Board Endorsed December 2010
Dance
A/T/M Course
Type 2
Written under the
Accredited from 1 January 2011 – 31
Performing Arts
Course Framework 2009 December 2015
Extended 2016
1
Board Endorsed December 2010
Student Capabilities
The Student Capabilities (Year 11-12), as shown below, can be mapped to the essential Learning
achievements in the Curriculum Renewal (P-10) showing a strong relationship. Student capabilities
are supported through course and unit content and through pedagogical and assessment practices.
All programs of study for the ACT Senior Secondary Certificate should enable students to become:

creative and critical thinkers

enterprising problem-solvers

skilled and empathetic communicators

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members
and provide students with:

a comprehensive body of specific knowledge, principles and concepts

a basis for self-directed and lifelong learning

personal attributes enabling effective participation in society
2
Board Endorsed December 2010 amended June 2013
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Dance
Classification:  A  T  M  V
Framework:
Course Area:
Course Code:
Dates of Course Accreditation:
Unit Prefix
From
01 / 01 / 2011
To
31 / 12 / 2015
Value
Length
Unit Codes
(1.0/0.5)
1.0
S
Unit Title(s)
Dance Foundations
Introduction to Dance
0.5
Q
Dance History
1.0
S
Dance in Perspective
0.5
Q
Contemporary Dance
1.0
S
Pioneers of Dance
0.5
Q
World Dance
1.0
S
Dance from Other Cultures
0.5
Q
Theatrical Dance Styles
1.0
S
Theatrical Dance Styles a
0.5
Q
Theatrical Dance Styles b
0.5
Q
Dance for Stage and Screen
0.5
Q
Dance Production
1.0
S
Theatre Elements in Dance
0.5
Q
Dance and the Media
1.0
S
Dance and Visual Literacy
0.5
Q
Dance in the Community
1.0
S
Dance in Society
0.5
Q
Dance in Our Time
1.0
S
Popular Dance
0.5
Q
Dance in Australia
1.0
S
Home-Grown Dance
0.5
Q
Self-Directed Dance Studies
1.0
S
Independent Dance Studies
0.5
Q
3
Board Endorsed December 2010 amended June 2013
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
4
/
Board Endorsed December 2010 amended June 2013
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Dance
Classification: A T  M  V
Framework:
Course Area:
Course Code:
Dates of Course Accreditation:
Unit Prefix
From
01 / 01 / 2011
To
31 / 12 / 2015
Value
Length
Unit Codes
(1.0/0.5)
1.0
S
Unit Title(s)
Dance Foundations
Introduction to Dance
0.5
Q
Dance History
1.0
S
Dance in Perspective
0.5
Q
Contemporary Dance
1.0
S
Pioneers of Dance
0.5
Q
World Dance
1.0
S
Dance from Other Cultures
0.5
Q
Theatrical Dance Styles
1.0
S
Theatrical Dance Styles a
0.5
Q
Theatrical Dance Styles b
0.5
Q
Dance for Stage and Screen
0.5
Q
Dance Production
1.0
S
Theatre Elements in Dance
0.5
Q
Dance and the Media
1.0
S
Dance and Visual Literacy
0.5
Q
Dance in the Community
1.0
S
Dance in Society
0.5
Q
Dance in Our Time
1.0
S
Popular Dance
0.5
Q
Dance in Australia
1.0
S
Home-Grown Dance
0.5
Q
Self-Directed Dance Studies
1.0
S
Independent Dance Studies
0.5
Q
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
5
Board Endorsed December 2010 amended June 2013
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
6
/
Board Endorsed December 2010 amended June 2013
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Dance
Classification: A  T M  V
Framework:
Course Area:
Course Code:
Dates of Course Accreditation:
Unit Prefix
From
01 / 01 / 2011
To
31 / 12 / 2015
Value
Length
Unit Codes
(1.0/0.5)
1.0
S
Unit Title(s)
Dance Production M
Theatre Elements in Dance M
0.5
Q
Dance Foundations M
1.0
S
Dance History M
1.0
S
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
7
/
Board Endorsed December 2010 v2 amended June 2013
Type 2 Course Accreditation/Adoption Supporting
Statement
Provides support for information on the Course Accreditation/Adoption Form
B S S S
AUSTRALIAN CAPITAL TERRITORY
Written Evaluation for small changes, reasons for Adoption of a Type 2 course or
Addition of units
For V courses indicate the certificate the college will award.
College:
Course Title: Dance
Course Code
8
Board Endorsed December 2010 v2 amended August 2013
Contents Page
Student Capabilities
Contents Page
Course Name
Course Classification
Course Framework
Course Developers
Evaluation of Previous Course
Course Length and Composition
Implementation Guidelines
Suggested Implementation Patterns
Subject Rationale
Goals
Student Group
Content
Essential concepts
Teaching and Learning Strategies
Assessment
Assessment Task Types
Additional Assessment Advice
Assessment Criteria
Student Capabilities
Moderation
Bibliography
Physical Equipment
Proposed Evaluation Procedures
Dance Foundations A/T
Introduction to Dance A/T
Dance History A/T
Dance in Perspective A/T
Contemporary Dance A/T
Pioneers of Dance A/T
World Dance A/T
Theatrical Dance Styles A/T
Theatrical Dance Styles A/T a
Theatrical Dance Styles A/T b
Dance for Stage and Screen A/T
Dance Production A/T
Theatre Elements in Dance A/T
Dance and the Media A/T
Dance and Visual Literacy A/T
Dance in the Community A/T
Dance in Society A/T
Dance in Our Time A/T
Popular Dance A/T
Dance in Australia A/T
Home-Grown Dance A/T
Self –Directed Dance Studies A/T
Independent Dance Studies A/T
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Value 1.0 ..............................................................32
Value 0.5...............................................................36
Value 1.0 .............................................................39
Value 0.5 ..............................................................43
Value 1.0 ..............................................................47
Value 0.5 ..............................................................51
Value 1.0 .............................................................55
Value 1.0...............................................................63
Value 0.5 ..............................................................63
Value 0.5 ..............................................................63
Value 0.5................................................................67
Value 1.0 ..............................................................71
Value 0.5...............................................................74
Value 1.0 ..............................................................77
Value 0.5...............................................................80
Value 1.0...............................................................83
Value 0.5 .............................................................86
Value 1.0 ..............................................................89
Value 0.5 .............................................................94
Value 1.0 ..............................................................99
Value 0.5 ............................................................102
Value 1.0..............................................................105
Value 0.5..............................................................108
9
Board Endorsed December 2010 v2 amended August 2013
Dance Production M
Theatre Elements in Dance M
Dance Foundations M
Dance History M
Value 1.0 ........................................111
Value 0.5...................................................114
Value 1.0 ............................................................117
Value: 1.0...........................................................122
Course Name
Dance
Course Classification
A/T
Course Framework
This course is presented under the Performing Arts 2009 Course Framework.
Course Developers
Name
Kylie Bayada
Patricia Brown
Michelle Chan
Rikki Marks
Kirbi Masters
Jo Perry
Qualifications
College
Bachelor Music Theatre (CQCM)
Graduate Diploma of Education,
secondary studies (Nepean)
Graduate Diploma of Education,
Mathematics (University of Canberra)
Associate Diploma of Business
(Rockhampton)
Bachelor of Arts (Dance) Victorian
College of the Arts
Graduate Diploma of Education
University of Canberra
Bachelor of Education (Dance)
Australian Catholic University
Graduate Certificate in Educational
Leadership University of Canberra
Bachelor of Contemporary Arts (Dance)
Deakin University Melbourne
Bachelor of Education (Primary and
Secondary) Deakin University
Melbourne
Bachelor of Performance, Theory and
Practice (Dance Studies) University of
Western Sydney
Master of Teaching (Secondary)
University of Western Sydney
Bachelor of Arts (Hons) in
Contemporary Dance, London
Contemporary Dance School (validated
University of Kent) UK, Post Grad. Cert.
10
St Clare’s College
St Clare’s College
Canberra College
MacKillop Catholic College
Daramalan College
Lake Tuggeranong College
Board Endorsed December 2010 v2 amended August 2013
Education (Secondary Dance)
University of Brighton, UK
Mardi RobertsBolton
Vanessa Robinson
Bachelor of Arts Dance (Teaching),
Stromlo High School
Victorian College of the Arts; Advanced
Diploma in Dance Teaching, Australian
Ballet School; Graduate Diploma in
Education (Performing Arts) University
of Canberra, ACT.
Bachelor of Dance Education, The
Canberra Girls’ Grammar
Australian College of Physical Education School
Master of Teaching (Primary)
University of Western Sydney.
This group gratefully acknowledges the work of previous developers.
Evaluation of Previous Course
The previous course had a holistic approach to students’ learning. It provided a range of learning
opportunities suitable for a broad dance education. The course provided a solid foundation for students to
study further at either a tertiary or recreational level.
The intention of the updated course is to consolidate the goals and to bring the document in line with the
new framework. The course will include a glossary to assist new teachers and consolidate the use of
metalanguage within the subject area. In addition, the course will include an updated resource list to reflect
new developments available to teachers and students.
It was felt that a single 0.5 unit was more appropriate for each unit because the three essential skills of
creating, presenting, evaluating were relevant for either a 1.0 or 0.5 unit, making the second 0.5 unit
redundant. The content in the 0.5 should be kept the same as the content in the 1.0 unit as a result the
amount of time spent on each area would be reduced.
Completion of Dance Courses across Colleges
Year
Minor
2008
2007
2006
2005
38
54
53
46
2008
2007
2006
2005
19
36
36
38
Major
Dance A
8
16
12
18
Dance T
50
52
43
37
11
Major Minor
Double Major
2
2
2
1
2
2
3
0
6
7
4
4
1
1
3
3
Board Endorsed December 2010 v2 amended August 2013
Course Length and Composition
Unit Title
Dance Foundations
Introduction to Dance
Dance History
Dance in Perspective
Contemporary Dance
Pioneers of Dance
World Dance
Dance from Other Cultures
Theatrical Dance Styles
Dance for Stage and Screen
Dance Production
Theatre Elements in Dance
Dance and the Media
Dance and Visual Literacy
Dance in the Community
Dance in Society
Dance in Our Time
Popular Dance
Dance in Australia
Home-Grown Dance
Self-Directed Dance Studies
Independent Dance Studies
Unit Value
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
1.0
0.5
Available course patterns
(delete any course patterns which are not applicable at your college)
Course
Number of standard units to meet course requirements
Minor
Minimum of 2 units
Major
Minimum of 3.5 units
Major Minor
Minimum of 5.5 units
Double Major
Minimum of 7 units
Implementation Guidelines
Compulsory units
Students who wish to complete a T Major, Major Minor or Double Major must complete either two of the
following units: Dance Foundations 1.0 and/or Dance History 1.0, and/or Contemporary Dance 1.0; or
Introduction to Dance 0.5 and Dance in Perspective 0.5 and Contemporary Dance 1.0.
Prerequisites for the course or units within the course
While there are no formal prerequisites, strong interest and individual commitment are essential. For
students undertaking the T course it would be advantageous to have some form of recent relevant dance
experience. Students undertaking the T Course are also expected to spend additional out-of-class time in
research and preparation for class dance performances.
12
Board Endorsed December 2010 v2 amended August 2013
Arrangements for students who are continuing to study a course in this subject
Students continuing this course from Year 11 may take any of the units in Year 12 providing they have not
already studied them in Year 11.
Units from other courses
Nil
Negotiated Units
Self Directed Dance Studies – to undertake this unit the student needs to have previously completed 3
standard units in this course.
Relationship with other courses
Two units from this course may be combined with two units from the Drama course to create Performing
Arts major.
Suggested Implementation Patterns
Students completing a T Major, Major Minor or Double Major must complete either Dance Foundations or
Dance History (and preferably both) as it is considered highly desirable that all students studying Dance at a
tertiary level should have a grounding in ballet and contemporary dance technique and dance composition,
as well as safe dance principles. As it is also recommended that students completing a Minor should
experience one of these units, it is recommended that Dance Foundations be completed in one year and
Dance History in the other.
Implementation Pattern
Units Involved
Semester 1
Dance Foundations or Dance History 1.0
Semester 2
Theatrical Dance Styles 1.0
Semester 3
Contemporary Dance 1.0
Semester 4
Dance Production 1.0
The compulsory units outlined ensure that all students undertaking an A or T minor course will achieve the
goals of the course.
Subject Rationale
Performing Arts
Performing Arts is a fundamental mode of expression which is grounded in ancient traditions. Through its
ever evolving new forms, the Performing Arts will continue to be an essential form of behaviour in all
cultures because the resource it draws upon is human experience.
The study of courses in Performing Arts connects the individual with intellectual, physical, creative and
emotional learning. Such studies help students become holistic people in relation to others, their
environment and the world. Performing Arts empowers students to challenge contemporary thinking and
apply self-knowledge to the world around them.
Participation in Performing Arts is an ongoing learning process which enables students to participate in
leisure activities, work in the Arts Industry and appreciate the practice of art forms. Studies in Dance and
Drama can prepare students for tertiary courses and exciting careers in Performing Arts and related fields.
Students explore and develop a range of abilities and skills that help them in their future work and life
paths. Students are educated to be informed consumers and critics of the arts and contribute to the
growth and development of the arts within their communities.
13
Board Endorsed December 2010 v2 amended August 2013
The study of Performing Arts is based on three interrelated components: Creating, Presenting and
Evaluating. Problem-solving abilities and creativity are fostered through research, synthesis and
communication of ideas, images and narratives in their historical and contemporary contexts.
Dance
Dance is the language of movement. It is an art form that uses the body as an instrument of communication
and creativity. It has its own specific language, processes and techniques that are explored through
creation, performance and evaluation of dance, demanding intellectual and physical rigour.
When creating dance, students explore ideas through developing an understanding of the elements of
dance, stylistic conventions and choreographic tools. They learn to problem solve, collaborate and make
creative judgements as they select and structure those elements and conventions to create and shape
choreographic sequences.
When presenting dance, students use expressive techniques to convey the choreographer’s intent to an
audience. They develop an understanding of the nature and function of dance; through a practical
knowledge of various forms and styles and a range of technical and performance skills to entertain, inspire
and challenge an audience.
When evaluating dance, students use a range of processes to communicate their interpretation, critical
analysis and appreciation of dance. The deconstruction of dance forms allows students to demonstrate
their understanding and knowledge of dance as performers, choreographers and observers.
Dance offers opportunities for students to derive a sense of wellbeing, self-esteem and the necessary social
skills to work effectively, both individually and collaboratively. Through Dance, students have the
opportunity to develop a range of life skills that will enhance their careers and personal growth.
Goals
This course should enable students to:

understand and apply a range of forms appropriate to the Performing Arts

demonstrate the ability to work and learn individually and with others

communicate effectively through performance and/or production skills for a variety of audiences

apply skills and creative expression through physical awareness

communicate an understanding of the Performing Arts in its artistic, cultural, historical, technical
and spiritual contexts

use a range of technologies and mediums to support learning and performance

acquire a physical and verbal understanding of Performing Arts terminology

demonstrate empathy and understanding about life and the human condition

demonstrate an understanding of Occupational Health and Safety (OH&S) in the Performing Arts.
14
Board Endorsed December 2010 v2 amended August 2013
Student Group
The Dance Studies A course is designed to cater for students with a keen interest in dance who would like to
develop their movement skills in a variety of dance styles. It is also aimed at students who value dance as
an art form and as a medium for enjoyment and personal development.
It is also designed for students aiming at tertiary study where a background in dance is an advantage, e.g.,
for performing arts, teaching and recreation.
The Dance Studies T course is designed for students who wish to study dance for its intrinsic value. It also
caters for students who are aiming at tertiary studies in dance and related areas, e.g. performing arts,
community arts, physical education teaching, primary and early childhood teaching and dance therapy.
Content
Essential concepts
The essential concepts of Performing Arts include:

creativity, including the creation of original works, the reconstruction of historical works,
contemporary insights, innovation and design

dimensions of performance, ranging from the use of specific techniques to the use of complex
symbols to communicate meaning

history and traditions of Performing Arts, including an appreciation of Dance and Drama as unique
forms of thinking and knowing, an understanding of the function of these arts in the aesthetic,
intellectual, artistic and political life of communities.

