a choreographer if you have not
been a dancer. Lacotte can create original and interesting enchainment which
maintain the style of the 18th century and therefore his ballets have little
quotes from the original (Dixon, 2007). He does not allow his dancers to
create any of the steps. He choreographs the movements and teaches the
dancers their steps and there is no collaboration.
Contrastingly Bourne is less technically able and is not a natural step maker.
Bourne (2004) states that he is:
‘not completely trained in any one area – I'm not a tap person
or a ballet person. I don't have a big back-up of steps; I can't
just fall back on what I know’.
Consequently he does not choreograph the movement material for his pieces.
He holds what he calls ‘workshops’ with a small group of dancers. The
participants are given themes to create the steps. As the dancers improvise,
Bourne directs them and highlights material that he believes will bring the
characters to life (Acocella, 2007). Results are videoed to help him create the
movement material. Bourne (1999 considers himself a director as opposed to
a choreographer and Dixon (2007) agrees that he is a theoretical genius but
not a choreographer. He then moves onto rehearsals with the whole company
and starts to create their characters in greater depth. Bourne provides them
with a rough outline of who they are and suggestions for books to read and
movies to watch. The dancers then fashion a personality for their character
and present it to the whole cast (Acocella, 2007). The characters watch the
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movement material that emerged from the worksh ops and Bourne asks them
to further develop it, based on their new personalities. He then adapts what he
likes to synchronising the dancers’ routines.
When hiring dancers Bourne does not necessarily hire technically strong
dancers. He hires those who he feels have a strong dramatic presence, who
can act and who he thinks have the ability to work as part of an ensemble that
will work together and respond to each others creations. Part of the audition
process for ‘New Adventures’ includes character improvis ation to determine
the candidates acting ability (Motzkus, 2006). His dancers are good
performers. Bourne’s strength lies in his use of the ensemble to create a
dramatic mood. His downfall is that he cannot provide the vocabulary to
match the original dramatic music.
Lacotte works with technically sound dancers and trains them in the style of
the era that the dance was set. He is adamant that the precision, detail and
elegance must be put over with respect. The movement material in his ballets
is of the highest quality and it matches the dramatic climax of the musical
score, holding the audiences’ attention.
Both choreographers have successful methodologies which have contributed
towards making them successful choreographers. Aspects of both
methodologies could be utilised in the dance class. At times students can be
encouraged to improvise and develop their own choreography as Bourne does
in his workshops. Students may be more likely to be successful at this task if
inspiration is taken from familiar sources such as multimedia. On the other
hand, it is essential when training classical dancers that the teacher is a
profound step maker and can create interesting enchain ment that encourages
musicality and requires precision. Dancers must be trained in both methods if
they wish to become professional dancers so that they can adapt to
choreographers methodologies.
You must now consider what your own personal methodology wi ll be.
The choreographer’s approach and movement development
1.
You must consider how you are going to select your dancers or whether
the teacher will do this for you.
2.
A timetable will need to be devised to ensure there is sufficient
performance space and time for each choreographer to choreograph ,
teach and learn the dances that they are performing in. This may also
determine the groups depending on the students ’ other commitments at
lunchtimes and outwith school. This should be done as a whole clas s or
groups should work together and come back to the teacher to say when
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they can rehearse. Once complete the timetable will go in the
appendices of the action plan.
3.
The choreographer should then create a choreography timeline,
including SMART targets for each session. This will ensure they stay
on track and are focused during every lesson. This can be presented in a
format that suits the candidate. Examples are in the appendices.
4.
The first time the choreographer meets with their dancers they should
explain the plan for their choreography and share any research or visual
stimulus that will help the dancers relate to the chosen theme. The
dancers must understand the intention of the choreography and the
emotions involved if they are to portray the cho reography in a sensitive
and realistic manner. The choreographer must also inform the dancers
of their expectations of them and let them know that they will be
approachable if anyone is having any difficulties with the
choreography. They will also need to enquire whether anyone has any
injuries so that they know that the movement material is safe and will
not cause further injury.
5.
Depending on whether or not the choreographer has chosen to be the
sole step maker will determine the next stage in their me thodology. If
they are going to be the sole step maker they will begin teaching
sections of their choreography. If they are going to adopt an approach
similar to Bourne’s then they may hold workshops giving the dancers
specific tasks to develop the movement material.
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Student worksheet 6
Methodology for working with dancers
Now that you have completed your research and formulated a plan for your
choreography you should be prepared to work with your dancers in the studio
and to develop your group choreography.
Describe what you will do when meeting with your dancers for the first time.
What personal qualities will you expect from your dancers and what are your
expectations of them?
What else will you need to consider when you are working with your dancers
(for example, ability, health and safety, attitudes and feelings, effective
communication)?
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To ensure you use your time effectively and have sufficient time t o
choreograph, teach and learn each others’ choreography you must create a
rehearsal timetable for you and your dancers. This will go into the appendices
at the back of your plan.
Time
Monday
Tuesday
Wednesday
Thursday
Friday
You will also need to create a basic choreography timeline, indicating
specific targets of what you want to achieve during each session. This will
ensure you use your time effectively and that you complete your
choreography and perfect it in time for you r practical exam. This will go into
the appendices at the back of your plan.
Week
Target
1
2
3
4
5
6
7
8
9
10
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Example of timeline
Work on my own,
analysing research
and creating
movement material to
form motif
Ask my dancers to
improvise movement
relating to a specific
element of my
theme.
Start teaching
section A of my
choreography.
Give dancers a specific
task of adapting the
original motif using a
chosen choreographic
device.
Exam
Week 1
Show my dancers all of my
research, explain my theme
and what I want to achieve
through my choreography.
Show them a film relating
to my theme.
Adapt movement ideas
from my dancers and
begin teaching dancers
my motif and the style
of movement within
my choreography.
Clean section
A and move
onto section
B.
Revise
sections A
and B and
continue on
to the next
section.
Are you going to be the sole step maker, creating all of the movement
material like Lacotte, with the dancers learning it and performing it exactly as
you have taught them? Or will you expect your dancers to have a creative
input by holding workshops in the style of Bourne, having them improvise
and choreograph short sequences either based on movement material taught
by you or their own movements relating to a specific aspects of your theme?
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Continue
cleaning dance
and setting in
the performance
space.
STUDENT COURSE NOTES
Theatre arts
Describe how the use of music, costume, lighting and props/set will enhance
the theme of the choreography.
(5 marks)
The constituent features of dance: the physical setting
Although the dancers and the movements of a dance are extremely important,
the way they are presented on stage is nearly as vital. The lighting, costume,
set, props and sound all help to enhance the theme a nd create an intriguing
dance.
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Information sheet 9
Lighting
Lighting is an important aspect of every dance. It can enhance the dance idea
by helping to communicate mood and atmosphere. Lighting can also generate
a variety of effects, such as a wash of light, spotlights and a corridor of light.
In everyday life we respond to changes in the light around us and naturally
this is exploited in the theatre. A change in light triggers an automatic
response in us and therefore it has a huge influence on the a udience’s
reactions. Not only does it attract our attention , it can depict atmospheres of
warmth, danger, isolation and fear. The choice of lighting can change the
mood, create images and add a symbolic meaning to enhance the dance.
Changing the intensity of the lighting can also add to the dramatic effects.
For example, at the start of the dance the dancers may gradually be visible or
they may appear as silhouettes and likewise at the end there may be a slow
fade to black out or a snap to blackout. Below a re examples of lighting
techniques that could be used to enhance the intention of your choreography.
Wash of light
This is created by stage lights having different coloured gels attached to
them. The different colours can easily create different moods a nd atmosphere.
For example, blues create a cold and eerie feeling, whilst reds and yellows
create a warm feeling.
Spotlights
This is where a single, strong beam of white light is directed specifically on
certain dancers. It is used to highlight certain c haracters or movements. It
creates a more intimate feeling and the audience are drawn to watch
specifically what is being focused on.
Corridor of light
This is similar to a spot light. However, the light appears as a long vertical
shaft. This is often used from the sides of the stage as opposed to from the
audience’s perspective. Swansong (Christopher Bruce, 1987) uses a corridor
of light shining from upstage left towards which the dancer seems to be
performing.
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Side lights
These give depth and mould well to the flexible body of the dancer due to the
height at which they are positioned.
Cross light
Light is directed onto the stage from more than one direction. Large amounts
of light from front-of-house above will give a stagy look, whilst light shone
from a low level only can create eerie shadows.
Cross fade
As some lights fade up, others fade down. This is an effective approach to
change from one scene to another.
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Information sheet 10
Costume for dance
Costume is an important aspect of a dance a s it can help to communicate the
dance idea and be used in many different ways. There are a number of
different types of costume designs that are used for dance:




realistic/everyday wear
dance wear
abstract
character.
The dancer or choreographer can either make the most of its restrictions or
they can use it to enhance the general visual design and the particular theme
of the dance. Masks and face paints offer further possibilities.
Realistic/everyday wear
This costume design is often used to show real life in biographical-based
dances. It is basically clothes that are used for people in everyday life. It
could be jeans, t-shirts, street clothing. There are advantages and
disadvantages of using this type of clothing. It is cheap and easy to produce
as it can be bought in high street stores or the dancers can wear their own
clothes. Although many items of everyday clothing are easy to move in , items
such as jeans can be restrictive and baggy clothing will distract from the
movement as you will not be able to see the line of the body. Everyday
clothing can add to the dance idea and support the everyday nature of the
dance
An example of a professional work that uses realistic/everyday wear is The
Groove to Nobody's Business (2007) by Camille Brown.
Dance wear
This type of costume is what is commonly used for dancing in. Traditionally
it is mainly used in ballet or contemporary pieces. It will often be plain
colours, for example black leotard and tights, tutu or dance trousers. There
are advantages and disadvantages of using this type of clothing. It is cheap to
produce. It is very easy to move in as the material will be stretchy therefore
you will clearly be able to see the line of the body. However, it is very plain
and simple therefore it could be boring and might not add to the dance idea.
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An example of a professional work that uses dance wear is Swamp (1986) by
Michael Clark.
Character costume
A choreographer may choose this type of costume in narrative -based pieces to
highlight the different characters or roles in the dance. The costumes may be
very elaborate and detailed. They are useful to clearly identify the different
characters and they can add to the dance idea, aiding the audience ’s
understanding. However, they can be very expensive to produce and may be
heavy and very difficult to move in.
An example of a professional work using character costume is Still Life at
Penguin Café (1989) by David Bintley.
Abstract costume
This type of costume design is often weird and unusual. It is a costume which
leaves the meaning open to interpretation from the audience. It can be cheap
to produce, easy to move in, add to the dance idea and provoke a reaction
from the audience. However, it may also be restrictive, the audience may find
it difficult to understand and you may not be able to see the line of the body .
An example of a professional work that uses abstract costume is Lamentation
by Martha Graham (1930).
Whatever costumes the choreographer decides to use, they should enhance
the intentions of their choreography by emphasising the mood, enhancing the
movement or clarifying character and story.
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Information sheet 11
Accompaniment
Music
If the student decides to use music as their aural setting they may compose
their own and record it or enlist the help of a friend who is an accomplished
musician to play the piece live. By doing this the music will echo the
structure and mood of your choreography. If this is not a viable option then
students can search for music on the internet using sites such as ‘ YouTube’,
‘i-tunes’, ‘last fm’ and ‘spotify’ or by watching films relating to their theme
and taking note of any instrumental tracks that would enhance their theme.
The music that you use should be interesting. However, it should not have an
overpowering beat or inappropriate lyrics that could overshadow your
choreographic ideas. The music should enhance your choreography. The
choreography and the music should support one another but the dance should
not be fully dependant on the music. Ideally you should select an original
piece of music that you are not familiar with so that you do not have any
preconceptions about the movement. Poor choice of accompaniment will ruin
a dance. You should also ensure you have a good quality recording of your
music and if you have edited it that the sections run smoothly together.
Sound
If you wanted to use only sound you could record it using natural sounds such
as stepping, stamping, door bells and the wind. Watch extracts of Frank
Ejara’s performance from the Breaking Convention (2007) to see how
effective this can be. Your own technology music can be made using Garage
Band or Sony Vegas.
Voice
The voice could be used by reading out a poem, or extracts of a letter, or
speaking words which add to the theatre arts of the performance.
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Information sheet 12
Stage
Procenium theatre
The main feature of a proscenium theatre is a large archway at or near the
front of the stage, through which the audience views the performance. The
audience directly faces the stage, which i s typically raised several feet above
front row audience level. The main stage is the space behind the proscenium
arch, often marked by a curtain which can be lowered or drawn closed. The
set is designed to be seen only from the front and the dancers are l ikely to
work predominantly in front of it. Lighting in a proscenium theatre is usually
focused on the performance space and does not spill into the audience. The
dancers disappear from sight when they exit the stage and therefore can make
an unexpected entrance.
Theatre-in-the-round
A theatre in the round is any theatre space which has the audience
surrounding the stage area. The set design will need to be seen from every
angle and is likely to be three dimensional, allowing the dancers to work
around it/inside it, creating a closer relationship between the set and the
movement. The dancers can sometimes be seen even before the entrance and
after the exit. It is often difficult in the round to differentiate clearly between
performance space and auditorium.
When choreographing a performance to be performed in this type of theatre
the choreographer must take into consideration that the audience is all around
and formations will be viewed from every angle , which could affect
interpretation and interest in a piece. A range of perspectives will be
presented.
The lighting will also need to be planed carefully as the placement of lights
could blind or frustrate audience members sitting in the line of the lights.
Set
Cyclorama
A cyclorama could be used to provide the audience with additional
information on when and where the performance is set. The advantages of
this are that it allows the stage to be left clear o f any obstructions which
could cause injury and the backdrop can be changed to allow for scene
changes.
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Realistic set design
A realistic set design uses furniture and props to realistically recreate the
shop, jungle, café or city street. This can help communicate the dance idea
and is interesting for the audience to look at.
Abstract set design
This type of set design can literally be anything unusual. An abstract set
design could use a sculpture, a piece of artwork or anything that is not a
literal interpretation of something real. The dancers can reflect and interact
with the design and the audience can make their own interpretation.
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Student worksheet 7
Theatre arts
Although the movements of a dance are extremely important, the way they
are presented on stage is nearly as vital. The lighting, costume, make -up,
sound and set all help to enhance the theme and create an intriguing dance.
Describe how you plan to use these design elements to enhance your theme.
Your ideas can be illustrated through photographs, lighting plans, diagrams,
drawings and material cuttings, which will go into the appendices.
Sound
Costume
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Lighting
Stage and set
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STUDENT COURSE NOTES
Part (ii): Dance performance: 15 marks
Overview
As identified in the introduction the second part of the assignment, dance
performance requires you to demonstrate personal competence in dance. You
must study two dance genres in detail, analyse your strengths and
development needs within this genre, and design and implement a training
programme to overcome your development needs. In the development stage
you will demonstrate personal competence in dance through a two -minute
tutor-taught solo performance in each genre.
Chosen genres may include any of the six national units available for H igher
Dance Practice:






alternative
classical
contemporary
ethnic
jazz
Scottish
You should use the action plan to identify and analyse your strengths and
development needs and prepare a personal action plan in the form of a
training programme to overcome these weaknesses and improve your
performance in each of the identified techniques. Any additional information
that is used to inform your work can be included in the appendices.
This section should provide evidence that you can:
 identify techniques to be studied for performance
 recognise the limitations on the structure of the body with regards to the
techniques studied
 establish an action plan for personal improvement and development of
skill levels in conjunction with teacher/lecturer guidance.
This part of the assignment can be broken down into the following sections:
 strengths and development needs
 personal action plan.
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Strengths and development needs
Identify techniques to be studied for performance.
(1 mark)
This section must identify the two dance techniques you have chosen in order
to demonstrate personal competence in dance.
Recognise the limitations on the structure of the body with regard to the
techniques studied, eg alignment, strength, stamina, flexibility, etc.
(4 marks)
Everyone has different strengths, depending on a wide variety of factors.
Some people are good at English others are good at maths, French, music, art
or drama, depending on previous experience or a natural aptitude for that
subject. Dance is no different, except it is also the structure and physical
attributes of your body that often determine your ability.
Examining turn out will help you understand this.
The extent to which an individual can rotate their legs is largely
predetermined by the shape of the bones i nvolved and the flexibility of the
ligaments, joint capsule, and hip and thigh muscles. Those with a longer neck
of the femur are more likely to have a larger range of turn out. However, the
structure of the bone may be influenced by ballet exercises perfo rmed before
a period of bone development experienced around the age of eleven and
loosening off the Y ligament will give a li ttle more turn out in arabesque,
which can be seen in the photos on the next page.
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STUDENT COURSE NOTES
First arabesque
Second arabesque en demi pointe
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Information sheet 13
Fitness-related strengths and development needs affecting
performance in dance
Areas and aspects of fitness
Fitness is the body’s ability to meet the demands of physical activity and the
environment in which you are participating, without placing undue strain on
the body. If you are analysing your own performance in an activity then you
must consider all aspects of fitness. In order to perform effectively in any
activity there are three types of fitness that are required: physical, skillrelated and mental. Each of these areas can be further divided into specific
aspects of fitness. If performance is to be fully effective a performer must be
competent in all three areas.
Physical aspects of fitness
Dancers should be physically fit and should make time available for a proper
fitness training programme. This will result in greater levels of concentration
and lower levels of injury.
Aerobic endurance
Cardio-respiratory
endurance (CRE)
Anaerobic
endurance
Muscular
endurance
STAMINA
SPEED
PHYSICAL
FITNESS
STRENGTH
Static
Explosive
FLEXIBILITY
Dynamic
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Stamina
This is the performer’s ability to perform strenuous activity for an extended
period of time. Specifically it is made up of cardio -respiratory endurance
(CRE) and muscular endurance (ME).