understanding of Occupational Health and Safety in all aspects of the Performing Arts
Essential skills
The essential skills of Dance are:
Creating

effective communication of ideas, emotions, concepts and themes through dance

knowledge of dance elements, skills and processes

application of elements of composition and improvisation

effective problem solving and imaginative thinking

ability to work individually and collaboratively

application of safe dance practices

application of effective rehearsal strategies through the management of time and resources.
Presenting

confident application of specific dance techniques

ability to communicate the technical and thematic intent of the choreographer

application of a range of performance skills appropriate to a variety of audiences

effective rehearsal strategies in preparation for performances

knowledge and application of safe dance practices.
15
Board Endorsed December 2010 v2 amended August 2013
Evaluating

ability to analyse, interpret and evaluate dance

ability to select, sequence, organise and synthesise information about a specific topic

critical reflection of student’s own work and the work of others

knowledge of past and present pioneers of dance

knowledge of aesthetic, cultural, contemporary and historical aspects of dance

ability to use specific dance terminology in its appropriate context

ability to research and document, using a wide range of resources.
Teaching and Learning Strategies
Teaching strategies that are particularly relevant and effective in the Performing Arts can include:

Opportunities to explore and improvise for personal expression, leading to the development of
individual styles, approaches and methods. It is important to provide experiences to support the
relationship between creating and evaluating. This relationship should encourage critical thinking
and discourse about students’ work, acknowledging a range of responses. Students should be
encouraged to continually and critically reflect on their own works by defining context, intent and
response to stimulus. Teachers should encourage a variety of approaches to creating works that
can be retained, discarded or manipulated.

Experiences that aim to develop the technical and expressive skills of each student. Although
replication is essential to many performances, it is important to encourage individual expression,
and acknowledge the individual nature of the performer and the unique impact this will have on
her/his interpretation of the work. The teacher should encourage and demonstrate safe work
practices to help students understand the nature of their bodies and their environment.

Opportunities for students to experience and appreciate the evolution of Performing Arts.
Students should be given the opportunity to develop responses and value their own work and
those of others. The teacher needs to develop in students the skills of analysis, interpretation,
evaluation and communication.
Creating/Presenting
Dance
Construction of movement sequences
Improvisation
Response to stimuli
Workshops with professional artists
Individual or group work
Repertoire
Structured rehearsals
Viewing of own and others’ work
Teacher/student demonstration
Peer teaching
Physical warm ups
16
Board Endorsed December 2010 v2 amended August 2013
Evaluation
Viewing of own and others’ work
Viewing of live dance performances
Student seminars
Research (e.g. internet, oral, text)
Study of dance reviews
Process journals
Constructive feedback
Assessment
Assessment Task Types
Task Type
Creating
Presenting
Evaluating
Improvisation,
Composition of original
work
Response to stimuli
Manipulation of
choreographic elements
Performances (e.g.
exercises/ dance
sequences)
Minor (in-class)
performances
Major
performance/s (with
an audience)
Short sequences
Phrases
Repertoire
Analytical/research essay
- T 1000 words
- A 800 words
In-class essay
-T 800 words
-A 600 words Seminar presentation
- T 10 minutes (8 minutes oral, 2
minutes visual)
(e.g. PowerPoint, oral) of research
material
- A 5 minutes (4 minutes oral 1
minute visual)
Journal/log book/portfolio
T courses
30% - 40%
30% - 40%
30% - 40%
A courses
30% - 50%
30% - 50%
20% - 30%
Examples of
Assessment
Types
0.5 units A/T
60% - 65%
35% - 40%
The Board recommends 3 – 5 assessment items per standard unit and 2-3 items per half standard unit.
For a standard unit (1.0) select at least one task from each task type.
For a half standard unit (0.5) select a task from each task type, or Creating and Presenting may be
combined into the one assessment item.
17
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types M unit after Modification
Task Type
Examples of
Assessment
Types
Weighting
Creating
Presenting
Evaluating
Improvisation
Composition of
original work
Response to stimuli
Manipulation of
choreographic
elements
Performances (e.g.
exercises/ dance
sequences)
Minor (in-class)
performances
Major performance/s
(with an audience)
Short sequences
Phrases
Repertoire
Presentation
- e.g. PowerPoint, visual material, oral (3
minutes),
- Journal/log book/portfolio
- Guided discussion and responses.
30% - 50%

- Assisted design of production one
or more elements including costuming,
make-up, sets, lighting, administration,
music, staging, props, or multi-media
within a dance context.
30% - 50%
10%-20%
Dance
Creating
Each student must be individually responsible for choreographing a minimum of one minute in
a group piece or two minutes as a solo.
Presenting
Performances should be a minimum of 2 minutes.
Additional Assessment Advice
It is expected that students develop and demonstrate an understanding of OH & S policies and practices in
all aspects of the Performing Arts. Publication of safety guidelines for the entertainment industry which
have been developed by the Media Entertainment and Arts Alliance is on the following address:
http://www.aeia.org.au/pdf/SafetyGuidelines.doc
Assessment Criteria
Students will be assessed on the degree to which they demonstrate:

Understanding and analysis of key concepts and content

Creativity in forming their own works

Acquisition and communication of practical skills

Communication through performance

Working individually and collaboratively
18
Board Endorsed December 2010 v2 amended August 2013
Student Capabilities
Creative and critical thinkers
Students of Dance will develop their creative and research skills throughout the course. The ability to
reflect, understand and apply different thinking strategies will be encouraged through various activities in
creating, presenting and evaluating.
Enterprising problem-solvers
Students throughout this course will develop skills that encourage them to be resourceful and to show
initiative. Creating, presenting and evaluating activities will encourage independent and collaborative work,
develop them as confident users of metalanguage and skills of dance and develop their lateral thinking.
Skilled and empathetic communicators
In this course, students will communicate their ideas in written and practical forms. Students will develop
skills in communicating with their peers, teachers and audience in an empathetic way.
Informed and ethical decision-makers
The study of dance will raise an awareness of students’ cultural and artistic sensitivity when presenting,
creating and evaluating tasks. These tasks will encourage students to critically examine their own and
others values, beliefs and perspectives.
Environmentally and culturally aware citizens
This Dance Course will promote an awareness of environmental issues through the responsible use and
reuse of resources. The dance course offers opportunities to explore socio-cultural and environmental
issues through thematic exploration.
Confident and capable users of technologies
Students will be exposed to and develop their confidence and competence in using a variety of
technologies relevant to their study. They will assess which technologies are appropriate for particular
purposes.
Independent and self-managing learners
This Dance Course is designed to encourage and develop skills in independent learning to achieve the
desired outcomes of the course. Students will assess which skills and knowledge are appropriate for
particular purposes.
Collaborative team members
Students will have the opportunity to contribute to group work regarding various aspects of assessment
tasks. This will build skills in negotiation and compromise and foster cooperation and respect for others.
19
Board Endorsed December 2010 v2 amended August 2013
A student who
achieves a B grade
typically
A student who
achieves an A grade
typically
DANCE T COURSE UNIT GRADE DESCRIPTORS
CREATING

Understanding and analysis of key concepts and content

Creativity in forming their own works

Communication through performance

Working individually and collaboratively

Applies the elements of dance and compositional processes
with artistry and expertise.

Creates dance communicating the stated choreographic
intent with clarity, originality and expressiveness.

Applies mature and extensive problem solving techniques and
rehearsal strategies when working individually and
collaboratively.
PRESENTING

Understanding and analysis of key concepts and content

Acquisition and communication of practical skills

Communication through performance
EVALUATING

Understanding and analysis of key concepts and content

Displays outstanding awareness of the stylistic conventions
of the genre presented.
Displays outstanding performance skills incorporating
heightened accuracy, technical control, fluency, strength
and artistry.
Communicates the choreographer’s intent with sensitivity
and maturity.


Applies the elements of dance and compositional processes
with proficiency.
Creates dance communicating the stated choreographic
intent with clarity and originality.
Applies effective problem solving techniques and rehearsal
strategies when working individually and collaboratively.

Displays awareness of the stylistic conventions of the genre
presented.
Displays accomplished performance skills maintaining
accuracy, technical control, fluency, strength and artistry.
Communicates the choreographer’s intent with maturity.

Applies the elements of dance and compositional processes
satisfactorily.
Creates dance communicating the stated choreographic
intent.
Applies satisfactory problem solving techniques and rehearsal
strategies when working individually and collaboratively.

Displays some awareness of the stylistic conventions of the
genre presented.
Displays satisfactory performance skills including accuracy,
technical control, fluency, strength and artistry.
Communicates the choreographer’s intent.

Applies the elements of dance and compositional processes
superficially.
Creates dance with some communication of stated
choreographic intent.
Applies limited problem solving techniques and rehearsal
strategies when working individually and collaboratively.

Displays limited awareness of the stylistic conventions of the
genre presented.
Displays basic performance skills with limited accuracy,
technical control, fluency, strength and artistry.
Communicates the choreographer’s intent to some degree.

Applies very limited use of the elements of dance and
compositional processes.
Creates dance with very limited communication of stated
choreographic intent.
Depends on others in applying problem solving techniques
and rehearsal strategies.

Displays very limited awareness of the stylistic conventions
of the genre presented.
Displays basic performance skills with very limited accuracy
and/or technical control.
Displays very limited communication of the choreographer’s
intent.



A student who
achieves a C
grade typically



A student who
achieves a D
grade typically



A student who
achieves an E
grade typically













20










Communicates insightful analysis and interpretation with
astute evaluation and thorough justification of specific dance
context.
Provides evidence of research rigour through a wide range of
mediums used expressively.
Demonstrates an extensive use of appropriate dance
terminology and produces articulate and task appropriate
responses.
Communicates effective analysis and interpretation with valid
evaluation and justification of specific dance context.
Provides evidence of research rigour through a range of
mediums.
Demonstrates a comprehensive use of appropriate dance
terminology and produces coherent and task appropriate
responses.
Communicates satisfactory analysis and interpretation with
some evaluation and justification of specific dance context.
Provides some evidence of research rigour through a range of
mediums.
Demonstrates some use of appropriate dance terminology
and produces task appropriate responses.
Communicates limited analysis and interpretation with little
evaluation and justification of specific dance context.
Provides limited evidence of research skills
Demonstrates limited use of appropriate dance terminology
and produces limited responses.
Communicates little or no analysis, interpretation, evaluation
or justification of specific dance context.
Provides little or no evidence of research skills.
Demonstrates little or no use of appropriate dance
terminology and produces very limited responses.
Board Endorsed December 2010 v2 amended August 2013
A student who
achieves a B
grade typically
A student who
achieves an A grade
typically
DANCE A COURSE UNIT GRADE DESCRIPTORS
CREATING

Understanding and analysis of key concepts and
content

Creativity in forming their own works

Communication through performance

Working individually and collaboratively

Applies the elements of dance and compositional
processes with confidence.

Creates dance communicating the stated
choreographic intent with clarity.

Applies extensive problem solving techniques and
rehearsal strategies when working individually and
collaboratively.
PRESENTING

Understanding and analysis of key concepts and
content

Acquisition and communication of practical skills

Communication through performance
EVALUATING

Understanding and analysis of key concepts and
content

Displays clear and consistent awareness of the
stylistic conventions of the genre presented.
Displays performance skills which incorporate
accuracy, technical control, fluency and strength.
Communicates the choreographer’s intent through
performance with clarity.



Displays awareness of the stylistic conventions of the
genre presented.
Displays performance skills which incorporate recall,
accuracy and technical control.
Communicates the choreographer’s intent with some
clarity.

Displays some awareness of the stylistic conventions
of the genre presented.
Displays satisfactory performance skills including
recall and technical control.
Communicates the choreographer’s intent to some
degree.

Displays limited awareness of the stylistic
conventions of the genre presented.
Displays basic performance skills with limited recall
and technical control.
Displays limited communication of the
choreographer’s intent.

Displays very limited awareness of the stylistic
conventions of the genre presented.
Displays basic performance skills with very limited
recall and/or technical control.
Displays very limited communication of the
choreographer’s intent.



A student who
achieves a C
grade typically



A student who
achieves a D
grade typically



A student who
achieves an E
grade typically



Applies the elements of dance and compositional
processes soundly.
Creates dance communicating the stated
choreographic intent with some clarity.
Applies effective problem solving techniques and
rehearsal strategies when working individually and
collaboratively.
Applies the elements of dance and compositional
processes satisfactorily.
Creates dance communicating a basic understanding
of the choreographic intent.
Applies satisfactory problem solving techniques and
rehearsal strategies when working individually and
collaboratively.
Applies the elements of dance and compositional
processes superficially.
Creates dance with limited communication of stated
choreographic intent.
Applies limited problem solving techniques and
rehearsal strategies when working individually and
collaboratively.
Applies very limited use of the elements of dance and
compositional processes.
Creates dance with very limited communication of
stated choreographic intent.
Depends on others in applying problem solving
techniques and rehearsal strategies.