Cardio-respiratory endurance
This is the ability of your heart and lungs to supply oxygen to the work ing
muscles, allowing them to work at a moderate level for a sustained period of
time.
Why is CRE important for dancers?
Good levels of CRE are essential for dancers for the following reasons:
 to allow the dancer to cope with long hours in the studio, while
maintaining safe, expressive and efficient movement.
 to facilitate efficient and quick recovery after demanding sessions.
 more efficient delivery of oxygen to the muscles allows the dancer to
sustain a high level of performance for a longer period o f time before
fatigue sets in. This will be important in preventing injury as tired dancers
are more likely to make mistakes which often result in injury.
 to allow the muscles to work for longer without tiring and without
producing lactic acid.
 to increased the capacity of the heart and lungs to supply oxygen to the
working muscles, enabling the dancer to take on more demanding roles.
Muscular endurance
This is the ability to work a muscle or group of muscles for an extended
period of time at less than maximum effort without becoming fatigued, for
example performing repetitive exercises such as battement tendus, sautés and
demi pliés.
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Demi plié
Why is muscular endurance important for dance?
Muscular endurance is important for good posture and fo r injury prevention.
Many dancers are concerned that strengthening muscles will make them bulky
and hinder flexibility. However, muscular endurance and strength are vital in
controlling flexibility.
Flexibility
Flexibility is the range of movement around a joint. It is sometimes called
suppleness or mobility. It is affected by the type of joint and the muscle
attachments. Flexibility is specific to each joint – if a dancer is flexible in the
shoulder joint they will not necessarily be flexible in the h ip joint.
Why is flexibility important for dancers?
Flexibility is essential for dancers to:
 increase the aesthetic look of movements and allow them to be performed
correctly
 allow a wider range of movement around the joint and help prevent injury
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 maintain good posture, for example tight hamstrings and hip flexors tilt
the pelvis in unnatural angles and may cause lower back pain
 facilitate increased power and movement, which will enhance the dance
performance, for example when performing jetés, if the hip flexors are
tight then the dancer will not be able to get height off the floor or reach a
full split in the air.
Splits
Stretching in 2nd
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Strength
Strength is the maximum force that a muscle can exert in a single muscle
contraction. It is the body’s ability to use muscles to apply force to overcome
resistance. It can be further divided into:
 static or isometric strength when the muscles contract and hold one
position
 dynamic or isotonic strength when the muscles contract or extend.
Why is strength important for dancers?
Strength is required to help reduce the chance of injury, control flexibility,
maintain balance, and for contact work such as lifting. A strong body moves
freely, efficiently and safely (see picture). For dancers the aim is to develop
all round strength as opposed to over -developing certain muscle groups.
Press-up position: demonstrating static strength
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Side balance
Contact work
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Speed
This is the ability to move the body or part of the body over a speci fic
distance as quickly as possible. However, speed endurance is more closely
related to dance. Speed endurance is the ability to work repeatedly at high
intensity over a long period of time. It is sometimes referred to as anaerobic
endurance.
Why is anaerobic endurance important for dancers?
Anaerobic endurance is the type of endurance which is mainly relied on in
dance technique classes as the work is often high energy and involves short
bursts of activity, for example allegro work. The energy required to do this is
supplied anaerobically as the aerobic system is too slow to meet the energy
demands. As a result lactic acid builds up in the muscles , leading to muscle
fatigue. Improved anaerobic endurance can help the body delay the
production of lactic acid and allow it to tolerate higher concentrations.
Power
This is the combination of strength and speed and is sometimes called
explosive strength.
Why is power important for dancers?
Leg power is required to jump high, for example during allegro work.
Elevation
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Information sheet 14
Skill-related aspects of fitness/technical qualities
In order to perform skills effectively, performers require certain aspects of
skill-related fitness.
Agility
This is the body’s ability to change direction or body position quickly with
precision. It is required in dance to move fluently between levels.
Balance
This is the ability to maintain a controlled and stable body position. Balance
can be broken down into static and dynamic.
 Static balance involves the centre of gravity being over the base of
support, for example when holding an arabesque.
Static balance in attitude
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 Dynamic balance requires the performer to be in control of their body’s
position in a fast-changing physical situation, for example in allegro work
or when performing pirouettes. Dynamic balance is an important
component of agility.
Dynamic balance required for pirouettes
In dance, balance is very important. Dynamic balance is required by dancers
because they are moving and adjusting body position constantly when
travelling across the floor. Static balance is essential to help dancers hold a
specific body position, for example on demi pointe or pointe. It is also
required to help the dancer perform turns effectively.
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Coordination
This is the ability to carry out a series of movements smoothly and
efficiently. This will happen if the nervous systems work well together.
Dancers require coordination to link intricate movements together and
perform them with fluency and style. Dancers need to coordinate their
footwork, arms, head and body in order to be successful. A dancer with poor
coordination will have difficulty in learning new movements.
Coordination
Timing
This is the ability to recognize when to execute an action. I n dance it is the
ability to perform in time with the music.
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Dynamics
This relates to how we move. It is the energy that we devote to performing
each action. Rudolph Laban defined the four features of dynamics as time,
weight, space and flow, and each feature has two extremities. A dance
without any dynamic changes will appear flat and monotonous.
Artistry
Dancers need to be able to communicate the intention of the dance to the
audience and perform with feeling and emotions.
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Information sheet 15
Mental aspects of fitness/personal qualities
The final area of fitness which will affect the dancers’ ability to participate at
a high level is mental fitness. It refers to the psychological factors affecting
performance, for example the dancer’s ability to manage their emotions and
cope with the challenges of performance.
Motivation
This is your will, your desire, your drive to succeed and achieve your goals.
When learning or practicing a skill, motivation is a crucial factor. When a
beginner is learning a skill they may lack motivation because of a lack of
success so it is important that the practice is pitched at a level that will allow
them to gain some success. Success and a sense of achievement will increase
the performer’s motivation and determination to keep practicing.
Concentration
This refers to your ability to remain focused on a task. It is important that a
dancer can concentrate so that they can remember the choreography while
remaining in time to the music and performing using the correc t emotions.
Stress
This is the level of anxiety felt as a result of physical, mental and emotional
pressures. If a dancer becomes over -anxious their muscles will tense up, their
flexibility will be reduced and as a result they will find it difficult to perform
smooth, coordinated movements. Their heart rate will also increase , making
them tire more quickly.
Relaxation
This is the ability to control stress and lower our levels of anxiety when we
feel pressure. A relaxed dancer will have better coordina tion, circulation and
respiration.
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Individual strengths and development needs
Every dancer has different strengths and development needs due to the
structure and physical attributes of their body, previous experience or natural
ability. Identifying these strengths and development needs is the first step in
developing as a dancer.
A dancer can be analysed within the dance class through internal and external
feedback, observation schedules, and video and computer analysis. Outwith
the dance class their strengths and development needs can be analysed by
standardised fitness testing.
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Information sheet 16
Fitness assessment and gathering data
Why do we need to assess our fitness levels?
Gathering information about your levels of fitness in dance will a llow you to
identify your own physical strengths and allow you to identify areas for
development. Fitness testing provides objective, accurate and reliable results.
It will provide a clear focus for planning a programme to improve identified
areas of weakness. It allows you to monitor and record fitness development
through comparison with subsequent tests results.
Methods of data gathering
Levels of fitness can be assessed either within the chosen activity or through
standardised fitness tests. In order for the data collected to be useful it must
be:




accurate – a true reflection of the performers ability
relevant – to the performer and the activity
reliable – the assessment can be repeated consistently
objective – non-biased.
Types of data:
1.
Quantitative: data that can be specifically measured, for example how
many sit ups the performer completed in 30 seconds.
2.
Qualitative: data gathered form personal judgements, opinions and
reflections, for example the teacher’s opinion of a performance.
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Information sheet 17
Methods of gathering data
Thoughts and feelings
The simplest method of gathering data in dance is through the performer’s
own thoughts, feelings and reflections. This is particularly useful for
assessing the mental aspects of fitness. However, this method is subjective
and can be unreliable.
Teacher’s opinions
This is more accurate as the teacher has experience in forming opinions based
on their expert knowledge. It can be a good starting point from which to
gather more in-depth data.
Video assessment
Video assessment allows for a very accurate and detailed observation to be
carried out as the performance can be paused, played in slow motion,
rewound and replayed as often as the viewer requires. Video footage provides
the performer with visual evidence of their performance, which can be
compared to later videos to identify improvements in performance. Video
assessment is often completed in conjunction with an observation schedule.
Observation schedule
This is a written sheet, made up before participation in the activity and
tailored to meet the requirements of the activity and the data to be collected.
For an observation schedule to be effective the performer must consider its
design and carry out research to ensure that the criteria it contains are
relevant. To complete a schedule the observer requires an understanding of
the activity. The more complex and detailed the data required the more
expertise the observer should have. The observation schedule can be
completed whilst watching the activity or afterwards from video footage.
Heart rate monitor
Wearing a heart rate monitor whilst participating in class can allow you to
measure your heart rate throughout the lesson and will give an indication of
how hard you are working and how your body is coping with the demands of
the activity.
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Gathering data outwith the activity
Data can also be gathered outwith the chosen activity through standardised
fitness tests. These tests are used around the world and have been developed
by coaches and scientists therefore they are known to be valid and reliable. A
wide range of fitness tests are available which enables performers to assess
their fitness and obtain clear and accurate analysis of specific aspects of their
performance.
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Student worksheet 8
Gathering data within dance
Below is an example of how you could gather data about your fitness through
dance.
You will participate in an energetic body-conditioning class or dance class
that will last 40 minutes and a shorter show performance. Both parts will be
videoed. You will be expected to perform as though you were on stage
throughout. Immediately after the event you should take note of how you felt
at various stages throughout the class and performance both mentally and
physically. Once the videoing has been completed you will be required to
analyse your own performance with the help of the teacher by completing the
observation schedule.
Observation schedule 1: Body conditioning/dance class
Time
(minutes)
Example
0–5
minutes
6–10
minutes
11–15
minutes
16–20
minutes
21–25
minutes
26–30
minutes
31–35
minutes
36–40
minutes
Skill level
Skill 1
Skill 2
Skill 3
Skill 4
Skill 5
Skill 6
Skill 7
Pliés
Elevation
Balance
Arms
Dynamics
Kicks
Turns
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Observation schedule 2: Two-minute technical and energetic dance
performance
Time
(minutes)
Example
0–20
seconds
21–40
seconds
41–60
seconds
61–80
seconds
81–100
seconds
101–120
seconds
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Skill level
Skill 1
Skill 2
Skill 3
Skill 4
Skill 5
Skill 6
Skill 7
Pliés
Elevation
Balance
Arms
Dynamics
Kicks
Turns
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Student worksheet 9
Gathering data relating to personal qualities
Write up a summary of your thoughts and feelings as the class or
performance progressed. Include how you felt physically, for example level
of fatigue, body temperature and breathing, and mentally, for example your
motivation, concentration and stress levels.
Time
Physical
Class
Performance
Start
Start
Mental
10 minutes 30 seconds
20 minutes 60 seconds
30 minutes 90 seconds
40 minutes 120 seconds
This process will allow you to gather general data on our performance -related
fitness in dance which can be analysed to identify your strengths and
development needs. For example, deterioration of skill level as the dance
performance or class progresses and early fatigue will highlight low levels of
CRE. If allegro is identified as a weakness throughout, power may be a
weakness.
Standardised tests can then be used to confirm the results of your analysis.
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Information sheet 18
Gathering data outwith the activity
Advantages of using standard fitness tests
 Wide range of tests available which enables specific aspect s of fitness to
be investigated.
 Tests have established norms for comparison.
 They provide a clear focus for the performer , which is often motivational.
 They allow you to measure and monitor personal fitness and progress.
 They are useful for setting personal fitness targets.
Cardio-respiratory endurance
Cardio-respiratory endurance can be measured using a number of different
tests, including the 20-metre shuttle run test (beep test) and the 12-minute
cooper run.
20-metre shuttle run test
To complete this test you require a flat 20-metre surface, a recording of the
test and a means to play it. You must run 20 -metre shuttles in time to the pre
recorded beeps until you fail to reach the line on two consecutive beeps. As
the test progresses the interval between each bleep decreases.
Results
78
Date
Scale
Male
Female
Poor
<6
<3
Below average
6–7
3–4
Average
8–10
5–7
Good
11–12
8–10
Excellent
12+
10+
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Muscular endurance
Muscular endurance can be measured using tests specific to the muscle area
being assessed, for example chest and arms through the maximal press up
test, triceps through the dips test and abdominal muscles through the one minute sit-up test.
One-minute sit-up test
This sit-up test measures the strength and endurance of the abdominals and
hip-flexor muscles. Lie on your back with your knees bent and feet flat on the
floor. Your hands should be resting on your thighs. Squeeze your abdominal
muscles, push your back flat and raise high enough for your hands to slide
along your thighs to touch the tops of your knees then retur n to the starting
position.
Results
Date
Scale
Male
Female
Very poor
<25
<18
Poor
25–30
18–24
Below average
31–34
25–28
Average
35–38
29–32
Above average
39–43
33–36
Good
44–49
37–43
Excellent
>49
>43
Sit-ups, assessing core strength
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Strength
Strength can be measured using a variety of different tests depending on the
type of strength being measured, ie static, dynamic or explosive.
 Dynamic strength can be measured through a maximal lift test.
 Explosive strength (power) in your arms can be measured through the
medicine ball throw and legs using the standing vertical jump and standing
broad jump.
The standing vertical jump
Using a chalk board on the wall, dip your fingertips into the chalk bag and
reach up to mark your starting height on the board. Prepare to jump by
bending legs and swinging arms back. Jump as high as you can off two feet
and touch the measuring board with your chalked fingers. Perform the test
three times and record your best score.
Results
Date
Scale
Male
Female
Poor
<30 cm
<26
Below average
30–39
26–35
Average
40–49
36–46
Good
50–65
47–58
Excellent
>65
>58
The standing broad jump
Crouch down with your toes behind a line. Using your arms and legs jump
forward powerfully from two feet. Your score is the distance you jump from
the start line to the back of your heels. Perform the test three times and record
your best score.
Results
80
Date
Scale
Male
Female
Poor
<178 cm
<129
Below average
178–197
129–139
Average
198–217
140–164
Good
218–228
165–180
Excellent
228+
180+
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STUDENT COURSE NOTES
Flexibility
Flexibility can be measured using various tests for specific muscle groups and
joints, for example the sit and reach test to measure flexibility in the lower
back and hamstrings.
Sit and reach test
To complete this test you will require a sit and reach box and a partner to
record your score. Place the box against a wall. Sit down placing your feet
against the box. Keep your knees straight and bend forward with arms
extended trying to reach as far forward as you can and hold the position. Do
the test three times and take your best score. Your score is the number of
centimeters reached on the box.
Results
Date
Scale
Male
Female
Very poor
<–20 cm
< –15
Poor
–19 to –9
–14 to –8
Below average
–8 to –1
–7 to 0
Average
0 to +5
+1 to +10
Good
+6 to +16
+11 to +20
Excellent
+17 to +27
+21 to +30
Outstanding
>27
>30
Balance
Balance can be measured by a variety of methods. Dynamic balance can be
measured using the beam balance test and static balance can be measured
through the stork balance test.
Beam balance test
This test assesses dynamic balance using a gymnastics balance beam. The aim
of this test is to walk the length of a standard balance beam without falling
off and within a six-second time span. The performer will start at one end,
step up onto the beam and walk the length to the other end. The test is
repeated three times. Participants will have three attempts to complete the
beam walk.
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The scoring for this is subjective therefore greater accuracy will be gained if
three or more judges observe and the average score is taken.
5
Walks the balance beam flawlessly. Does not need to check balance,
does not pause. Completes the walk within six seconds.
4
Walks the beam, but is somewhat unsteady. Completes the walk within
six seconds.
3
Walks the beam, but is somewhat unsteady. May pause one or more
times. Takes more than six seconds to complete the walk.
2
Walks the beam, but is very unsteady, almost falling off, may pause on e
or more times, and/or takes more than six seconds.
1
Falls off the beam before completing the walk.
0
Falls off the beam immediately.
Stork balance stand test
The stork balance test assesses the performer’s ability to balance on the ball
of one foot in a static position. To complete the test you must remove your
shoes and place the hands on the hips, positioning the non -supporting foot
against the inside knee of the supporting leg (in parallel retiré position) then
raise the heel of the supporting foot to balance on the ball of the foot. The
dancer has one minute to practice the balance. The stopwatch is started as the
heel is raised from the floor. The stopwatch is stopped if any of the following
occur:




the
the
the
the
hand(s) come off the hips
supporting foot swivels or moves (hops) in any direction
non-supporting foot loses contact with the knee
heel of the supporting foot touches the floor.
Results
82
Date
Scale
Male and female
Poor
<10 seconds
Fair
10–24
Average
25–39
Good
40–50
Excellent
>50
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STUDENT COURSE NOTES
Stork balance assessing static balance
Agility test
Agility can be measured using a number of different methods that involve
changes of direction under time constraints such as the Illinois agility run.
Illinois agility run test
To carry out the test you will require a tape measure, cones, a stopwatch and
a partner to time and record your score. The cones are setup as indicated
below. Lie down at the start, on the command run the course as indicated.
Your test score is the time you take to complete the course. The length of the
course is 10 metres and the width (between start and finished cones) is 5
metres. Each centre cone is 3.3 metres apart.