21










Communicates analysis and interpretation with
evaluation and justification of specific dance context.
Provides evidence of research through use of a wide
range of mediums.
Demonstrates a comprehensive use of appropriate
dance terminology and produces coherent and task
appropriate responses.
Communicates analysis and interpretation with some
evaluation and justification of specific dance context.
Provides evidence of research through use of a range of
mediums.
Demonstrates use of appropriate dance terminology
and produces task appropriate responses.
Communicates basic analysis and interpretation with
some evaluation or justification of specific dance
context.
Provides some evidence of research.
Demonstrates some use of appropriate dance
terminology and produces task appropriate responses.
Communicates limited analysis and interpretation with
little or no justification of specific dance context.
Provides limited evidence of research.
Demonstrates limited use of dance terminology and
produces responses which may not be appropriate to
the task.
Communicates little or no analysis, interpretation,
evaluation or justification of specific dance context.
Provides little or no evidence of research
Demonstrates little or no use of dance terminology and
produces very limited responses.
Board Endorsed December 2010 v2 amended August 2013
Unit Grade Descriptors for M Courses
Grade
Descriptor
A student who
achieves the
grade A typically
 demonstrates high level of ability in the modified assessment
criteria
 achieves all of the assessable goals of the unit
 shows a consistent ability to transfer knowledge and apply skills in
familiar and unfamiliar situations
A student who
achieves the
grade B typically
 demonstrates sound ability in the modified assessment criteria
 achieves most of the assessable goals of the unit
 shows an ability to transfer knowledge and apply skills in familiar
situations
A student who
achieves the
grade C typically
 demonstrates satisfactory ability in the modified assessment
criteria
 achieves some of the assessable goals of the unit
 shows an awareness of the need to transfer knowledge and skills
A student who
achieves the
grade D typically
 demonstrates limited ability in the modified assessment criteria
 achieves few of the assessable goals of the unit
 shows limited awareness of the need to transfer knowledge and
skills
A student who
achieves the
grade E typically
 Has met the minimum requirements for attendance and
assessment.
22
Board Endorsed December 2010 v2 amended August 2013
Moderation
Moderation is a system designed and implemented to:

provide comparability in the system of school-based assessment

form the basis for valid and reliable assessment in senior secondary schools

involve the ACT Board of Senior Secondary Studies and colleges in cooperation and
partnership

maintain the quality of school-based assessment and the credibility, validity and
acceptability of Board certificates
Moderation commences within individual colleges. Teachers develop assessment programs
and instruments, apply assessment criteria, and allocate Unit Grades, according to the
relevant Course Framework. Teachers within course teaching groups conduct consensus
discussions to moderate marking or grading of individual assessment instruments and unit
grade decisions.
The Moderation Model
Moderation within the ACT encompasses structured, consensus-based peer review of Unit
Grades for all accredited courses, as well as statistical moderation of course scores, including
small group procedures, for T courses.
Moderation by Structured, Consensus-based Peer Review
Review is a subcategory of moderation, comprising the review of standards and the
validation of Unit Grades. In the review process, Unit Grades, determined for Year 11 and
Year 12 student assessment portfolios that have been assessed in schools by teachers under
accredited courses, are moderated by peer review against system wide criteria and
standards. This is done by matching student performance with the criteria and standards
outlined in the unit grade descriptors as stated in the Course Framework. Advice is then
given to colleges to assist teachers with, and/or reassure them on, their judgments.
Preparation for Structured, Consensus-based Peer Review
Each year, teachers teaching a Year 11 class are asked to retain originals or copies of student
work completed in Semester 2. Similarly, teachers teaching a Year 12 class should retain
originals or copies of student work completed in Semester 1. Colleges not on a semester
structure will negotiate with BSSS on work required. Assessment and other documentation
required by the Office of the BSSS should also be kept. Year 11 work from Semester 2 of the
previous year is presented for review at Moderation Day 1 in March, and Year 12 work from
Semester 1 is presented for review at Moderation Day 2 in August.
In the lead up to Moderation Day, a College Course Presentation (comprised of a document
folder and a set of student portfolios) is prepared for each A and T course offered by the
school, and is sent in to the Office of the BSSS.
The College Course Presentation
The package of materials (College Course Presentation) presented by a college for review on
moderation days in each course area will comprise the following:

a folder containing supporting documentation as requested by the Office of the
Board through memoranda to colleges

a set of student portfolios containing marked and/or graded written and non-written
assessment responses and completed criteria and standards feedback forms.
Evidence of all assessment responses on which the unit grade decision has been
23
Board Endorsed December 2010 v2 amended August 2013
made is to be included in the student review portfolios. Specific requirements for
subject areas and types of evidence to be presented for each moderation day will be
outlined by the Office of the BSSS through memoranda and Information Papers
Dance Practical Moderation
At Moderation Day teachers will view the video/s of student performances from the
practical moderation and affirm practical work and final grades.
For Practical Moderation dance teachers will moderate Year 12 students selected from all
colleges in A and T courses on an agreed day in Semester 1 using outside tutors.
Dance teachers observe and assess students who are allocated ID numbers at random. The
teachers use a rubric created and refined for this practical assessment. The completed rubric
decisions provide evidence of each college’s standard in practical work and are included in
the Moderation Day presentations submitted.
At Moderation Day video evidence is reviewed for practical moderation. Dance teachers are
asked to provide student portfolios at required grade levels as in other subject areas.
Bibliography
Books
Anderson J
Anderson, J
Ashley, L
Au, S
Beller, J
Bracilovic, A
Carter, A & O'Shea, J
Castle, K
Clay, K
Clippinger, KS
Cooper, S
Craine, D & Mackrell, J
Ellison, N
Erkert, J
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2004, Modern Dance, Chelsea House, Philadelphia.
1986, Ballet and Modern Dance, A Concise History, Princeton Book
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2002, Essential Guide to Dance, Hodder and Stoughton, London.
2002, Ballet & Modern Dance, Thames & Hudson, London.
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2009, Essential Dance Medicine: Musculoskeletal Medicine,
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2010, The Routledge Dance Studies Reader, Routledge, New York.
1998, My Ballet Book, Dorling Kindersley, London.
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota.
2007, Dance Anatomy and Kinesiology, Human Kinetics,
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1998, Staging Dance, A & C Black Ltd, London.
2004, The Oxford Dictionary of Dance, Oxford University Press,
New York, USA.
2003, The Ballet Book: Learning and Appreciating the Secrets of
Dance, University Publications, New York.
2003, Harnessing the Wind: The Art of Teaching Modern Dance,
Human Kinetics, South Australia.
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
24
Board Endorsed December 2010 v2 amended August 2013
Foster, SL (ed.)
2009, Worlding Dance, Palgrave Macmillan, Basingstoke, England.
Gamble, N
2008, Tap and Jazz, Heinemann Library, Chicago, USA.
Garofoli, W
2008, Jazz Dance, Capstone Press, Mankato, Minnesota.
Giltrap, A
2004, Strictly Dancing: Don’t Miss a Beat, Australian Broadcasting
Corporation, Sydney.
2007, African American Dance: an illustrated history, McFarland,
USA.
Glass, BS
Gottlieb, R (ed.)
Greskovic, R
Hall, F
Hatchett, F & Gitlin, NM
2008, Reading Dance: a gathering of memoirs, reportage, criticism,
profiles, interviews, and some uncategorizable extras, Pantheon
Books, New York, USA.
1998, Ballet 101: a complete guide to learning and loving the
ballet, Hyperion, New York.
1989, The Beauty of Ballet, The Hamlyn Publishing Group, London.
2000, Frank Hatchett’s Jazz Dance, Human Kinetics, Champaign
Howse, J
2000, Dance Technique and Injury Prevention, Routledge, New
York, USA.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember When, UK.
Humphrey, D
Hutchinison, A
Huwyler, J
1980, The Art of Making Dances, ed B. Pollock, Grove, New York.
1987, Labanotation, Dance Books, London.
2002, The Dancer's Body: a medical perspective on dance and
dance training, Dance Books, Alton, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber, London,
UK.
Kant, M (ed.)
2007, The Cambridge Companion to Ballet, Cambridge University
Press, Cambridge.
Kapit, W & Kapit, W
2001, 3rd ed, The Anatomy Coloring Book, Harper and Row, New
York, USA.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design, Human
Kinetics, Champaign, Il, USA.
Kassing, G
2007, History of Dance: An Interactive Arts Approach, Human
Kinetics, Champaign, Illinois.
1998, Teaching Beginning Ballet Technique, Human Kinetics,
Champaign, Illinois.
Kassing, G and Jay, DM
Kennedy, JG & Hodgkins,
CW (eds.)
Kenrick, J
Lee, C
2008, Foot and Ankle Injuries in Dance, Saunders, London.
2008, Musical Theatre: A History, Continuum, New York.
2002, Ballet In Western Culture: A History of its Origins and
Evolution, Routledge, New York, London.
Lepecki, A (ed.)
2004, Of the Presence of the Body: Essays on dance and
performance theory, Wesleyan University Press, Middletown,
Connecticut.
Lihs, HR
2002, Appreciating Dance: a guide to the world’s liveliest art,
Princeton Book Co., Highstown, NJ
25
Board Endorsed December 2010 v2 amended August 2013
Muller-Townsend, KL
2009, The relationship between working memory capacity and
movement memory of dancers, BA Hons thesis, Edith Cowan
University, Faculty of Computing, Health and Science.
Murray, K
2008, Is dance good for the body or not? An examination of body
awareness and injury prevention for specialised tertiary dance
students, BA Hons thesis, Edith Cowan University, Faculty of
Education and Arts, Western Australian Academy of Performing
Arts.
Neal, MA & Forman, M
(eds.)
2004, 'That's the joint! Hip Hop articles', The Hip Hop Studies
Reader, Mark Anthony Neal & Murray Forman, Routledge, London,
UK.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign, Illinois,
USA.
Pask, EH
1979, Enter the Colonies Dancing – A History of Dance in Australia
1835-1940, Oxford University Press, Melbourne.
Pask, EH
1982, Ballet in Australia: The Second Act 1940-1980, Oxford Press,
Melbourne.
2002, Ballet: From the First Plié to Mastery: An Eight Year Course,
Routledge, New York.
Paskevska, A
Pomer, J
Pomer, J
2009, Dance Composition: an interrelated arts approach, Includes 1
CD-ROM, Human Kinetics, Champaign, Ill. USA.
2009, Dance Composition: an interrelated arts approach, Includes 1
CD-ROM, Human Kinetics, Champaign, Ill. USA.
Potter, M
1997, A Passion for Dance, National Library of Australia, Canberra.
Poyner, H & Simmonds, J
(eds.)
1997, Dancers and Communities, Ausdance, NSW.
Robertson, A & Hutera, D
1988, The Dance Handbook, Longman, Harlow, Essex.
Scheff, H & Sprague, M et
al (eds.)
2010, Exploring Dance Forms and Styles: a guide to concert, world,
social and historical dance. Human Kinetics, Champaign, Illinois,
USA.
Scheff, R, Sprague, M &
McGreevey-Nichols, S.
Schlaich, J & DuPont, B et
al (eds.)
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
Sloat, S (ed.)
2010, Making Caribbean Dance: continuity and creativity in island
cultures. University Press of Florida, Gainesville, USA.
Snook, B
Sofras, PA
Solomon, RL
1998, Dance: The Art of Production. Princeton Book Co,
Hightstown, New Jersey, USA.
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2006, Dance Composition Basics: Capturing the choreographer's
craft, Includes DVD, Human Kinetics, Champaign, Ill, USA.
2005, Preventing Dance Injuries, Human Kinetics, Champaign,
Illinois, USA.
Solway, A
2008, Modern Dance, Heineman Library, Oxford.
Sorell, W (ed.)
1992, The Dance Has Many Faces, A Capella Books, Chicago,
Illinois, USA.
26
Board Endorsed December 2010 v2 amended August 2013
Speck, S & Cisneros, E
2003, Ballet for Dummies, Wisley Publishing Inc.
Spurgeon, D
1991, Dance Moves: From improvisation to dance, Harcourt Brace
Jovanovich, Sydney.
Storey, R
2006, Street Jazz, Sea to Sea Publications, North Mankato,
Minnesota.
Wauchop, D
Wauchop, D
2009, Dancing in Time, Includes 1 CD-ROM, Piper Press and A H
Design & Publishing, Annandale, NSW.
2004, Dancing in Space, Includes 1 CD-ROM, Piper Press,
Annandale, NSW.
Journals
Atlas C 1983, “Filming Cunningham Dance”, Dance Theatre Journal, Vol 1.
Dance Australia, Yaffa Publishing Group, Surry Hills, NSW.
Dance Forum, [Australian Dance Council: online journal subscription].
Dance train, Dance Train Pty Ltd, Cremorne, NSW.
Audiovisual Material
Ausdance, Media Production Unit, Open Training and Education Network Curriculum
Directorate, NSW Department of School Education
Australian Ballet, Triple Bill: Deep End, Red Earth, Alchemy (video), ABC Television
Ballet Russes in Australia, An Avalanche of Dancing 1936-1940 (video), The National Film and
Sound Archive (ScreenSound Australia)
Bangarra Dance Theatre (video), 2003 Ochres, ABC Television
Bob Rizzo's Techno Pop – Music Video Style Dancing (DVD), 2004
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Broadway the American musical: a history of Broadway (DVD), 2004 Granada
Dance and Video (Video), RM Associates, UK
Dance Composition Basics: Capturing The Choreographer's Craft (DVD), Human Kinetics,
Champaign, Ill, USA
Dance of the Century (Video), SBS
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
DV8: Strange Fish (Video), 1998, RM Associates, UK
Glass, Barbara S 2007, African American dance: an illustrated history, McFarland, USA
Grube, T (Producer) 2004, Rhythm is it: rite of spring, video recording, Boomtownmedia,
Berlin
Hebson, D (Producer) 2001, Darrin's dance grooves, video recording, (Performed by Britney
Spears, 'N Sync and Jordan Knight), Razor and Tie
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
Australia)
If You Can Move, You Can Dance: An Introduction To Community Dance (video)
LaChapelle, David et al (Producer) 2005, Rize (video recording), David LaChapelle Studios,
Santa Monica, CA, USA
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
27
Board Endorsed December 2010 v2 amended August 2013
Champaign, Illinois, USA
Seven Deadly Sins (Video), ABC Australia
Sydney Dance Company, Boxes/Café (video), ABC Television
The American Dance Festival's dancing in the light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA
The Magic of Dance, Margot Fonteyn (Video), ABC
Websites
All About Tap Dance 2010 (on line)
< http://www.theatredance.com/tap/ >
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Australia Dancing, The Australian Choreographic Centre: 1996-2007 (on line)
< http://www.australiadancing.org/subjects/2001.html >
Bangarra Dance Theatre 2005 (on line)
< http://www.bangarra.com.au >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
Contemporary Dance 2010 (on line)
< http://contemporarydance.suite101.com/ >
DanceLife – The Australian Dance Directory & Dancers Network 2010 (on line)
< http://www.dancelife.com.au/default2.php >
Dance Books Ltd 2005 (on line)
< http://www.dancebooks.co.uk >
Dance Heritage Coalition 2010 (on line)
< http://danceheritage.org/ >
Dance Informa 2010 (on line)
< http://www.danceinforma.com/ >
Dance Life Australia 2010 (on line)
< http://www.dancelife.com.au/default2.php >
Marcom Projects: Performance Art 2004 (on line)
< http://www.marcom.com.au >
Martha Graham Center of Contemporary Dance 2005 (on line)
< http://marthagraham.org/center/ >
Mr Wiggles 2010 (on line)
< http://www.mrwiggles.biz >
Musicals 101: The Cyber Encyclopaedia of Musical Theatre, TV and Film 2010 (on line)
< http://www.musicals101.com/index.html >
New Zealand Performing Arts Teacher Resource Exchange 2010 (on line)
< http://www.tki.org.nz/r/arts/curriculum/statement/pg30_31_e.php >
The Early Moderns 1997 (on line)
< http://www.pitt.edu/~gillis/dance/disp.html >
Theatrical Dance In Early Vancouver: 1880s to 1920s 2006 (on line)
28
Board Endorsed December 2010 v2 amended August 2013
< http://www.dcd.ca/exhibitions/vancouver/ >
CD ROMS
Bangarra Dance Theatre Educational (CD ROM), 2003, Pier 4, Hickson Road, Walsh Bay,
Sydney
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Wauchop, D, Dancing in Space, (CD ROM), 2004, Piper Press, Sydney
29
Board Endorsed December 2010 v2 amended August 2013
Physical Equipment
In order to provide a safe, functional and productive teaching and learning environment for
dance, the following physical resources need to be addressed.
Minimal Requirements:

a ventilated dance studio, theatre space or appropriately sized room with a sprung
floor and an appropriate surface

a portable, high output stereo cassette recorder/CD player and appropriate music
resources

access to other audio-visual equipment, including a television, VCR/DVD players,
video camera and dubbing equipment

ready access to injury management procedures, including ice-pack availability

an adequately resourced library, including some relevant videos/DVDs
Preferred Requirements:

a well ventilated dance studio, theatre space or appropriately sized room with
sprung wooden floors (which may also be covered in tarkett), mirrors and/or barres
- either fixed or portable

a permanent high output stereo unit with an appropriate range of music resources
and access to portable stereo units for independent study

access to other audio-visual equipment, including a television, VCR/DVD players,
video camera and dubbing equipment

ready access to injury management procedures, including ice-pack availability

a well-resourced library, including a range of relevant videos/DVDs
These were accurate at the time of publication.
30
Board Endorsed December 2010 v2 amended August 2013
Proposed Evaluation Procedures
Evaluation will take place on a regular basis in the following ways:

class discussion and surveys at the end of each assessment period

discussion with parents and students at parent/student/teacher nights,
performances and college functions

discussion with colleagues at faculty meetings, moderation days and professional
development courses, and in the informal day-to-day conduct of the programme
and performances

liaison with the Canberra dance community
Answers to the following points will be included in an evaluation of the course.