5 metres
10 metres
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Results
84
Date
Scale
Male
Female
Poor
15.9<
17.2<
Below average
15.9–14.7
17.2–16.1
Average
14.6–13.8
16.1–15.2
Good
13.7–12.5
15.2–14
Excellent
<12.5
<14
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STUDENT COURSE NOTES
Student worksheet 10
Assessing mental fitness
It is difficult to measure the mental aspects of fitness and most practical
methods centre around personal reflecti on and personal questionnaires. Below
is an example of a questionnaire that can be completed for any activity.
Questions on behaviour
I hate performing in front of
1
people
I feel nervous
2
Not at all
1
Slightly
2
Quite a bit
3
Very much so
4
1
2
3
4
3
I feel relaxed
1
2
3
4
4
I have self doubts
1
2
3
4
5
I feel jittery
1
2
3
4
6
7
1
1
2
2
3
3
4
4
8
I feel comfortable
I think I may not do as well
as I could
My body is all tense
1
2
3
4
9
I feel self-confident
1
2
3
4
10
I think I’ll look stupid
1
2
3
4
11
I feel secure
1
2
3
4
12
13
1
1
2
2
3
3
4
4
1
2
3
4
1
1
2
2
3
3
4
4
17
My body feels relaxed
I’m confident I can meet the
challenge
I think I’m going to perform
poorly
My heart is racing
I’m confident about
performing well
I feel my stomach is sinking
1
2
3
4
18
I feel mentally relaxed
1
2
3
4
19
20
My hands are sweaty
I’m going to be able to
concentrate
I’m confident of coping
with pressure
I feel the audience will be
let down
1
1
2
2
3
3
4
4
1
2
3
4
1
2
3
4
14
15
16
21
22
If your total score is less than 50, you have high motivation.
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Information sheet 19
Skill-related/technical strengths and development needs
Technique and performance skills
Performance of each dance technique requires a particular posture, specific
use of the arms and legs, particular hand and foot gestures , and use of the
head and face in a different manner. Dancers are trained to make their bodies
move accurately in a particular style or technique. For each technique that a
dancer learns there are fundamental steps that are required. Dancers need to
know how their bodies should look as they perform a certain style – the line
of the body, the shapes of the arm gestures, the size and speed of the steps.
The skills required in any style of dance will fall into o ne of the categories
below and are made possible by the three anatomical actions that can be
performed by the body: flexion, extension and rotation.






Travelling (walking, triplets, glissades, tap springs, waltz).
Elevation (hop, leap, jump, sissone, assemblé).
Turning (pirouettes, chaînés, tour en l’air , barrel turns, windmill turns).
Gesture (waving, pointing, isolations).
Stillness (arabesque, attitude, handstand, any freeze position).
Falling (off-balance fall, collapse).
More specifically each genre of dance has specific features.
Ballet
Classical ballet requires the spine to be held in a vertical position, giving it
its distinctive ethereal lightness and facilitating the execution of multiple
pirouettes and allegro with ease. Turn out is a distinct characteristic of ballet
which allows the dancer to effortlessly perform leg extensions, change
direction and balance for sustained periods of time. Furthermore the foot is
generally plantar flexed, giving a light endless line to the movements. Steps
include plies, battement tendu, battement gliss é, grand battement, rond de
jambe, sauté, glissade, petit jeté, arabesque, assemble soutenu, entrechat
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quatre, fouetté en tournant, pas de valse, pique, pirouette, polonaise and
sissone fermé.
Therefore, for success in ballet, a dancer must have excellent turn out, strong
flexible feet, hips and spine, good core stability, excellent, muscular
endurance, all round strength and stamina. Furthermore they must have good
poise and carriage of the arms as well as superior ballon, musicality, artistry,
dynamics, coordination and balance.
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Information sheet 20
What makes a skilled performance?
A skilful performance in any activity is characterised by the following:









The performer appears to be in complete control o f their actions.
Actions are refined and precise.
Actions seem effortless and energy is not wasted.
The dynamics of actions are adapted to each situation.
Complicated actions appear simple.
A large repertoire of skills is apparent.
Skills can be linked into complex combinations.
Actions are applied at the correct time.
Skills are performed automatically, allowing the performer to turn their
attention to other aspects of their performance.
Becoming a highly skilled performer is a gradual process where each step
taken can help the performer to cope with increasingly demanding
performance situations.
Model performance
A model performer is one that fulfils all of the above criteria. It may be a
classmate, teacher, coach or a top-class performer depending on your level of
performance.
A model performer is useful as:
 it allows you to observe a quintessential example of what you are striving
to accomplish
 watching the performance in slow motion will allow you to identify the
preparation, action and recovery stages of individual skills
 it can increase your motivation levels as watching able performers can
make performance look exciting and keep you interested in trying to
improve and motivate you to work towards performing at their level
 it allows you to compare and contrast your own performance
 it shows different qualities and consistencies in the skills of a model
performer.
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Student worksheet 11
Gathering information on your technical performance
Higher Dance observation schedule (Jazz)
Name: _______________________________________
Date: ___________
Key: 1 = Unsatisfactory, 2 = Satisfactory, 3 = Good, 4= Very Good
GENERAL
Specific comments
1
2
3
Posture
Use of turn out
Flexibility
Extension
SPECIFIC
Elevation
Turning
Isolations
Floor work
Kicks
QUALITIES
Artistry
Co-ordination
Musicality
Dynamics
PSYCHOLOGICAL
Commitment
Confidence
Motivation
Memory retention
GENERAL COMMENTS
Teacher’s signature: __________________________
Date: ___________
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STUDENT COURSE NOTES
Information sheet 21
Analysing a specific skill or technique
Once you have identified your development needs in terms of specific skills,
a movement analysis sheet can be used to identify which parts of the skill
need to be developed. This process can be made easier by breaking the skill
down into preparation, action and recovery phases , and then further dividing
theses phases into subroutines. For example:
MOTOR SKILL PROGRAMME
SUBROUTINE
SOUBRESAUT: a step of elevation taking off from and landing in fifth
position with the legs tightly crossed and feet pointed in the air.
PREPERATION
Begin with feet in fifth position
Demi plié with the knees over the
toes
Lift centre, rib cage and head
ACTION
Extend feet and legs strongly and
suddenly to take off
Breath in
Lift focus
RECOVERY
Land through the feet in fifth
position, protecting the Achilles
tendons
Demi plié, maintaining alignment of
knees over toes
Extend legs to standing.
In order to generate criteria we have to consider the model performance of the
skill. We can gather details on the model performance from many sources
including video, books and the internet.
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Student worksheet 12
Part (ii): Dance performance
Strengths and development needs
What are the two techniques you have chosen to study in depth to
demonstrate personal competence in dance and why?
Every dancer has different strengths and development needs and often these
are what determine their area of expertise. What qualities and skills does a
professional dancer in each of your chosen techniques require and why?
How do these qualities differ for each genre of dance? For example , jazz
dancers need to be dynamic while ballet dancers require more grace.
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STUDENT COURSE NOTES
Analysis of your performance in dance can be carried out by a variety of
methods within the activity such as self, peer or teacher evaluation, video or
computer analysis or observation schedules. Outwith the activity,
standardised fitness testing can be used to assess levels of fitness.
How did you identify your strengths and development needs in both
techniques?
Fitness
Technical
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What were your development needs identified to be in each technique and
how do they affect your overall performance in dance? You should record
your development needs and include the results in your appendices. They can
be recorded through photographs, observation schedules, results tables or
video footage.
Fitness-related development needs
Development need 1
Development need 2
Technique-related development needs
Development need 1
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STUDENT COURSE NOTES
Development need 2
To improve your development needs, you must create a personal action plan
in the form of a training programme. How long will your training programme
last? What will provide you with the information regarding your initial levels
of fitness and skill? And what will you do to ensure your programme is
effective and that improvement has occurred?
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Training programme – personal action plan
Personal action plan
Establish a personal action plan for improvement and development of skill
levels in conjunction with teacher/lecturer guidance , eg areas of weakness,
specific tasks and exercises to improve technique, time scale for action plan,
reassessment of skill levels, etc.
(10 marks)
Now that you have identified your technical and physical strengths and
weaknesses in dance you need to construct a personal action plan to address
your development needs. The fitness tests, observation schedules, video and
computer analysis will provide a starting point. You r personal action plan
should improve your overall performance in dance and ensure you attain the
best possible grade for your two solo performances.
For the purpose of the practical assignment you should select two fitness related development needs and two technical-related development needs to
improve.
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STUDENT COURSE NOTES
Information sheet 22
Designing your training programme
The personal action plan (training programme) must be designed specifically
for each individual. When designing a training programme you must con sider
your needs as a performer, the fitness demands of the activity, the principles
of training, different methods of training and what you wish to achieve.
Goal setting
Setting goals within your training can greatly enhance motivation and
therefore ensure that you work hard throughout. Goals must be SMART:





Specific to the performer
Measurable so improvement can be monitored
Attainable
Realistic to keep the performer motivated
Time limited.
Monitoring and evaluating training
To ensure your personal action plan is effective you must monitor and
evaluate you performance throughout your training. This can be done through
teacher feedback, internal feedback and repeating the methods adopted prior
to your training. The programme should be adapted as a result of this
monitoring.
It is also important to gather information on the effects your training is
having on your overall performance as your long -term objective is to improve
performance as opposed to individual skills.
All areas of strengths and weaknesses will be re-tested at the end of the
training programme and improvements recorded.
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Information sheet 23
Principles of training
Your overall performance can be improved by following a training
programme. There are four guiding principles which can help you create an
effective programme. They are:




specificity
overload
progression
reversibility.
Specificity
Training should focus on developing the particular needs of the performer
and should be specific to the activity you are participating in.
Overload
The purpose of training is to improve your level of fitness. In order for this to
happen you must make your body work harder than it is used to. This is
called overloading. Your body will gradually adapt to the higher workloads.
In order to continue to improve you must then overload your body once more
by increasing frequency, intensity or duration.
 Frequency: how often you train.
 Intensity: how hard you train.
 Duration: the length of each training session.
Reversibility
If training stops for a period of time your fitness levels will start to drop in a
relatively short period of time. The adaptations that have taken place will be
reversed.
Rest
It is important that you have rest days in your training programme to allow
your body to recover, muscle fibres to rebuild and to avoid injury from over training.
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Information sheet 24
Warm-up
It is important to incorporate time for a warm-up and cool-down into your
programme. A warm-up ensures you are fully prepared for exercise and will
help to avoid injury during training. It will also ensure you are more
physically and mentally prepared to train hard.
Warm-up is a gradual physical and mental preparation for greater exertion
which increases:
 breathing and heart rate
 the deep temperature of your muscles, therefore improving flexibility
 the flexibility of tendons and ligaments, therefore reducing the chance of
injury
 reaction speed
 adrenalin levels.
A warm-up should include three stages:
1.
2.
3.
Aerobic exercise to raise body temperature and increase the heart rate
and therefore the blood supply to the muscles.
Stretching exercises which stretch the muscles and loosen the joints to
prepare the muscles to work over the full range of movement.
Steps and movements relating to the class ahead.
Cool-down
A cool-down is the gradual slowing down of the circulation in order to safely
return to a resting heart rate. It is important that you do a small amount of
light aerobic work to flush the body with oxygenated blood and ensure that
lactic acid is removed from your muscles. This, coupled with some light
stretching, will help to limit muscle soreness and speed up recovery from the
training.
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Information sheet 25
Improving physical fitness
Methods of training
There are many different methods of trai ning. The method of training selected
will depend on which aspects of fitness you are trying to improve.
Continuous training
Continuous training involves performing rhythmic exercise using the large
muscle groups of the body at a steady rate, without re st, over a sustained
period of time. This method of training works on developing endurance. Good
examples of such activities include jogging, swimming, cycling, rowing,
cross-country skiing or aerobic dance.
In order for this training to be effective you have to work for a minimum of
20 minutes inside your aerobic training zone at least three times per week.
Training zones
Training is only effective if the body’s systems are put under stress.
Therefore, we need to establish a safe yet effective level t hat you should train
at. This is known as the training threshold. Any work done below this will
have no effect on the improvement of fitness and working above this can lead
to injury. To monitor how hard you are working during your training session
you can monitor your heart rate using a heart rate monitor and compare it to
your training zones.
To begin calculating your own training zone you must calculate your
maximum heart rate (MHR) by subtracting your age from 220 :
220 – your age = your MHR
80–90%
Anaerobic training zone
70–80%
Aerobic training zone
Below 70%
Low intensity and recovery
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In order to improve your aerobic fitness you need to keep your heart rate
inside your aerobic training zone (70–80% of MHR) continuously for a
minimum of 20 minutes three times per week. If your heart rate drops below
the 70% level then you are not working hard enough and your aerobic fitness
will not improve.
Aerobic exercise is any activity which requires continuous, rhythmic use of
the large muscle groups at 60-90% of the maximum heart rate for 20 to 60
minutes.
Training to improve aerobic fitness can either be done continuously , such as a
40-minute run, or using interval training.
In order to improve your anaerobic fitness you must work with your heart rat e
inside your anaerobic training zone (80–90% of MHR). Training to improve
anaerobic fitness is done through short intervals of work (one minute) with
long periods of rest to allow the body to recover. This is an excellent way to
improve speed endurance.
Interval training
Interval training involves fixed patterns of work and fixed patterns of rest.
It is very versatile and can be used in almost any sport. Interval training can
improve both aerobic and anaerobic capacities , and enables the athlete to
exercise at the specific intensity necessary to train the relevant energy system
for that activity. Interval training allows high -intensity work to be performed
without the fatigue associated with a continuous session of equal intensity.
During all recovery periods, the athlete should be encouraged to continue
with light activity, as this promotes the faster removal of lactic acid than
inactive recovery.
Conditioning training
This type of training requires you to train through participation in the activit y
and can be used to improve the aerobic and anaerobic energy systems. The
main advantages are that skills and fitness are developed together. The
performer is developing activity specific fitness. It is also very motivating.
Muscle endurance training (isotonic endurance)
This is when you use isotonic contractions (ie the muscles contract and
extend) to improve your muscular endurance. It involves using light
workloads, 40–60% of maximum, with many repetitions and sets. This does
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not make your muscles bigger but makes more capillaries grow around the
muscle, allowing more oxygen to reach the muscles and increasing the
muscles’ ability to work aerobically.
Circuit training
Circuit training consists of a series of exercises arranged in order and
designed to develop general body fitness or specific sport -related fitness and
skill. The individual will exercise at one station, performing a particular
exercise either for a set number of repetitions or for a specific amount of time
before moving on to a different station where they will perform a very
different exercise.
Mobility training (stretching)
Mobility training is used to improve flexibility. It can be active (where the
performer holds a specific stretch for 30 seconds) or passive (where a muscle
group is stretched by a partner).
Stretching can also be static or dynamic. Static stretching requires the
performer to hold a stretch for 30 seconds while dynamic stretching consists
of controlled leg and arm swings that take you to the limits of your ran ge of
motion.
Stretching
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Stretching in second
Stretching
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Improving mental aspects of fitness
Mental rehearsal to overcome stress and anxiety
Stress and anxiety can be reduced by ensuring you plan ahead for your event,
concentrating on the detailed considerations which are often necessary in a
dance performance, for example memorising the movements so that you can
add artistry and give a dynamic performance.
Mental and physical routines prepare you for doing the right job. Routines
optimise the use of thoughts, emotions and actions. Routines can direct
attention and focus away from dwelling on the negative or unsuccessful
aspects of performance onto positive aspects of performance .
Motivation
Motivation is a valuable quality, which gives the dancer the determination,
encouragement and will to succeed and perform to a high standard. It takes
account of the individual’s personality and the situation they find themselves
in, for example performing in front of a large aud ience. Actually seeing that
your performance is improving has a positive motivational effect. You feel a
sense of achievement and a realisation that all your hard work is paying off.
Reward motivates behaviour
The behaviour shown by the highly motivated performer is likely to be
repeated over and over again and maintained through training, practice and
performance if it is constantly rewarded. Rewards motivate behaviour and can
be extrinsic or intrinsic. Extrinsic rewards include praise from your teacher,
awards and applause from the crowd. An example of an intrinsic reward
would be satisfaction gained from performing faultlessly. The two types of
motivation work in different ways and have different effects on the player’s
attitude and success level.
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Improving skills and techniques in dance
Stages of learning
It is important that you identify your current stage of learning so that you can
select appropriate practices. The three main stages are:



1.
preparation stage (cognitive stage)
practice stage (associative stage)
automatic stage (autonomous stage)
Preparation stage
 You are a beginner, gathering information on what to do and how to
do it.
 Information is gathered through visual demonstration and simple
verbal instruction.
 The skill will have many faults and the action will lack control and
refinement.
 External feedback and praise from the teacher is vital to encourage
the dancer and correct faults before they become learned.
 Practice sessions must be short to avoid boredom b ut long enough
for the dancer to learn the skill.
2.
Practice stage
During this stage we have learnt the technique so we are concentrating
on practicing the skill, becoming familiar with the sequence and timing
of the various parts involved. External fee dback is still vital to correct
small errors. Some dancers do not move beyond this stage. The amount
of practice and length of practice will depend on how complex the skill
is, motivation and past experience.
3.
Automatic stage
During this stage the skill can be performed automatically therefore
attention can be given to artistry, performance qualities and linking
skills together.
Practice at this stage should be performance orientated.
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Principles of practice
To learn and develop a skill we need to develop a progressive programme of
practices. In order to develop an appropriate programme we have to consider
the principles that govern skill development.
Practice is the repetition of a skill to improve your performance of that s kill.