whether the course and course framework are still consistent

whether the goals were achieved

the appropriateness of the course content

the success of the teaching strategies used

the appropriateness of the assessment program

whether the needs of the students have been met

the relevance of the course

the number of students completing the course in each of the years of accreditation
using Table 10.2 from the Year 12 Study

the need for improvements to the course
Examples of Assessment tasks
Examples of assessment items are recommended through Moderation Day or otherwise can
be found on the Dance cLc page at www.bsss.act.edu.au. To obtain access to this page
contact Moderation and Assessment officers at the Board of Senior Secondary Studies on
(02) 6207 72771.
31
Board Endorsed December 2010 v2 amended August 2013
Dance Foundations A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and processes of
choreography
Use the body as the instrument of
communication and creativity to demonstrate
and justify the elements and processes of
choreography
Develop knowledge of appropriate
metalanguage and acquire and demonstrate
a range of dance skills and techniques of
classical ballet and/or contemporary dance
Develop knowledge of appropriate
metalanguage and acquire and demonstrate a
range of dance skills and techniques of
classical ballet and/or contemporary dance
Develop and demonstrate an understanding
of dance in its artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse an
understanding of dance in its artistic,
aesthetic, social, historical, contemporary,
cultural and/or religious contexts
Demonstrate anatomical awareness and
understanding of safe dance practice
including the causes and prevention of
common dance injuries
Demonstrate anatomical awareness and
understanding of safe dance practice
including the causes and prevention of
common dance injuries
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
 Response to stimuli
Presenting
 Dance technique (classical ballet and/or contemporary dance), movement sequences,
set dances and/or repertoire.
Evaluating
 Dance analysis, this may include the study of dance in its
 Artistic
 Aesthetic
 Social
 Historical
 Contemporary
 Cultural
32
Board Endorsed December 2010 v2 amended August 2013
 Religious contexts.
 Basic anatomy, for example
 The study of basic skeletal and muscular systems
 Safe dance practice
 The relationship between dance skills and anatomical structure
 Posture
 General health and fitness
 Specific dance injuries
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of students
studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Use of the Internet for research
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Research from printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
33
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Bracilovic, A
2009, Essential Dance Medicine: Musculoskeletal Medicine.
Humana, New York.
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader. Routledge, New York.
Clippinger, KS
2007, Dance Anatomy and Kinesiology, Human Kinetics,
Champaign, Ill. USA.
Foster, SL (ed.)
2009, Worlding Dance, Palgrave Macmillan, Basingstoke.
Gottlieb, R (ed.)
2008, Reading Dance: a gathering of memoirs, reportage, criticism,
profiles, interviews, and some uncategorizable extras, Pantheon
Books, New York, USA.
Greig, V
1994, Inside Ballet Technique, Princeton Book Company, New
Jersey.
Kant, M (ed.)
2007, The Cambridge Companion to Ballet, Cambridge University
Press, Cambridge.
2008, Foot and Ankle Injuries in Dance, Saunders, London.
Kennedy, JG & Hodgkins,
CW (eds.)
Muller-Townsend, KL
2009, The relationship between working memory capacity and
movement memory of dancers, BA Hons thesis, Edith Cowan
University, Faculty of Computing, Health and Science.
Murray, K
2008, Is dance good for the body or not? An examination of body
awareness and injury prevention for specialised tertiary dance
students, BA Hons thesis, Edith Cowan University, Faculty of
Education and Arts, Western Australian Academy of Performing
Arts.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign, Illinois,
USA.
Pomer, J
2009, Dance Composition: an interrelated arts approach, Includes 1
CD-ROM, Human Kinetics, Champaign, Ill. USA.
Scheff, H & Sprague, M et
al (eds.)
2010, Exploring Dance Forms and Styles: a guide to concert, world,
social and historical dance, Human Kinetics, Champaign, Illinois,
USA.
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2006, Dance Composition Basics: Capturing the choreographer's
craft, Includes DVD, Human Kinetics, Champaign, Ill. USA.
2005, Preventing Dance Injuries, Human Kinetics, Champaign,
Illinois, USA.
2009, Dancing in Time, Includes 1 CD-ROM, Piper Press and A H
Design & Publishing, Annandale, NSW.
Snook, B
Sofras, P
Solomon, RL
Wauchop, D
34
Board Endorsed December 2010 v2 amended August 2013
Journals
Dance Australia, Yaffa Publishing Group, Surry Hills, NSW
Dance Forum, [Australian Dance Council: online journal subscription]
Dance train, Dance Train Pty Ltd, Cremorne, NSW
Audio Visual Material
Dance composition basics: Capturing the choreographer's craft (DVD), Human Kinetics,
Champaign, Ill, USA
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
Champaign, Illinois
Rhythm Is It: Rite of Spring (video recording), 2004, Boomtownmedia, Berlin
The American Dance Festival's Dancing in the Light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
New Zealand Performing Arts Teacher Resource Exchange 2010 (on line)
< http://www.tki.org.nz/r/arts/curriculum/statement/pg30_31_e.php >
These were accurate at the time of publication.
35
Board Endorsed December 2010 v2 amended August 2013
Introduction to Dance A/T
Value 0.5
This is the underlying 0.5 unit to Dance Foundations 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and processes of
choreography
Use the body as the instrument of
communication and creativity to demonstrate
and justify the elements and processes of
choreography
Develop knowledge of appropriate
metalanguage and acquire and demonstrate
a range of dance skills and techniques of
classical ballet and/or contemporary dance
Develop knowledge of appropriate
metalanguage and acquire and demonstrate a
range of dance skills and techniques of
classical ballet and/or contemporary dance
Develop and demonstrate an understanding
of dance in its artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse an
understanding of dance in its artistic,
aesthetic, social, historical, contemporary,
cultural and/or religious contexts
Demonstrate anatomical awareness and
understanding of safe dance practice
including the causes and prevention of
common dance injuries
Demonstrate anatomical awareness and
understanding of safe dance practice
including the causes and prevention of
common dance injuries
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Dance technique (classical ballet and/or contemporary dance), movement sequences,
set dances and/or repertoire.
36
Board Endorsed December 2010 v2 amended August 2013
Evaluating
Depending on your choice of goals for this unit you may choose to select one or both of the
following.
 Dance Analysis, this may include the study of dance in its
 Artistic
 Aesthetic
 Social
 Historical
 Contemporary
 Cultural
 Religious contexts.
 Basic Anatomy, this may include:
 The study of basic skeletal and muscular systems
 Safe dance practice
 The relationship between dance skills and anatomical structure
 Posture
 General health and fitness
 Specific dance injuries
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of students
studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
37
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Au, S
Craine, D & Mackrell, J
Ellison, N
Foster, SL (ed.)
Greskovic, R
Kant, M (ed.)
Lee, C
Paskevska, A
Pomer, J
Scheff, H & Sprague, M et
al (eds.)
Snook, B
Snook, B
Sofras, PA
Wauchop, D
Wauchop, D
2002, Ballet & Modern Dance, Thames & Hudson, London.
2004, The Oxford Dictionary of Dance, Oxford University Press,
New York, USA.
2003, The Ballet Book: Learning and Appreciating the Secrets of
Dance, University Publications, New York.
2009, Worlding Dance. Palgrave Macmillan, Basingstoke, England.
1998, Ballet 101: A Complete Guide to Learning and Loving the
Ballet, Hyperion, New York.
2007, The Cambridge Companion to Ballet, Cambridge University
Press, Cambridge.
2002, Ballet in Western Culture: A History of its Origins and
Evolution, Routledge, New York, London.
2002, Ballet: From the First Plié to Mastery: An Eight Year Course,
Routledge, New York.
2009, Dance Composition: An Interrelated Arts Approach, Includes
1 CD-ROM, Human Kinetics, Champaign, Ill, USA.
2010, Exploring Dance Forms And Styles: A Guide To Concert,
World, Social And Historical Dance, Human Kinetics, Champaign,
Illinois, USA.
2004, Dance: Count Me In, McGraw Hill, Sydney.
2007, Dance For Senior Students, Thomson Learning, South
Melbourne, VIC.
2006, Dance Composition Basics: Capturing the Choreographer's
Craft, Includes DVD, Human Kinetics, Champaign, Ill, USA.
2004, Dancing in Space, Includes 1 CD-ROM, Piper Press,
Annandale, NSW.
2009, Dancing in Time, Includes 1 CD-ROM, Piper Press and A H
Design & Publishing, Annandale, NSW.
These were accurate at the time of publication.
38
Board Endorsed December 2010 v2 amended August 2013
Dance History A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and processes of
choreography
Use the body as the instrument of
communication and creativity to demonstrate
and justify the elements and processes of
choreography
Develop knowledge of appropriate dance
terminology and acquire and demonstrate a
range of dance skills and techniques of
classical ballet and/or contemporary dance
Develop knowledge of appropriate dance
terminology and acquire and demonstrate a
range of dance skills and techniques of
classical ballet and/or contemporary dance
Develop and demonstrate an understanding
of dance in historical and other contexts
Develop, demonstrate and analyse an
understanding of dance in historical and other
contexts
Discuss the influence of key pioneers and
eras in dance and recognise the historical
development of present styles
Evaluate critically the influence of key
pioneers and eras in dance and recognise the
historical development of present styles
Content
For A or T Courses
Creating
 Responses to stimuli
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Dance technique (classical ballet and/or contemporary dance), movement sequences,
set dances and/or repertoire.
39
Board Endorsed December 2010 v2 amended August 2013
Evaluating
 Historical dance works and students’ own compositions. A broad overview of the
developments include
 The origins of classical ballet
 Romantic ballet
 Russian ballet
 Ballet Russes and its influence in America, England and Australia
 Pioneers and exponents of Modern Dance from Isadora Duncan to the new
experimentalists and current contemporary choreographers overseas and in
Australia.
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of students
studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
40
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson, J
1986, Ballet and Modern Dance, A Concise History, Princeton
Book Co, New Jersey.
Au, S
2002, Ballet & Modern Dance, Thames & Hudson, London.
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Castle, K
1998, My Ballet Book, Dorling Kindersley, London.
Glass, BS
2007, African American Dance: An Illustrated History,
McFarland, USA.
Gottlieb, R (ed.)
2008, Reading Dance: A Gathering of Memoirs, Reportage,
Criticism, Profiles, Interviews, and Some Uncategorizable
Extras, Pantheon Books, New York, USA.
Hall, F
1989, The Beauty of Ballet, The Hamlyn Publishing Group,
London.
Kassing, G & Jay, DM
1998, Teaching Beginning Ballet Technique, Human Kinetics,
Champaign, Ill.
Kassing, G
2003, Dance Teaching Methods And Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kassing, G
2007, History of Dance: an interactive arts approach, Human
Kinetics, Champaign, Illinois.
Lepecki, A (ed.)
2004, Of the Presence of the Body: Essays on dance and
performance theory, Wesleyan University Press, Middletown,
Conn. USA.
Lihs, HR
2002, Appreciating Dance: a guide to the world’s liveliest art,
Princeton Book, Hightstown, N.J.
Muller-Townsend, KL
2009, The relationship between working memory capacity
and movement memory of dancers, BA Hons thesis, Edith
Cowan University, Faculty of Computing, Health and Science.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign,
Illinois, USA.
Pask, EH
1982, Ballet in Australia: The Second Act 1940-1980, Oxford
Press, Melbourne.
Perces, MB
1992, The dance technique of Lester Horton
Robertson, A & Hutera,
D
Snook, B
1988, The Dance Handbook, Longman, Harlow, Essex.
2008, Dance for Senior Students, Thomson/social Science
41
Board Endorsed December 2010 v2 amended August 2013
Press, South Melbourne.
Sorell, W (ed.)
1992, The Dance Has Many Faces, A Capella Books, Chicago,
Illinois, USA.
Speck, S & Cisneros, E
2003, Ballet for Dummies, Wisley Publishing Inc.
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Audio Visual Material
Ballet Russes in Australia, An Avalanche of Dancing, 1936-1940 (video), The National
Film and Sound Archive (ScreenSound Australia)
Dance of the Century (video), SBS
The Magic of Dance (video), Margot Fonteyn, ABC
These were accurate at the time of publication.
42
Board Endorsed December 2010 v2 amended August 2013
Dance in Perspective A/T
Value 0.5
This is the underlying 0.5 unit to Dance History 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of Classical Ballet and/or
Contemporary Dance
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of Classical Ballet and/or
Contemporary Dance
Develop and demonstrate an
understanding of dance in its historical
context
And/or
Discuss the influence of key pioneers
and/or eras in dance and recognise the
contribution that different genres of
dance have made to the development of
present styles
Develop, demonstrate and analyse an
understanding of dance in its historical
context
And/or
Evaluate critically the influence of key
pioneers and/or eras in dance and
recognise the contribution that different
genres of dance have made to the
development of present styles
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Dance technique (classical ballet and/or contemporary dance), movement
sequences, set dances and/or repertoire.
43
Board Endorsed December 2010 v2 amended August 2013
Evaluating
Depending on your choice of goals for this unit you may select from the
appropriate areas of content to study.
 Historical dance works and students’ own compositions. A broad overview of
the developments include
 The origins of classical ballet
 Romantic ballet
 Russian ballet
 Ballet Russes and its influence in America, England and Australia
 Pioneers and exponents of Modern Dance from Isadora Duncan to the
new experimentalists and current contemporary choreographers
overseas and in Australia.
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
44
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson, J
1986, Ballet and Modern Dance, A Concise History, Princeton
Book Co, New Jersey.
Au, S
2002, Ballet & Modern Dance, Thames & Hudson, London.
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Castle, K
1998, My Ballet Book, Dorling Kindersley, London.
Glass, B.S
2007, African American Dance: an illustrated history,
McFarland, USA.
Gottlieb, R (ed.)
2008, Reading Dance: A Gathering of Memoirs, Reportage,
Criticism, Profiles, Interviews, and Some Uncategorizable
Extras, Pantheon Books, New York, USA.
Hall, F
1989, The Beauty of Ballet, The Hamlyn Publishing Group,
London.
Kassing, G & Jay, DM
1998, Teaching Beginning Ballet Technique, Human Kinetics,
Champaign, Illinois.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il. USA.
Kassing, G
2007, History of Dance: an interactive arts approach, Human
Kinetics, Champaign, Illinois.
Kenrick, J
2008, Musical Theatre: a history, Continuum, New York, USA.
Lepecki, A (ed.)
2004, Of the Presence of the Body: Essays on dance and
performance theory, Wesleyan University Press, Middletown,
Conn. USA.
Lihs, HR
2002, Appreciating Dance: a guide to the world’s liveliest art,
Princeton Book, Hightstown, N.J.
Muller-Townsend, KL
2009, The relationship between working memory capacity
and movement memory of dancers, BA Hons thesis, Edith
Cowan University, Faculty of Computing, Health and Science.
Oliver, WR
2010, Writing about Dance, Human Kinetics, Champaign,
Illinois, USA.
Pask, EH
1982, Ballet in Australia: The Second Act 1940-1980, Oxford
Press, Melbourne.
Robertson, A & Hutera,
D
Snook, B
1988, The Dance Handbook, Longman, Harlow, Essex.
2008, Dance for Senior Students, Thomson/social Science
45
Board Endorsed December 2010 v2 amended August 2013
Press, South Melbourne.
Sorell, W (ed.)
1992, The Dance has Many Faces, A Capella Books, Chicago,
Illinois, USA.
Speck, S & Cisneros, E
2003, Ballet for Dummies, Wisley Publishing Inc.
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Audio Visual Material
Ballet Russes in Australia, An Avalanche of Dancing, 1936-1940 (video), The National Film
and Sound Archive (ScreenSound Australia)
Dance of the Century (video), SBS
The Magic of Dance (video), Margot Fonteyn, ABC
These were accurate at the time of publication.
46
Board Endorsed December 2010 v2 amended August 2013
Contemporary Dance A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of modern and/or
contemporary dance
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of modern and/or
contemporary dance
Develop and demonstrate an
understanding of contemporary dance
in its artistic, aesthetic, social, historical,
cultural and/or religious contexts
Develop, demonstrate and analyse an
understanding of contemporary dance in
its artistic, aesthetic, social, historical,
cultural and/or religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Contemporary dance technique, movement sequences, set dances and/or
repertoire.
Evaluating
 The study of specific modern-dance pioneers such as
 Isadora Duncan
 Martha Graham
 Doris Humphrey
47
Board Endorsed December 2010 v2 amended August 2013
 And/or the study of subsequent contemporary choreographers and dance
companies, and their contribution to contemporary dance in Australia or
overseas such as
Australian Companies/Practitioners
 Australian Dance Theatre
 Bangarra Dance Theatre
 Buzz Dance Theatre
 Chunky Move
 Dance North
 Expressions
 Legs on the Wall
 Leigh Warren and Dancers
 Meryl Tankard
 Mirramu Dance Company
 Sydney Dance Company
Overseas Companies/Practitioners
 Alvin Ailey
 Black Grace
 Christopher Bruce
 Doris Humphrey
 DV8 Dance Theatre
 Martha Graham
 Maurice Béjart
 Merce Cunningham
 Trisha Brown
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
48
Board Endorsed December 2010 v2 amended August 2013