Duration
Sufficient time should be allowed for the performer to learn the movement
they are trying to master. If the practice session is too short learning will be
reduced. Conversely if the session is too long, boredom and fatigue can
reduce its effectiveness. The best length of time for a practice session will
depend on many factors. A beginner will tire more quickly than an
experienced performer as they may have to put more effort into performing
the skill. The skill itself could be particularly tiring, thus affecting the length
of practice time. The level of the performer’s motivation will determine how
long they can practice before becoming de -motivated. In general, people learn
better in the first 30 minutes of practice. After this fatigue and boredom start
to become factors.
Fatigue
When you get tired the quality of your practice deteriorates. Your muscle
control drops and the skill is not executed correctly. At this stage it is better
to take a rest from the practice.
Boredom
If you practice for too long, the demands of the practice are too easy/difficult
or there is little variety in the practices then boredom will grow. This may
result in a lack of focus and concentration and have a detrimental effect on
the quality of the practice.
When designing your programme it is more effective to practice in shorter
periods of time with regular breaks. Distributed practice will provide the
learner with a break in order to rest, re-focus and receive external feedback.
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Variety
During a practice session it is important to have a variety of practices, this
prevents boredom. It also reinforces the learning process by using the skill in
different situations.
Regularity
Practice must take place on a regular basis to ensure improvement. If there is
too long between practice sessions most of what has been acquired will be
lost. Practicing every day is ideal but not always possible.
Repetition
During every practice and throughout all stages of learning it is vital that the
movement is repeated. By doing this, the muscles and nerves learn the
movement and can begin to move automatically.
Progression
In order to develop a skill the programme of practice should become
increasingly more difficult. This will eventually lead to the skill being
executed automatically and effectively every time. The performer should only
move on when they have received feedback that indicates a high degree of
success at their current level. Changes made should then be small and
manageable.
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Methods of practice
The type of practice chosen will depend on the skill being learned and the
stage of learning the performer is at.
When learning a skill the ideal method is to learn the skill as a whole. The
skill should be taught as a whole so the learn er can appreciate the end
product, can see and develop a relationship between the movements that make
up the whole action and can develop the feel and flow of the movement
necessary for the overall skill. However, it is not always desirable or
appropriate to learn skills in this manner, especially if the skill is complex or
there is an element of danger.
Gradual build-up
When learning a skill which is complex or dangerous, gradual build -up is the
most appropriate method. The skill is built up in stages. O nce each practice is
mastered the difficulty is gradually increased. For example, when learning a
pirouette in ballet the following stages may be used:






pirouette position identified at the barre
performed without relevé
performed with relevé holding on to the barré
performed in the centre with relevé
work on spotting
add the turning action.
It is essential when using gradual build-up that all practices are appropriate to
the correct stage of your learning. Practices should be challenging yet
achievable.
This type of practice is also useful for beginners who are finding a skill
difficult as it can be broken down into much simpler actions that lead to the
performance of the whole skill.
The advantages of breaking actions down like this are that the perf ormer is
motivated and develops confidence through achieving success and seeing the
skill progress. The teacher can focus on each key element of the skill. When
learning complex skills it lessens the elements of risk and fear for the
performer.
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One of the main disadvantages of learning in this way is that it is quite
difficult to ensure that the separately taught elements of the skill are
practiced and learned in exactly the same way as they are performed in the
whole skill. This can lead to problems of t ransfer when attempting the whole
skill.
It is also important to ensure that the learner is aware of the end product of
the overall skill and does not lose sight of this during the practice stages.
Whole-part-whole
Using this method of practice the whole skill is attempted in order to identify
a weakness. Practice is then focused on this weakness before performing the
whole skill again.
This tends to be used when the performer has previous experience of the
activity and has fewer faults.
The advantages of this method are that the performer is developing the whole
action sequence and is able to identify and work on very specific faults.
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Types of practice
The following are examples of the type of practice that could be used at
various stages of the gradual build-up process or within the whole-part-whole
methods of learning.
Mental practice
This is also referred to as mental rehearsal and is the process of thinking
through the skill in your mind without actually performing it. Through this
process the learner builds up a mental image of the skill they are trying to
perform. This type of practice is useful during the cognitive stage of learning
to build up a mental model of a new skill. It is extremely useful for the
learner to use mental practice in the breaks between practices , making good
use of time whilst they are resting and allowing them to re -focus on what they
are trying to achieve.
Repetition
This method is used during the practice stage of learning , leading towards the
automatic stage. Research has shown that you need to perform a skill 180
times before it will be grooved into the brain and muscles.
These practices are useful for developing the skill and allow variety to be
brought into the practice to avoid boredom and increase the quality and
relevance of the practice
Pressure training
This is used in the practice stage of learning, developing the skill towards
becoming automatic. Once a skill has been established in a practice situation
various types of demands (pressures) can be increased to shape practices.
This is especially important for open skills and externally paced skills. These
demands ensure that practices are specific and allow performance
progression.
Key points when designing practices
 Keep your practices closely related to the demands of the whole
performance. By doing this it is easier to transfer your improvements back
into the activity.
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 Consider previous experience and the stage of learning you are at for the
skill.
 When learning closed skills, where there are no varying factors, repetition
or fixed practice is the most suitable method. This grooves the skill and
the motor programme is learned.
 When learning open skills they may be learned as a closed version of the
skill in isolation at first before moving on to performance-related practice
so that the skill is more relevant to the game.
Factors which affect skills learning
Feedback
Feedback is information you receive about your performance during or after
the activity and can be considered as the single most important factor in
learning. Without feedback learning cannot take place. This information
allows the performer to determine the success of their selected actions.
Internal feedback
This is what you ‘feel’ about your own performance. It is continuous: you can
feel what your body is doing, therefore you will make judgements about your
performance.
External feedback
This is information that you receive about your performance from various
sources, for example visual, verbal or writ ten. There are several advantages
to this form of feedback. It is permanent, retrievable and can be replayed
many times using slow motion. It allows you to see your whole performance,
helping you to identify your strengths and weaknesses. For feedback to b e of
value the performer must be aware of the model performance.
Concentration and motivation also affect an individual’s ability to learn
skills.
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Student worksheet 13
Personal action plan
Using the information gathered through evaluating your perfor mance both
technically and physically, you need to identify exercises that will help to
improve your development needs and advance your skills and techniques.
Methods of training and stages of learning must be taken into consideration.
Fitness
Development need 1
Description of exercises or tasks that will help to improve your development
need.
Initially, how often will you perform this task? (frequency)
Initially, how difficult will the task be? (intensity)
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Initially, how long will the task last? (duration)
What will you do to add progression as your fitness improves?
Fitness
Development need 2
Description of exercises or tasks that will help to improve your development
need.
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Initially, how often will you perform this task? (frequency)
Initially, how difficult will the task be? (intensity)
Initially, how long will the task last? (duration)
What will you do to add progression as your fitness improves?
Technique
Development need 1
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Description of exercises or tasks that will help to improve your development
need.
Initially, how often will you perform this task? (frequ ency)
Initially, how difficult will the task be? (intensity)
Initially, how long will the task last? (duration)
What will you do to add progression as your tec hnique improves and your
ability to perform the skill improves?
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Technique
Development need 2
Description of exercises or tasks that will help to improve your development
need.
Initially, how often will you perform this task? (frequency)
Initially, how difficult will the task be? (intensity)
Initially, how long will the task last? (duration)
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What will you do to add progression as your technique improves and your
ability to perform the skill improves?
Using all of this information and referring to the principles of training, create
an eight-week development plan identifying exercises and tasks to be
performed on a weekly basis. Show the progression of your exercise plan
over the eight weeks, for example frequency, intensity and duration.
Weeks 1–2
Monday
Tuesday
Wednesday
Thursday
Friday
Time
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Weeks 3–4
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Time
Weeks 5–6
Monday
Time
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Weeks 7–8
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Time
How will you record your progress and evaluate your level of improvement at
the end of the programme?
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Development stage: 120 marks
In the development stage you are required to put all of your planning into
action to create your two-minute group choreography using all of your
planning and learn your two-minute tutor-taught solo performance in each of
your chosen techniques.
Group choreography: 40 marks
Solo performances
Technique 1: 40 marks
Technique 2: 40 marks
You must provide evidence that you can:
 demonstrate the combination of the main elements of the dance form in
performance
 demonstrate the dance material ordered in challenging phrases and
choreographed sequences
 perform tasks and dances with clear phrasing and good presentation
 use dynamics effectively
 use space, time and weight effectively
 use music effectively in aiding communication of mood, intensity and
intention of work
 use design elements (including costume) effectively in aiding
communication of mood, intensity and intention of work.
You will be assessed by a visiting assessor from SQA. You will present your
choreography and you will perform your two chosen dance techniques, one at
a time, for the visiting assessor.
Evaluating stage: 40 marks
You will produce an extended evaluation report, which should be 1,500 words
in length. This assessment will be centre-invigilated and you will be allowed
to take one A4 sized page of notes (approx. 200 words) into the room with
you.