Reflective writing
Student demonstration
Printed material, magazine articles, texts, newspaper articles
Videoing and analysing own performances
Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson, J
2004, Modern Dance, Chelsea House, Philadelphia.
Ashley, L
2002, Essential Guide to Dance, Hodder and Stoughton,
London.
Au, S
Carter, A & O'Shea, J
2002, Ballet & Modern Dance, Thames & Hudson, London.
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Clay, K
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota.
Erkert, J
2003, Harnessing the Wind: the art of teaching modern
dance, Human Kinetics, South Australia.
Humphrey, D
1980, The Art of Making Dances, ed B. Pollock, Grove, New
York.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kassing, G
2007, History of Dance: An Interactive Arts Approach, Human
Kinetics, Champaign, Illinois.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign,
Illinois, USA.
Robertson, A & Hutera,
D
Scheff, H & Sprague, M
et al (eds.)
1988, The Dance Handbook, Longman, Harlow, Essex.
Scheff, R, Sprague, M &
McGreevey-Nichols, S.
Schlaich, J & DuPont, B
et al (eds.)
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
Snook, B
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
Solway, A
2008, Modern Dance, Heineman Library, Oxford.
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance. Human Kinetics,
Champaign, Illinois, USA.
1998, Dance: The Art of Production. Princeton Book Co,
Hightstown, New Jersey, USA.
49
Board Endorsed December 2010 v2 amended August 2013
Websites
A dancer’s journal: learning to perform the dances of Martha Graham
< http://artsedge.kennedy-center.org/marthagraham/index.htm >
Australia Dancing, The Australian Choreographic Centre: 1996-2007 (on line)
< http://www.australiadancing.org/subjects/2001.html >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
Contemporary Dance 2010 (on line)
< http://contemporarydance.suite101.com/ >
Martha Graham Center of Contemporary Dance 2005 (on line)
< http://marthagraham.org/center/ >
The Early Moderns 1997 (on line)
< http://www.pitt.edu/~gillis/dance/disp.html >
Journals
Dance Australia, Yaffa Publishing, Surry Hills, NSW.
Dance train, Cremone, NSW.
Audio Visual Materials
Ausdance, Media Production Unit, Open Training and Education Network Curriculum
Directorate, NSW Department of School Education
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Dance and Video (Video), RM Associates, UK
Dance of the Century (Video), SBS
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
DV8: Strange Fish (Video), 1998, RM Associates, UK
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
Australia)
The American Dance Festival's dancing in the light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA
The Magic of Dance, Margot Fonteyn (Video), ABC
These were accurate at the time of publication.
50
Board Endorsed December 2010 v2 amended August 2013
Pioneers of Dance A/T
Value 0.5
This is the underlying 0.5 unit to Contemporary Dance 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of modern and/or
contemporary dance
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of modern and/or
contemporary dance
Develop and demonstrate an
understanding of contemporary dance
in its artistic, aesthetic, social, historical,
cultural and/or religious contexts
Develop, demonstrate and analyse an
understanding of contemporary dance in
its artistic, aesthetic, social, historical,
cultural and/or religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Contemporary dance technique, movement sequences, set dances and/or
repertoire.
Evaluating
The study of specific modern-dance pioneers such as
 Isadora Duncan
 Martha Graham
 Doris Humphrey
51
Board Endorsed December 2010 v2 amended August 2013
 And/or the study of subsequent contemporary choreographers and dance
companies, and their contribution to contemporary dance in Australia or
overseas such as
Australian Companies/Practitioners
 Australian Dance Theatre
 Bangarra Dance Theatre
 Buzz Dance Theatre
 Chunky Move
 Dance North
 Expressions
 Legs on the Wall
 Leigh Warren and Dancers
 Meryl Tankard
 Mirramu Dance Company
 Sydney Dance Company
Overseas Companies/Practitioners
 Alvin Ailey
 Black Grace
 Christopher Bruce
 Doris Humphrey
 DV8 Dance Theatre
 Martha Graham
 Maurice Béjart
 Merce Cunningham
 Trisha Brown
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
52
Board Endorsed December 2010 v2 amended August 2013





Reflective writing
Student demonstration
Printed material, magazine articles, texts, newspaper articles
Videoing and analysing own performances
Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson, J
2004, Modern Dance, Chelsea House, Philadelphia.
Ashley, L
2002, Essential Guide to Dance, Hodder and Stoughton,
London.
Au, S
Carter, A & O'Shea, J
2002, Ballet & Modern Dance, Thames & Hudson, London.
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Clay, K
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota.
Erkert, J
2003, Harnessing the Wind: The Art of Teaching Modern
Dance, Human Kinetics, South Australia.
Humphrey, D
1980, The Art of Making Dances, ed B. Pollock, Grove, New
York.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kassing, G
2007, History of Dance: An Interactive Arts Approach, Human
Kinetics, Champaign, Illinois.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign,
Illinois, USA.
Robertson, A & Hutera,
D
Scheff, H & Sprague, M
et al (eds.)
1988, The Dance Handbook, Longman, Harlow, Essex.
Scheff, R, Sprague, M &
McGreevey-Nichols, S.
Schlaich, J & DuPont, B
et al (eds.)
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
Snook, B
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
Solway, A
2008, Modern Dance, Heineman Library, Oxford.
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance. Human Kinetics,
Champaign, Illinois, USA.
1998, Dance: The Art of Production. Princeton Book Co,
Hightstown, New Jersey, USA.
53
Board Endorsed December 2010 v2 amended August 2013
Websites
A dancer’s journal: learning to perform the dances of Martha Graham
< http://artsedge.kennedy-center.org/marthagraham/index.htm >
Australia Dancing, The Australian Choreographic Centre: 1996-2007 (on line)
< http://www.australiadancing.org/subjects/2001.html >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
Contemporary Dance 2010 (on line)
< http://contemporarydance.suite101.com/ >
Martha Graham Center of Contemporary Dance 2005 (on line)
< http://marthagraham.org/center/ >
The Early Moderns 1997 (on line)
< http://www.pitt.edu/~gillis/dance/disp.html >
Journals
Dance Australia, Yaffa Publishing, Surry Hills, NSW.
Dance train, Cremone, NSW.
Audio Visual Materials
Ausdance, Media Production Unit, Open Training and Education Network Curriculum
Directorate, NSW Department of School Education
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Dance and Video (Video), RM Associates, UK
Dance of the Century (Video), SBS
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW.
DV8: Strange Fish (Video), 1998, RM Associates, UK
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
Australia)
The American Dance Festival's Dancing in the Light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA.
The Magic of Dance, Margot Fonteyn (Video), ABC
These were accurate at the time of publication.
54
Board Endorsed December 2010 v2 amended August 2013
World Dance A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of cultures studied
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of cultures studied
Develop and demonstrate an
understanding of world dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse an
understanding of world dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 Compositional tasks influenced or inspired by dance forms from cultures such
as
 Aboriginal and Torres Strait Islander
 African
 South American
 Indian
 Character styles (e.g. Hungarian, Polish, Russian, Ukrainian)
 Scottish Highland
 Irish National
 Eastern European
 Mediterranean
 Middle Eastern national dances
 The elements of dance
 Compositional processes
 Choreographic devices
55
Board Endorsed December 2010 v2 amended August 2013
Presenting
 Traditional sequences and repertoire from the cultures studied, performed
with authentic style
Evaluating
 This study could include characteristics of particular styles or themes conveyed
in
 Art
 Architecture
 Politics
 Religion
 Folklore
 Geography
 Music
 Costumes
 Respective dance companies
 Historical
 Ritual
 Religious
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
56
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson J
2004, Modern Dance, Chelsea House, Philadelphia.
Ashley, L
2002, Essential Guide to Dance, Hodder and Stoughton,
London.
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Glass, BS
2007, African American Dance: an illustrated history,
McFarland, USA.
Humphrey, D
1980, The Art of Making Dances, ed B. Pollock, Grove, New
York.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kassing, G
2007, History of Dance: An Interactive Arts Approach, Human
Kinetics, Champaign, Illinois.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign,
Illinois, USA.
Robertson, A & Hutera,
D
Scheff, H & Sprague, M
et al (eds.)
1988, The Dance Handbook, Longman, Harlow, Essex.
Scheff, R, Sprague, M &
McGreevey-Nichols, S.
Schlaich, J & DuPont, B
et al (eds.)
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
Sloat, S (ed.)
2010, Making Caribbean Dance: continuity and creativity in
island cultures, University Press of Florida, Gainesville, USA.
Snook, B
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance. Human Kinetics,
Champaign, Illinois, USA.
1998, Dance: The Art of Production. Princeton Book Co,
Hightstown, New Jersey, USA.
Audio Visual Materials
Ausdance, Media Production Unit, Open Training and Education Network Curriculum
Directorate, NSW Department of School Education
Beating the Drum (DVD), 1998
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International USA
Dance and Video (Video), RM Associates, UK
Dance of the Century (Video), SBS
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
57
Board Endorsed December 2010 v2 amended August 2013
Australia)
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
Champaign, Illinois
One Earth Many Voices (DVD), 2006
The Magic of Dance, Margot Fonteyn (Video), ABC
These were accurate at the time of publication.
58
Board Endorsed December 2010 v2 amended August 2013
Dance from Other Cultures A/T
Value 0.5
This is the underlying 0.5 unit to World Dance 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of cultures studied
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of cultures studied
Develop and demonstrate an
understanding of world dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse an
understanding of world dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 Compositional tasks influenced or inspired by dance forms from cultures such
as
 Aboriginal and Torres Strait Islander
 African
 South American
 Indian
 Character styles (e.g. Hungarian, Polish, Russian, Ukrainian)
 Scottish Highland
 Irish National
 Eastern European
 Mediterranean
 Middle Eastern national dances
 The elements of dance
 Compositional processes
 Choreographic devices
59
Board Endorsed December 2010 v2 amended August 2013
Presenting
 Traditional sequences and repertoire from the cultures studied, performed
with authentic style
Evaluating
 This study could include characteristics of particular styles or themes conveyed
in
 Art
 Architecture
 Politics
 Religion
 Folklore
 Geography
 Music
 Costumes
 Respective dance companies
 Historical
 Ritual
 Religious
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
60
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson J
2004, Modern Dance, Chelsea House, Philadelphia.
Ashley, L
2002, Essential Guide to Dance, Hodder and Stoughton,
London.
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Glass, BS
2007, African American Dance: an illustrated history,
McFarland, USA.
Humphrey, D
1980, The Art of Making Dances, ed B. Pollock, Grove, New
York.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kassing, G
2007, History of Dance: An Interactive Arts Approach, Human
Kinetics, Champaign, Illinois.
Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign,
Illinois, USA.
Robertson, A & Hutera,
D
Scheff, H & Sprague, M
et al (eds.)
1988, The Dance Handbook, Longman, Harlow, Essex.
Scheff, R, Sprague, M &
McGreevey-Nichols, S.
Schlaich, J & DuPont, B
et al (eds.)
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
Sloat, S (ed.)
2010, Making Caribbean Dance: continuity and creativity in
island cultures, University Press of Florida, Gainesville, USA.
Snook, B
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance. Human Kinetics,
Champaign, Illinois, USA.
1998, Dance: The Art of Production. Princeton Book Co,
Hightstown, New Jersey, USA.
61
Board Endorsed December 2010 v2 amended August 2013
Journals
Dance Forum, [Australian Dance Council: online journal subscription].
Dance train, Dance Train Pty Ltd, Cremorne, NSW.
Audio Visual Materials
Ausdance, Media Production Unit, Open Training and Education Network Curriculum
Directorate, NSW Department of School Education
Beating the Drum (DVD), 1998
Bollywood jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Dance and Video (Video), RM Associates, UK
Dance of the Century (Video), SBS
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
Australia)
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
Champaign, Illinois
One Earth Many Voices (DVD), 2006
The Magic of Dance, Margot Fonteyn (Video), ABC
These were accurate at the time of publication.
62
Board Endorsed December 2010 v2 amended August 2013
Theatrical Dance Styles A/T
Value 1.0
Theatrical Dance Styles A/T a
Theatrical Dance Styles A/T b
Value 0.5
Value 0.5
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of jazz, tap or musical
theatre
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of jazz, tap or musical theatre
Develop and demonstrate an
understanding of theatrical dance in its
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse
theatrical dance in its artistic, aesthetic,
social, historical, contemporary, cultural
and/or religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Practical techniques, exercises and performances in jazz, tap or other musical
theatre dance styles. These styles could include ballroom, ballet, character,
swing, rock ‘n’ roll or Broadway.
63
Board Endorsed December 2010 v2 amended August 2013
Evaluating
 Theory work could be related to the history of musical theatre and the study of
individual choreographers who have made a considerable contribution to
dance in musicals. Areas for study may include
 The evolution of jazz dance and parallels with jazz music
 The blend of European and African traditions in an American
environment
 The development of musical theatre in Australia
 The social context of tap dance developments
 Dance in opera
 The changing role/forms of dance in film and theatre musicals
 Social issues reflected in musicals
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
64
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page19.
Specific Unit Resources
Books
Clay, K
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota, USA.
Everett, WA & Laird, P R
(eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Gamble, N
2008, Tap and Jazz, Heinemann Library, Chicago, USA.
Garofoli, W
2008, Jazz Dance, Capstone Press, Mankato, Minnesota, USA.
Giltrap, A
2004, Strictly Dancing: don’t miss a beat, Australian
Broadcasting Corporation, Sydney.
Hatchett, F & Gitlin, NM
2000, Frank Hatchett’s Jazz Dance, Human Kinetics,
Champaign.
Hughes, M
2008, A Pocket Guide to Musicals, Remember When,
Barnsley, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber,
London, UK.
Lihs, HR
2002, Appreciating Dance: a guide to the world’s liveliest art,
Princeton Book Co., Highstown, NJ.
Storey, R
2006, Street Jazz, Sea to Sea Publications, North Mankato,
Minnesota, USA.
Journals
Dance Australia, Yaffa Publishing, Surry Hills, NSW
Dance Train, Cremone, NSW
Audiovisual Material
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Broadway the American Musical: a history of Broadway (DVD), 2004 Granada
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Dance Heritage Coalition 2010 (on line)
< http://danceheritage.org/ >
All About Tap Dance 2010 (on line)
65
Board Endorsed December 2010 v2 amended August 2013
< http://www.theatredance.com/tap/ >
Musicals 101: The Cyber Encyclopaedia of Musical Theatre, TV and Film 2010 (on line)
< http://www.musicals101.com/index.html >
Theatrical Dance In Early Vancouver: 1880s to 1920s 2006 (on line)
< http://www.dcd.ca/exhibitions/vancouver/ >
These were accurate at the time of publication.
66
Board Endorsed December 2010 v2 amended August 2013
Dance for Stage and Screen A/T
Value 0.5
This is the underlying 0.5 unit to Theatrical Dance Styles 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of jazz, tap or musical
theatre
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of jazz, tap or musical theatre
Develop and demonstrate an
understanding of theatrical dance in its
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse an
understanding of theatrical dance in its
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Practical techniques, exercises and performances in jazz, tap or other musical
theatre dance styles. These styles could include ballroom, ballet, character,
swing, rock ‘n’ roll or Broadway.
67
Board Endorsed December 2010 v2 amended August 2013
Evaluating
 Theory work could be related to the history of musical theatre and the study of
individual choreographers who have made a considerable contribution to
dance in musicals. Areas for study may include
 The evolution of jazz dance and parallels with jazz music
 The blend of European and African traditions in an American
environment
 The development of musical theatre in Australia
 The social context of tap dance developments
 Dance in opera
 The changing role/forms of dance in film and theatre musicals
 Social issues reflected in musicals
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
68
Board Endorsed December 2010 v2 amended August 2013
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Clay, K
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota, USA.
Everett, WA & Laird, PR
(eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Gamble, N
2008, Tap and Jazz, Heinemann Library, Chicago, USA.
Garofoli, W
2008, Jazz Dance, Capstone Press, Mankato, Minnesota, USA.
Giltrap, A
2004, Strictly Dancing: Don’t Miss a Beat. Australian
Broadcasting Corporation, Sydney.
Hatchett, F & Gitlin, NM
2000, Frank Hatchett’s Jazz Dance, Human Kinetics,
Champaign.
Hughes, M
2008, A Pocket Guide to Musicals, Remember When,
Barnsley, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber,
London, UK.
Lihs, HR
2002, Appreciating Dance: a guide to the world’s liveliest art,
Princeton Book Co., Highstown, N.J.
Storey, R
2006, Street Jazz, Sea to Sea Publications, North Mankato,
Minnesota, USA.
Journals
Dance Australia, Yaffa Publishing, Surry Hills, NSW
Dance Train, Cremone, NSW
Audio-visual Material
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Broadway the American musical: a history of Broadway (DVD), 2004 Granada
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Dance Heritage Coalition 2010 (on line)
< http://danceheritage.org/ >
All About Tap Dance 2010 (on line)
< http://www.theatredance.com/tap/ >
69
Board Endorsed December 2010 v2 amended August 2013
Musicals 101: The Cyber Encyclopaedia of Musical Theatre, TV and Film 2010 (on line)
< http://www.musicals101.com/index.html >
Theatrical Dance In Early Vancouver: 1880s to 1920s 2006 (on line)
< http://www.dcd.ca/exhibitions/vancouver/ >
These were accurate at the time of publication.
70
Board Endorsed December 2010 v2 amended August 2013
Dance Production A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of aspects of production
of dance in its theatrical, artistic,
aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse
aspects of production of dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Movement skills of a specific dance technique, short class exercises and/or
repertoire.
Evaluating
 One or more elements of production including costuming, make-up, sets,
lighting, administration, music, staging, props, or multi-media within a dance
context.
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
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Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Cooper, S
1998, Staging Dance, A & C Black Ltd, London.
Everett, WA & Laird, PR
(eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember
When, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber,
London, UK.
Scheff, R, Sprague, M &
McGreevey-Nichols, S
2005, Experiencing Dance, Human Kinetics, Champaign,
Illinois.
Schlaich, J (d.) & DuPont, 1988, Dance: The Art of Production, 3rd Edition, Princeton
B (ed.)
Book Company, Pennington.
Audio Visual Material
Information on suitable videos, DVDs and CD-ROMs available from Marcom Projects:
http://www.marcom.com.au and ABC Videos
CD ROMS
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
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Board Endorsed December 2010 v2 amended August 2013
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Train, Dani Brown, Northbridge NSW
These were accurate at the time of publication.
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Board Endorsed December 2010 v2 amended August 2013
Theatre Elements in Dance A/T
Value 0.5
This is the underlying 0.5 unit to Dance Production 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of aspects of production
of dance in its theatrical, artistic,
aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse
aspects of production of dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Movement skills of a specific dance technique, short class exercises and/or
repertoire.
Evaluating
 One or more elements of production including costuming, make-up,
sets, lighting, administration, music, staging, props, or multi-media
within a dance context.
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The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Cooper, S
1998, Staging Dance, A & C Black Ltd, London.
Everett, WA & Laird, PR
(eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember
When, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals. Faber & Faber,
London, UK.
Scheff, R, Sprague, M &
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
McGreevey-Nichols, S
Schlaich, J (d.) & DuPont, 1988, Dance: The Art of Production, 3rd Edition, Princeton
B (ed.)
Book Company, Pennington.
CD ROMS
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Train, Dani Brown, Northbridge NSW
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Board Endorsed December 2010 v2 amended August 2013
These were accurate at the time of publication.
76
Board Endorsed December 2010 v2 amended August 2013
Dance and the Media A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography in relation to
photography, film and digital media
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance for
photography, film or other media in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse dance
for photography, film or other media in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Movement skills of a specific dance technique, short class exercises and/or
repertoire.
 In-class movement sequences, as well as student devised dances
Evaluating
This study could include:
 The various ways that dance can be recorded e.g. notation systems,
storyboarding, video and digital media and camera techniques
 The relationship between dance and the media
 Capabilities and limitations of photography, film and digital media
 Impact of mass media on dance/dance production and society
 Dance as a tool for communicating positive and negative messages
 Communication of movement through still images
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 Relevant terminology and techniques of media e.g. panning, zoom, scanning
 Exploration of relevant editing programs
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Ashley, L
Hutchinison, A
2002, Essential Guide to Dance, Hodder and Stoughton,
London.
1987, Labanotation, Dance Books, London.
Journals
Atlas, C 1983, “Filming Cunningham Dance”, Dance Theatre Journal, Vol 1.
Dance Australia, Yaffa Publishing, Surry Hills
Audio visual Material
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
Australia)
Seven Deadly Sins (video), ABC Australia
Dance and Video (video), RM Associates, UK
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Board Endorsed December 2010 v2 amended August 2013
DV8: Strange Fish (video), 1998 RM Associates, UK
Bob Rizzo's Techno Pop – Music Video Style Dancing (DVD), 2004
CD ROMS
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Bangarra Dance Theatre 2005 (on line)
< http://www.bangarra.com.au >
Marcom Projects: Performance Art 2004 (on line)
< http://www.marcom.com.au >
These were accurate at the time of publication.
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Board Endorsed December 2010 v2 amended August 2013
Dance and Visual Literacy A/T
Value 0.5
This is the underlying 0.5 unit to Dance and the Media 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography in relation to
photography, film and digital media
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance for
photography, film or other media in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse dance
for photography, film or other media in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Movement skills of a specific dance technique, short class exercises and/or
repertoire.
 In-class movement sequences, as well as student devised dances
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Board Endorsed December 2010 v2 amended August 2013
Evaluating
This study could include:
 The various ways that dance can be recorded e.g. notation systems,
storyboarding, video and digital media and camera techniques
 The relationship between dance and the media
 Capabilities and limitations of photography, film and digital media
 Impact of mass media on dance/dance production and society
 Dance as a tool for communicating positive and negative messages
 Communication of movement through still images
 Relevant terminology and techniques of media e.g. panning, zoom, scanning
 Exploration of relevant editing programs
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Ashley, L
Hutchinison, A
2002, Essential Guide to Dance, Hodder and Stoughton,
London.
1987, Labanotation, Dance Books, London.
81
Board Endorsed December 2010 v2 amended August 2013
Journals
Atlas, C 1983, “Filming Cunningham Dance”, Dance Theatre Journal, Vol 1.
Dance Australia, Yaffa Publishing, Surry Hills
Audio visual Material
How to Video Dance 1 and 2 (video), National Film and Sound Archive (ScreenSound
Australia)
Seven Deadly Sins (video), ABC Australia
Dance and Video (video), RM Associates, UK
DV8: Strange Fish (video), 1998 RM Associates, UK
Bob Rizzo's Techno Pop – Music Video Style Dancing (DVD), 2004
CD ROMS
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Bangarra Dance Theatre 2005 (on line)
< http://www.bangarra.com.au >
Marcom Projects: Performance Art 2004 (on line)
< http://www.marcom.com.au >
Reel Dance 2010 (on line)
< http://www.reeldance.org.au/ >
These were accurate at the time of publication.
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Board Endorsed December 2010 v2 amended August 2013
Dance in the Community A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography and an
awareness of community principles such
as integration and inclusivity through
dance
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance in Community
settings in its theatrical, artistic,
aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse dance
in Community settings in its theatrical,
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Content
For A or T Courses
Creating
Choreography should explore appropriate products for the community groups
involved:
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Community performances or presentation based on the technique studied
 Verbal and physical presentation to a community group
Evaluating
This study could include:
 Critical evaluation of group productions or workshops
 Project planning
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Board Endorsed December 2010 v2 amended August 2013
 Identification and refinement of communication skills
 Analyse and research of dance projects in the Community
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Humphrey, D
1980, The Art of Making Dances, ed B. Pollock, Grove, New
York.
Poyner, H & Simmonds, J 1997, Dancers and Communities, Ausdance, NSW.
(eds.)
Schlaich, J & DuPont, B
1988, Dance: The Art of Production, 2nd edn, Princeton Book
(eds.)
Co., Princeton, New Jersey.
Spurgeon, D.
1991, Dance Moves: From Improvisation to Dance, Harcourt
Brace Jovanovich, Sydney.
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Forum, Australia Dance Council, Ausdance Inc., Braddon
84
Board Endorsed December 2010 v2 amended August 2013
CD ROMS
Wauchop, D, Dancing in Space (CD ROM), 2004 Piper Press, Sydney
These were accurate at the time of publication.
85
Board Endorsed December 2010 v2 amended August 2013
Dance in Society A/T
Value 0.5
This is the underlying 0.5 unit to Dance in the Community 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography and an
awareness of community principles such
as integration and inclusivity through
dance
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance in Community
settings in its theatrical, artistic,
aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse dance
in Community settings in its theatrical,
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Content
For A or T Courses
Creating
Choreography should explore appropriate products for the community groups
involved:
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Community performances or presentation based on the technique studied
 Verbal and physical presentation to a community group
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Board Endorsed December 2010 v2 amended August 2013
Evaluating