The conditions under which assessment takes place:
You will be allowed up to three hours to complete an extended evaluation
(including the summary). You are allowed to take one side of A4 page of
notes (approx. 200 words), which you have prepared, into the room with you.
You are not allowed to take a draft of the evaluation report into the room with
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you. Your establishment has the responsibility for ensuring that the notes you
take in with you are your own work. Your notes should be signed by your
teacher/tutor and will be attached to the written evaluation.
Be careful as you will be penalised for submitting evidence that significantly
exceeds the stated evaluation word count.
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Student worksheet 14
Evaluation
Provide a brief summary of what the assignment was about: 2 marks
Higher Dance Practice required you to complete a practical assignment and to
begin you had to select a brief.
Briefly give details of what you had to do to fulfil the Practical Assignment.
What brief did you select and why was it the most appropriate choice for
you?
What did you have to do to fulfil your chose n brief?
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Review, update and assess the effectiveness of the action plan in light of
your experience: 2 marks
Before creating any movement for your dance or identifying strengths and
development needs in your chosen dance genres you had to construct an
action plan which would provide direction for the practical assignment.
Did you follow what you wrote in your action plan and did it help you? Or
did you change your plan completely when you went into the studio with your
dancers? Why?
What structural and choreographic changes did you make?
Did you change your specialist techniques? Why?
The plan should have allowed you to assess from the starting point what you
had achieved and what you still had to do to bring your choreography to a
conclusion. It should have allowed you and your teachers to identify your
strengths and development needs in each of your chosen dance techniques ,
which were then stated in your plan of action. Therefore, it should have been
easy for you to track your progress during your eight -week training
programme.
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Was your action plan effective and did it provide you with a continual
reference to ensure you were on target for both your choreography and
specialist techniques?
Summarise any unforeseen events and how they were handled: 2 marks
What unforeseen events happened during the planning and teaching of your
choreography, during your training programme and while you were learning
your solo performances?
For example:
– Were your dancers not turning up for rehearsals?
– Did any of your dancers get injured?
– Did you have any family bereavements or difficulties that affected your
ability to choreograph, teach or perform?
– Were rehearsals affected by illness/absence
– Did you have problems gaining access to rehearse in the performance
space?
– Were there issues with space for rehearsals?
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What did you do to overcome these problems?
Write about more than one and give a detailed explanation of the solution.
Assess the effectiveness of the research methods used: 2 marks
What research methods did you use and did you find them he lpful? Do you
think that they improved the outcome of your choreography?
Should you have made greater use of your research or completed more
research before you began to choreograph? What other methods of research
could you have used and how would it have enhanced your choreography?
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How did you develop these ideas into movement for your dance?
You should include an appendix, with examples of your research that we re
most helpful.
Review choreographic experience and the use of the following: 10 marks
Choreographic structures: 2marks
What was the choreographic structure/form for your dance? Why and how did
it enhance your choreography?
Did you use a motif? What did it symbolise? How did you create the
movements that were used in the motif and why did you select these
movements? Do you feel they helped reflect your theme?
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Use of physical space: 2 marks
Did you use all the available floor space?
Did you construct a floor plan? If you did, why and how did this help? If not,
how could it have helped?
Did you have certain dancers placed in the centre at the front of the stage to
highlight their importance, while having others placed off centre at the back
of the stage to represent their weakness?
Did you always have dancers on stage? Was the stage ever empty? Why?
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Did you use a variety of levels to demonstrate different qualities? Did your
choreography make good use of the dancers’ personal space?
Choreographic devices: 2 marks
Why did you use choreographic devices?
What choreographic devices did you use and why? What did they help to
portray to the audience? Write about each choreographic device in turn.
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Music/sound: 2 marks
What was your accompaniment, why did you select it and how did it enhance
your choreography?
In hindsight, was this the best choice of accompaniment for your
choreography or would you have been better to select something different
that would have helped you create movement and enhance your
choreography?
Briefly analyse your accompaniment, for example the music begins slowly,
with a definite beat which highlights……………… Gradually it gets faster
and the beat becomes less obvious which helped to enhance……………… It
builds to a climax where the emotions were high and the energy was focused
and deliberate.
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Did you edit your music/sound yourself? Did you have moments of silence or
no music? Why?
Did your music influence your choice of brief or movement selection? How?
Design: 2 marks
Why did you select your chosen theatre arts?
Review the effectiveness of your lighting, costume, props and set. What do
you think worked well and enhanced your piece and what do you think could
have worked better? Why?
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Did you change any of your theatre arts from what you h ad in your initial
action plan? Why?
Give recommendations for future choreographic work, for example
planning, choice of music/accompaniment, starting points, themes, motifs,
working relationships, design/costumes etc: 8 marks
If you were to repeat the same assignment again in the future what would you
do differently?
How would you go about planning it?
What would be your choice of aural setting?
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Would you get someone to compose sound for you and how would this
change your approach to choreography?
What would be your starting point?
Would you repeat the same assignment brief or would you like to try a
different one? Why?
Would you spend more time creating a motif?
How would you select your dancers? Would you audition them or select
professional dancers who are technically and physically advanced , and will
be able to translate all of your movement ideas into reality?
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Would you get a costume designer to watch your piece and interpret it to
create the costume?
What would you change about your design elements?
Would you set stricter goals in your timeline to produce a performance of a
higher quality?
Would you work with more dancers, which would give you a wider scope for
using choreographic devices and creating interesting patterns?
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Would your choreography be based on or influenced by the style of a famous
choreographer, for example Christopher Bruce, Mathew Bourne, Martha
Graham, Alvin Ailey, Balanchine, Siobhan Davies, Richard Alston, etc. Why?
Would you choose to use a different genre of dance for your choreography?
Why?
Review own performance in both specialist dance techniques and identify
knowledge and skills which have been gained/developed , eg alignment,
strength, stamina, flexibility, etc.: 10 marks
What were your two chosen specialist dance techniques?
_____________________________ and _____________________________
How did you identify your physical and technical strengths and development
needs?
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What were your physical and technical strengths and development needs in
technique 1 and how did they affect your performance in that genre?
What were your physical and technical strengths and development needs in
technique 2 and how did they affect your performance in that genre?
In detail how did you improve each development need and maintain your
strengths?
How has your enhanced physical and technical ability improved your
performance in each technique?
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Review the effectiveness of your personal action plan/training
programme: 2 marks
Was your training programme effective?
What improvements were made, if any, to your physical or technical ability
and how did you know your performance had improved?
What aspects of your performance do you still need to improve on?
Determine to what extent the assignment met the original brief: 2 marks
What was the original brief?
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After planning and research, do you think you have achieved the set task?
Was your choreography of the best standard you could produce within the
time constraints and pressures of school and dance exams?
Was your performance of your two chosen dance techniques of the highest
standard, despite nerves which perhaps prevented you showing your full
potential?
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Notes for evaluation essay
 You should have two to four short bullet points for each section, which
can be typed up and taken into your exam with you.
 These will be signed by the invigilator and handed in with your essay.
Appendices
Appendices should also be brought into the exam with you.
In your appendices you can include:









examples of research which inspired movement
visual stimuli
images and explanation of motif
illustrations of consistent features of dance
fitness test results (before and after)
observation schedules (before and after)
training programme
stretching programme
before and after pictures.
If you use appendices, make sure you refer to them within the main body of
your evaluation, otherwise the examiner will not look at them.
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APPENDIX
Appendix
Glossary of dance terms
The websites below provide an extensive glossary of dance terminology :
American Ballet Theatre: ballet terminology
http://www.abt.org/education/dictionary/index.html
Glossary of dance terminology
http://www.orthopt.org/downloads/PAglossary.pdf
Glossary of terms for dance educators
http://www.vahperd.org/Divisions/Dance%20Resources/danceglossary.htm
References
Acocella, J. (2007). Onwards and Upwards with the Arts, SWANS’ WAY, Why
Matthew Bourne’s dances are different. The New Yorker. NY
Ashton, F. (1998) cited in Vaughan, D. (1998). Frederick Ashton and His
Ballets. Dance Books Ltd. UK
Bourne, M. (1998) cited in Lyman, R. (1998) . A Choreographer Who Sees
Ballet as a Silent Film; After Male Swans, ‘Cinderella’ in Wartime. The New
York Times. NY
Bourne, M. (2004). cited in Kirkman, A. (2004). Bourne to Dance. Dancing
Times Magazine. UK
Macaulay, Alistair (ed.) (1999). Matthew Bourne and His Adventures in
Motion Pictures: In Conversation with Alistair Macaulay . London: Faber and
Faber.
Motzkus, H.T. (2006). The Stories We Tell: Matthew Bourne’s Swan Lake .
Phi Kappa Phi Forum, Auburn University. USA
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Sucato, S. (2007). Matthew Bourne’s ‘dance play’ Edward Scissorhands story
without words. The Arts, Entertainment & News Weekly. Pittsburgh City
Paper.
Lecture notes
Dixon, M. (2007) BBO. Background to a Chosen Dance Genre.
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