This study could include:
 Critical evaluation of group productions or workshops
 Project planning
 Identification and refinement of communication skills
 Analyse and research of dance projects in the Community
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Humphrey, D
1980, The Art of Making Dances, ed B. Pollock, Grove, New
York.
Poyner, H & Simmonds, J 1997, Dancers and Communities, Ausdance, NSW.
(eds.)
Schlaich, J & DuPont, B
1988, Dance: The Art of Production, 2nd edn, Princeton Book
(eds.)
Co., Princeton, New Jersey.
Spurgeon, D.
1991, Dance Moves: From Improvisation to Dance, Harcourt
Brace Jovanovich, Sydney.
87
Board Endorsed December 2010 v2 amended August 2013
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Forum, Australia Dance Council, Ausdance Inc., Braddon
CD ROMS
Wauchop, D, Dancing in Space (CD ROM), 2004 Piper Press, Sydney
These were accurate at the time of publication.
88
Board Endorsed December 2010 v2 amended August 2013
Dance in Our Time A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance in its current
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse dance
in its current theatrical, artistic, aesthetic,
social, historical, contemporary, cultural
and/or religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Sequences, technical exercises and choreographed dances in the dance styles
studied.
 These styles may include: Street Dance, Hip-Hop, Krumping, Popping, Lyrical,
Jazz, Ballroom, Contemporary, Latin, Bollywood and Disco.
Evaluating
This study could include:
 Dance in contemporary society, recognising the social, historical and
cultural influences on its development
 History of social dance from rock ‘n’ roll to the present
 Contemporary social issues that impact upon the development of dance
 The study of social issues through choreographic expression
 Analysis of video clips or live performance
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Board Endorsed December 2010 v2 amended August 2013
 The role of dance in the media, and the role of dance in contemporary
Australian society
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson, J
Au, S
Beller, J
Bracilovic, A
2004, Modern Dance, Chelsea House, Philadelphia.
2002, Ballet & Modern Dance, Thames & Hudson, London.
2006, Bust a Move: World Hip Hop Championship, Grosset &
Dunlap, New York.
2009, Essential Dance Medicine: Musculoskeletal Medicine,
Humana, New York
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Clay, K
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota, USA.
Clippinger, KS
2007, Dance Anatomy and Kinesiology, Human Kinetics,
Champaign, Ill, USA.
Craine, D & Mackrell, J
2004, The Oxford Dictionary of Dance, Oxford University
Press, New York, USA.
Ellison, N
2003, The Ballet Book: Learning and Appreciating the Secrets
of Dance, University Publications, New York.
90
Board Endorsed December 2010 v2 amended August 2013
Everett, William A &
Laird, Paul R (eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Foster, SL (ed.)
2009, Worlding Dance, Palgrave Macmillan, Basingstoke,
England.
Gamble, N
2008, Tap and Jazz. Heinemann Library, Chicago, USA.
Garofoli, W
2008, Jazz Dance, Capstone Press, Mankato, Minnesota, USA.
Giltrap, A
2004, Strictly Dancing: don’t miss a beat, Australian
Broadcasting Corporation, Sydney.
2007, African American Dance: an illustrated history,
McFarland, USA.
Glass, BS
Gottlieb, R (ed.)
2008, Reading Dance: a gathering of memoirs, reportage,
criticism, profiles, interviews, and some uncategorizable
extras, Pantheon Books, New York, USA.
Greskovic, R
1998, Ballet 101: a Complete Guide to Learning and Loving
the Ballet, Hyperion, New York.
2000, Frank Hatchett’s Jazz Dance, Human Kinetics,
Champaign.
Hatchett, F & Gitlin, NM
Howse, J
2000, Dance Technique and Injury Prevention, Routledge,
New York, USA.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember
When, UK.
Huwyler, J
2002, The Dancer's Body: A Medical Perspective on Dance
and Dance Training, Dance Books, Alton, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber,
London, UK.
Kant, M (ed.)
2007, The Cambridge Companion to Ballet, Cambridge
University Press, Cambridge.
2001, The Anatomy Coloring Book, 3rd ed, Harper and Row,
New York, USA.
Kapit, W & Elson, LM
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kenrick, J
2008, Musical Theatre: a History, Continuum, New York, USA.
Lee, C
2002, Ballet in Western Culture: a history of its origins and
evolution, Routledge, New York, London.
2004, Of the Presence of the Body: Essays on dance and
performance theory, Wesleyan University Press, Middletown,
Connecticut.
Lepecki, A (ed.)
Muller-Townsend, K.L
2009, The relationship between working memory capacity
and movement memory of dancers, BA Hons thesis, Edith
Cowan University, Faculty of Computing, Health and Science.
Murray, K
2008, Is dance good for the body or not? An examination of
body awareness and injury prevention for specialised tertiary
91
Board Endorsed December 2010 v2 amended August 2013
dance students, BA Hons thesis, Edith Cowan University,
Faculty of Education and Arts, Western Australian Academy
of Performing Arts.
Neal, MA & Forman, M
(eds.)
Oliver, WR
2004, 'That's the joint! Hip Hop articles', The Hip Hop Studies
Reader, Mark Anthony Neal & Murray Forman, Routledge,
London, UK.
2010, Writing about Dance, Human Kinetics, Champaign,
Illinois, USA.
Paskevska, A
2002, Ballet: From The First Plié To Mastery: An Eight Year
Course, Routledge, New York.
Pomer, J
2009, Dance Composition: an interrelated arts approach,
Includes 1 CD-ROM, Human Kinetics, Champaign, Ill, USA.
Scheff, H & Sprague, M
et al. (eds.)
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance, Human Kinetics,
Champaign, Illinois, USA.
1998, Dance: the art of production, Princeton Book Co,
Hightstown, New Jersey, USA.
Schlaich, J & DuPont, B
et al (eds.)
Sloat, S (ed.)
2010, Making Caribbean dance: continuity and creativity in
island cultures, University Press of Florida, Gainesville, USA.
Snook, B
2004, Dance: count me in, McGraw Hill, Sydney.
Snook, B
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2006, Dance Composition Basics: Capturing the
choreographer's craft, Includes DVD, Human Kinetics,
Champaign, Ill, USA.
Sofras, P
Solomon, RL
2005, Preventing Dance Injuries, Champaign, Illinois, USA:
Human Kinetics
Sorell, W (ed.)
1992, The Dance Has Many Faces, A Capella Books, Chicago,
Illinois, USA.
Storey, R
2006, Street Jazz, Sea to Sea Publications, North Mankato,
Minnesota, USA.
Wauchop, D
Wauchop, D
2004, Dancing in Space, Includes 1 CD-ROM, Piper Press,
Annandale, NSW.
2009, Dancing in Time, Includes 1 CD-ROM, Piper Press and A
H Design & Publishing, Annandale, NSW.
Journals
Dance Australia, Yaffa Publishing Group, Surry Hills, NSW.
Dance Forum, [Australian Dance Council: online journal subscription]
Dance Train, Pty Ltd, Cremorne, NSW.
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Audio Visual Material
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
Glass, Barbara S 2007, African American dance: an illustrated history, McFarland,
USA
Grube, T (Producer) 2004, Rhythm is it: rite of spring, video recording,
Boomtownmedia, Berlin
Hebson, D (Producer) 2001, Darrin's dance grooves, video recording, (Performed by
Britney Spears, 'N Sync and Jordan Knight), Razor and Tie
LaChapelle, David et al (Producer) 2005, Rize (video recording), David LaChapelle
Studios, Santa Monica, CA, USA
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
Champaign, Illinois, USA
Sofras, Pamela Anderson 2006, Dance composition basics: Capturing the
choreographer's craft (DVD), Human Kinetics, Champaign, Ill, USA.
The American Dance Festival's dancing in the light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
Mr Wiggles 2010 (on line)
< http://www.mrwiggles.biz >
New Zealand Performing Arts Teacher Resource Exchange 2010 (on line)
< http://www.tki.org.nz/r/arts/curriculum/statement/pg30_31_e.php >
These were accurate at the time of publication.
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Board Endorsed December 2010 v2 amended August 2013
Popular Dance A/T
Value 0.5
This is the underlying 0.5 unit to Dance in Our Time 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance in its current
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse dance
in its current theatrical, artistic, aesthetic,
social, historical, contemporary, cultural
and/or religious contexts
Content
For A or T Courses
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Sequences, technical exercises and choreographed dances in the dance styles
studied.
 These styles may include: Street Dance, Hip-Hop, Krumping, Popping, Lyrical,
Jazz, Ballroom, Contemporary, Latin, Bollywood and Disco.
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Evaluating
This study could include:
 Dance in contemporary society, recognising the social, historical and
cultural influences on its development
 History of social dance from rock ‘n’ roll to the present
 Contemporary social issues that impact upon the development of dance
 The study of social issues through choreographic expression
 Analysis of video clips or live performance
 The role of dance in the media, and the role of dance in contemporary
Australian society
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Anderson, J
2004, Modern Dance, Chelsea House, Philadelphia.
Au, S
2002, Ballet & Modern Dance, Thames & Hudson, London.
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Board Endorsed December 2010 v2 amended August 2013
Beller, J
Bracilovic, A
2006, Bust a Move: World Hip Hop Championship, Grosset &
Dunlap, New York.
2009, Essential Dance Medicine: Musculoskeletal Medicine,
Humana, New York
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader, Routledge, New
York.
Clay, K
2010, Jazz Dancing, Pebble Plus, Mankato, Minnesota, USA.
Clippinger, KS
2007, Dance Anatomy and Kinesiology, Human Kinetics,
Champaign, Ill, USA.
Craine, D & Mackrell, J
2004, The Oxford Dictionary of Dance, Oxford University
Press, New York, USA.
Ellison, N
2003, The Ballet Book: Learning and Appreciating the Secrets
of Dance, University Publications, New York.
Everett, William A &
Laird, Paul R (eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Foster, SL (ed.)
2009, Worlding Dance, Palgrave Macmillan, Basingstoke,
England.
Gamble, N
2008, Tap and Jazz. Heinemann Library, Chicago, USA.
Garofoli, W
2008, Jazz Dance, Capstone Press, Mankato, Minnesota, USA.
Giltrap, A
2004, Strictly Dancing: don’t miss a beat, Australian
Broadcasting Corporation, Sydney.
2007, African American Dance: an illustrated history,
McFarland, USA.
Glass, BS
Gottlieb, R (ed.)
2008, Reading Dance: a gathering of memoirs, reportage,
criticism, profiles, interviews, and some uncategorizable
extras, Pantheon Books, New York, USA.
Greskovic, R
1998, Ballet 101: a Complete Guide to Learning and Loving
the Ballet, Hyperion, New York.
2000, Frank Hatchett’s Jazz Dance, Human Kinetics,
Champaign.
Hatchett, F & Gitlin, NM
Howse, J
2000, Dance Technique and Injury Prevention, Routledge,
New York, USA.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember
When, UK.
Huwyler, J
2002, The Dancer's Body: A Medical Perspective on Dance
and Dance Training, Dance Books, Alton, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber,
London, UK.
Kant, M (ed.)
2007, The Cambridge Companion to Ballet, Cambridge
University Press, Cambridge.
2001, The Anatomy Coloring Book, 3rd ed, Harper and Row,
Kapit, W & Elson, LM
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New York, USA.
Kassing, G
2003, Dance Teaching Methods and Curriculum Design,
Human Kinetics, Champaign, Il, USA.
Kenrick, J
2008, Musical Theatre: a History, Continuum, New York, USA.
Lee, C
2002, Ballet in Western Culture: a history of its origins and
evolution, Routledge, New York, London.
2004, Of the Presence of the Body: Essays on dance and
performance theory, Wesleyan University Press, Middletown,
Connecticut.
Lepecki, A (ed.)
Muller-Townsend, K.L
2009, The relationship between working memory capacity
and movement memory of dancers, BA Hons thesis, Edith
Cowan University, Faculty of Computing, Health and Science.
Murray, K
2008, Is dance good for the body or not? An examination of
body awareness and injury prevention for specialised tertiary
dance students, BA Hons thesis, Edith Cowan University,
Faculty of Education and Arts, Western Australian Academy
of Performing Arts.
Neal, MA & Forman, M
(eds.)
2004, 'That's the joint! Hip Hop articles', The Hip Hop Studies
Reader, Mark Anthony Neal & Murray Forman, Routledge,
London, UK.
2010, Writing about Dance, Human Kinetics, Champaign,
Illinois, USA.
Oliver, WR
Paskevska, A
2002, Ballet: From The First Plié To Mastery: An Eight Year
Course, Routledge, New York.
Pomer, J
2009, Dance Composition: an interrelated arts approach,
Includes 1 CD-ROM, Human Kinetics, Champaign, Ill, USA.
Scheff, H & Sprague, M
et al. (eds.)
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance, Human Kinetics,
Champaign, Illinois, USA.
1998, Dance: the art of production, Princeton Book Co,
Hightstown, New Jersey, USA.
Schlaich, J & DuPont, B
et al (eds.)
Sloat, S (ed.)
2010, Making Caribbean dance: continuity and creativity in
island cultures, University Press of Florida, Gainesville, USA.
Snook, B
2004, Dance: count me in, McGraw Hill, Sydney.
Snook, B
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2006, Dance Composition Basics: Capturing the
choreographer's craft, Includes DVD, Human Kinetics,
Champaign, Ill, USA.
Sofras, P
Solomon, RL
2005, Preventing Dance Injuries, Champaign, Illinois, USA:
Human Kinetics
Sorell, W (ed.)
1992, The Dance Has Many Faces, A Capella Books, Chicago,
Illinois, USA.
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Storey, R
2006, Street Jazz, Sea to Sea Publications, North Mankato,
Minnesota, USA.
Wauchop, D
2004, Dancing in Space, Includes 1 CD-ROM, Piper Press,
Annandale, NSW.
Wauchop, D
2009, Dancing in Time, Includes 1 CD-ROM, Piper Press and A
H Design & Publishing, Annandale, NSW.
Journals
Dance Australia, Yaffa Publishing Group, Surry Hills, NSW.
Dance Forum, [Australian Dance Council: online journal subscription]
Dance Train, Pty Ltd, Cremorne, NSW.
Audio Visual Material
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
Glass, Barbara S 2007, African American dance: an illustrated history, McFarland,
USA
Grube, T (Producer) 2004, Rhythm is it: rite of spring, video recording,
Boomtownmedia, Berlin
Hebson, D (Producer) 2001, Darrin's dance grooves, video recording, (Performed by
Britney Spears, 'N Sync and Jordan Knight), Razor and Tie
LaChapelle, David et al (Producer) 2005, Rize (video recording), David LaChapelle
Studios, Santa Monica, CA, USA
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
Champaign, Illinois, USA
Sofras, Pamela Anderson 2006, Dance composition basics: Capturing the
choreographer's craft (DVD), Human Kinetics, Champaign, Ill, USA.
The American Dance Festival's dancing in the light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA
Bollywood Jazz: concept, choreography, design (DVD), 2009 Eros International, USA
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
Mr Wiggles 2010 (on line)
< http://www.mrwiggles.biz >
New Zealand Performing Arts Teacher Resource Exchange 2010 (on line)
< http://www.tki.org.nz/r/arts/curriculum/statement/pg30_31_e.php >
These were accurate at the time of publication.
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Dance in Australia A/T
Value 1.0
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of Australian dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse
Australian dance in its theatrical, artistic,
aesthetic, social, historical, contemporary,
cultural and/or religious contexts
Content
For A or T Courses
Creating
 Compositional tasks inspired by the various dance styles studied
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 These dance styles may include Aboriginal and Torres Strait Islander dance and
other dances represented by cultural groups in Australia
 Techniques and exercises and the performance of danced inspired by the
cultures and dance styles studied
Evaluating
This study could include:
 The influences that have shaped the development of dance in Australia.
 The dance forms and cultures represented in Australia of people from
around the world, and the development of dance in Australia
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 The role dance plays in Aboriginal and Torres Strait Islander societies
 Development of Australian dance companies and artists
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Pask, EH
1979, Enter the Colonies Dancing – A History of Dance in
Australia 1835-1940, Oxford University Press, Melbourne.
Pask, EH
1982, Ballet in Australia: The Second Act 1940 – 1980, Oxford
University Press, Melbourne.
Potter, M
1997, A Passion for Dance, National Library of Australia,
Canberra.
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Forum, Australia Dance Council, Ausdance Inc. Braddon
Audio Visual Material
Sydney Dance Company, Boxes/Café (video), ABC Television
Bangarra Dance Theatre, Ochres (video), 2003 ABC Television
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Australian Ballet, Triple Bill: Deep End, Red Earth, Alchemy (video), ABC Television
CD ROMS
Bangarra Dance Theatre Educational (CD-ROM), 2003 Pier 4, Hickson Road, Walsh Bay,
Sydney
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Bangarra Dance Theatre 2005 (on line)
< http://www.bangarra.com.au >
Marcom Projects: Performance Art 2004 (on line)
< http://www.marcom.com.au >
These were accurate at the time of publication.
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Home-Grown Dance A/T
Value 0.5
This is the underlying 0.5 unit to Dance in Australia 1.0.
Prerequisites
Nil
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of Australian dance in its
theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Develop, demonstrate and analyse
Australian dance in its theatrical, artistic,
aesthetic, social, historical, contemporary,
cultural and/or religious contexts
Content
For A or T Courses
Creating
 Compositional tasks inspired by the various dance styles studied
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 These dance styles may include Aboriginal and Torres Strait Islander dance and
other dances represented by cultural groups in Australia
 Techniques and exercises and the performance of danced inspired by the
cultures and dance styles studied
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Evaluating
This study could include:
 The influences that have shaped the development of dance in Australia.
 The dance forms and cultures represented in Australia of people from
around the world, and the development of dance in Australia
 The role dance plays in Aboriginal and Torres Strait Islander societies
 Development of Australian dance companies and artists
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
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Assessment Task Types
Refer to page 19.
Specific Unit Resources
Books
Pask, EH
1979, Enter the Colonies Dancing – A History of Dance in
Australia 1835-1940, Oxford University Press, Melbourne.
Pask, EH
1982, Ballet in Australia: The Second Act 1940 – 1980, Oxford
University Press, Melbourne.
Potter, M
1997, A Passion for Dance, National Library of Australia,
Canberra.
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Forum, Australia Dance Council, Ausdance Inc. Braddon
Audio Visual Material
Sydney Dance Company, Boxes/Café (video), ABC Television
Bangarra Dance Theatre, Ochres (video), 2003 ABC Television
Australian Ballet, Triple Bill: Deep End, Red Earth, Alchemy (video), ABC Television
CD ROMS
Bangarra Dance Theatre Educational (CD-ROM), 2003 Pier 4, Hickson Road, Walsh Bay,
Sydney
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Bangarra Dance Theatre 2005 (on line)
< http://www.bangarra.com.au >
Marcom Projects: Performance Art 2004 (on line)
< http://www.marcom.com.au >
These were accurate at the time of publication.
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Self –Directed Dance Studies A/T
Value 1.0
Prerequisites
This unit may be offered to Year 12 students studying Dance as an A or a T course
who wish to complete a Major, Major Minor or a Double Major. Students must have
completed 3 standard units of Dance before undertaking this unit. Students may
negotiate to undertake a major project in a specific area of interest. Emphasis will be
on linking research and practical studies to areas of study completed in previous
units. The unit may include study outside of the college.
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance in its theatrical,
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse dance
in its theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 Composition involving self-directed practical exploration in relation to the
negotiated topic
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Practical presentation as appropriate to the negotiated topic
 Participation in ongoing training and evidence is required
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Evaluating
Depending upon the negotiated area of study, theory could include:
 Critical evaluation of student’s own work and that of the other
practitioners
 Awareness, understanding and knowledge of the historical, social, political
and practical aspects of the aspects of the dance genre
 Professional dance company participation
Examples of Topics
 Vocational Training: practical work may include participation in technique
classes, self directed composition work. Research may examine the context
of the company in the continuing development of Australian dance
 Dance Therapy: research current material focusing on a particular group
and devise a program of practical activities based on research and
observation
 Liturgical Dance: create a group of appropriate dances and research the
history of this dance form
 Dance in the Environment: study dance in the environment both through
research and practical work. Examine the effects of the environment on the
dance in terms of inspiration and expressive potential
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
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Assessment Task Types
Refer to page 19.
Specific Unit Resources
The selected topics may make use of the attached Bibliography on pages 26-31 and
additional resources as appropriate to the project.
These were accurate at the time of publication.
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Independent Dance Studies A/T
Value 0.5
Prerequisites
This unit may be offered to Year 12 students studying Dance as an A or a T course
who wish to complete a Major, Major Minor or a Double Major. Students must have
completed 3 standard units of Dance before undertaking this unit. Students may
negotiate to undertake a major project in a specific area of interest. Emphasis will be
on linking research and practical studies to areas of study completed in previous
units. The unit may include study outside of the college.
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Use the body as the instrument of
communication and creativity to
demonstrate and justify the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques.
Develop and demonstrate an
understanding of dance in its theatrical,
artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Develop, demonstrate and analyse dance
in its theatrical, artistic, aesthetic, social,
historical, contemporary, cultural and/or
religious contexts
Content
For A or T Courses
Creating
 Composition involving self-directed practical exploration in relation to the
negotiated topic
 The elements of dance
 Compositional processes
 Choreographic devices
Presenting
 Practical presentation as appropriate to the negotiated topic
 Participation in ongoing training and evidence is required
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Board Endorsed December 2010 v2 amended August 2013
Evaluating
Depending upon the negotiated area of study theory could include:
 Critical evaluation of student’s own work and that of the other
practitioners
 Awareness, understanding and knowledge of the historical, social, political
and practical aspects of the aspects of the dance genre
 Professional dance company participation
Examples of Topics
 Vocational Training: practical work may include participation in technique
classes, self directed composition work. Research may examine the context
of the company in the continuing development of Australian dance
 Dance Therapy: research current material focusing on a particular group
and devise a program of practical activities based on research and
observation
 Liturgical Dance: create a group of appropriate dances and research the
history of this dance form
 Dance in the Environment: study dance in the environment both through
research and practical work. Examine the effects of the environment on the
dance in terms of inspiration and expressive potential
The content of both the T and the A courses is similar but the depth of analysis and
conceptual understanding in both the theory and practical work expected of
students studying the T course is greater.
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts, newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live performances
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Assessment Task Types
Refer to page 19..
Specific Unit Resources
The selected topics may make use of the attached Bibliography on pages 26-31 and
additional resources as appropriate to the project.
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Dance Production M
Value 1.0
Student Profile
Students have a mild to moderate intellectual disability and physical disability.
Prerequisites
Nil
SPECIFIC UNIT GOALS
A Course
This unit should enable students to:
M Unit After Modification.
Students will be supported to:

Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Experiment with using the body as an
instrument of communication and creativity to
learn the elements and processes of
choreography.

Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills
and techniques.
Gain awareness of appropriate metalanguage,
learn about, and work within, a range of dance
skills and techniques.

Develop and demonstrate an
understanding of aspects of production
of dance in its theatrical, artistic,
aesthetic, social, historical,
contemporary, cultural and/or
religious contexts
Demonstrate an understanding of aspects of
production of dance in its theatrical, artistic,
aesthetic, social, historical, contemporary,
cultural and/or religious contexts
CONTENT
A unit before Modification
M unit after Modification
Creating
Creating
 The elements of dance
 The elements of dance
 Compositional processes
 Compositional processes
 Choreographic devices
Presenting
 Choreographic devices
Presenting
 Movement skills of a specific dance
technique, short class exercises and/or
repertoire.
 Movement skills of a specific dance
technique, short class exercises and/or
repertoire.
 Creation of class dance for performance
Evaluating
Evaluating
 One or more elements of production
including costuming, make-up, sets,
lighting, administration, music, staging,
props, or multi-media within a dance
 One or more elements of production
including costuming, make-up, sets,
lighting, administration, music, staging,
props, or multi-media within a dance
111
Board Endorsed December 2010 v2 amended August 2013
context.
context.
TEACHING AND LEARNING STRATEGIES
A unit before Modification
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts,
newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live
performances
M unit after Modification
Some strategies include:
 Teacher demonstration
 Group work
 Written tasks with guidance
 Assisted research and analysis
 Assisted Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Assisted reflective writing
 Student demonstration
 Printed material, magazine articles, texts,
newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live
performances
Assessment
Refer to page 19.
.
Student Capabilities
As shown in the course unit
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware
citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
112
Evidence could be in:
Goals
Content Teaching
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






















Assessment








Board Endorsed December 2010 v2 amended August 2013
Specific Unit Resources
Books
Cooper, S
1998, Staging Dance, A & C Black Ltd, London.
Everett, WA & Laird, PR
(eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember
When, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals, Faber & Faber,
London, UK.
Scheff, R, Sprague, M &
McGreevey-Nichols, S
2005, Experiencing Dance, Human Kinetics, Champaign,
Illinois.
Schlaich, J (d.) & DuPont, 1988, Dance: The Art of Production, 3rd Edition, Princeton
B (ed.)
Book Company, Pennington.
Audio Visual Material
Information on suitable videos, DVDs and CD-ROMs available from Marcom Projects:
http://www.marcom.com.au and ABC Videos
CD ROMS
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Train, Dani Brown, Northbridge NSW
These were accurate at the time of publication.
113
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Theatre Elements in Dance M
Value 0.5
This is the underlying 0.5 unit to Dance Production 1.0.
Student Profile
Students have a mild to moderate intellectual disability and physical disability.
Prerequisites
Nil
SPECIFIC UNIT GOALS
A Course
This unit should enable students to:
M Unit After Modification.
Students will be supported to:
Use the body as the instrument of
communication and creativity to demonstrate
the elements and processes of choreography
Experiment with using the body as an
instrument of communication and
creativity to learn the elements and
processes of choreography.
Develop knowledge of appropriate
metalanguage and acquire and demonstrate a
range of dance skills and techniques.
Gain awareness of appropriate
metalanguage, learn about, and work
within, a range of dance skills and
techniques.
Develop and demonstrate an understanding of
aspects of production of dance in its
theatrical, artistic, aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Demonstrate an understanding of aspects of
production of dance in its theatrical, artistic,
aesthetic, social, historical, contemporary,
cultural and/or religious contexts
CONTENT
A unit before Modification
M unit after Modification
Creating
Creating
 The elements of dance
 The elements of dance
 Compositional processes
 Compositional processes
 Choreographic devices
Presenting
 Choreographic devices
Presenting
 Movement skills of a specific dance
technique, short class exercises and/or
repertoire.
 Movement skills of a specific dance
technique, short class exercises and/or
repertoire.
 Creation of class dance for performance
Evaluating
Evaluating
 One or more elements of production
including costuming, make-up, sets,
 One or more elements of production
including costuming, make-up, sets,
114
Board Endorsed December 2010 v2 amended August 2013
lighting, administration, music, staging,
props, or multi-media within a dance
context
lighting, administration, music, staging,
props, or multi-media within a dance
context.
TEACHING AND LEARNING STRATEGIES
A unit before Modification
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Reflective writing
 Student demonstration
 Printed material, magazine articles, texts,
newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live
performances
M unit after Modification
Some strategies include:
 Teacher demonstration
 Group work
 Written tasks with guidance
 Assisted research and analysis
 Assisted Composition processes
 Response to stimuli
 Viewing of audio visual material
 Internet
 Guest artists/lecturers
 Assisted reflective writing
 Student demonstration
 Printed material, magazine articles, texts,
newspaper articles
 Videoing and analysing own performances
 Attendance at and discussion of live
performances
Assessment
Refer to page 19.
Student Capabilities
As shown in the course unit
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware
citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
115
Evidence could be in:
Goals
Content










Teaching





Assessment

















Board Endorsed December 2010 v2 amended August 2013
Specific Unit Resources
Books
Cooper, S
1998, Staging Dance, A & C Black Ltd, London.
Everett, WA & Laird, PR
(eds.)
2008, The Cambridge Companion to the Musical, Cambridge
University Press, Cambridge, UK.
Hughes, M
2008, A Pocket Guide to Musicals, Barnsley, Remember
When, UK.
Inverne, J
2009, The Faber Pocket Guide to Musicals. Faber & Faber,
London, UK.
Scheff, R, Sprague, M &
2005, Experiencing Dance, Human Kinetics, Champaign, Ill.
McGreevey-Nichols, S
Schlaich, J (d.) & DuPont,
1988, Dance: The Art of Production, 3rd Edition, Princeton
B (ed.)
Book Company, Pennington.
CD ROMS
Making Chunky Move: C.O.R.R.U.P.T.E.D 2 (CD ROM), (n.d.) Chunky Move, Melbourne
Journals
Dance Australia, Yaffa Publishing, Surry Hills
Dance Train, Dani Brown, Northbridge NSW
These were accurate at the time of publication.
116
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Dance Foundations M
Value 1.0
Student Profile
Student has a mental illness and pervasive disorder. Documentation is on file at the
College.
Prerequisites
Nil
Specific Unit Goals
A or T unit before Modification
This unit should enable students to:
A Course
This unit should enable students to:
Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography
Develop knowledge of appropriate
metalanguage and acquire and
demonstrate a range of dance skills and
techniques of classical ballet and/or
contemporary dance
Develop and demonstrate an
understanding of dance in its artistic,
aesthetic, social, historical,
contemporary, cultural and/or religious
contexts
Demonstrate anatomical awareness and
understanding of safe dance practice
including the causes and prevention of
common dance injuries
M unit after Modification
This unit should enable students to:
With guidance (teacher or peer), create
simple movement sequences, link them
together and remember them in order to
perform them for an audience
Demonstrate improving dance skills in
the contemporary dance style studied
Demonstrate basic anatomical
understanding and a basic awareness of
the requirements of Safe Dance practice
With guidance (teacher or peer), create
simple movement sequences, link them
together and remember them in order to
perform them for an audience
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Content
A or T unit before Modification
M unit after Modification
Creating
The elements of dance
Compositional processes
Basic choreographic devices
Response to stimuli
Creating
 The elements of dance
 Compositional processes
 Choreographic devices
 Response to stimuli.
Presenting
Dance technique (classical ballet and/or
contemporary dance), movement
sequences, short set dances/ movement
phrases
Presenting
 Dance technique (classical ballet
and/or contemporary dance),
movement sequences, set dances
and/or repertoire.
Evaluating
 Dance analysis, this may include the
study of dance in its
 Artistic
 Aesthetic
 Social
 Historical
 Contemporary
 Cultural
Evaluating
dance analysis, this may include the study
of dance in its
Artistic,
Aesthetic,
Social,
Historical
Contemporary
Cultural
Religious contexts
 Religious contexts.
 Basic anatomy, for example
 The study of basic skeletal
and muscular systems
 Safe dance practice
 The relationship between
dance skills and anatomical
structure
 Posture
 General health and fitness
 Specific dance injuries
118
Basic anatomy, for example
Safe dance practice
Posture
Board Endorsed December 2010 v2 amended August 2013
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to
engage in successful and challenging learning experiences in all key learning areas.
The outcomes for them will be appropriate to their abilities and needs.
M unit after Modification
A or T unit before Modification
Teaching and Learning Strategies
Some strategies include:
 Teacher demonstration
 Group work
 Open-ended written tasks with
guidance
 Independent research and analysis
 Composition processes
 Response to stimuli
 Viewing of audio visual material
 Use of the Internet for research










Guest artists/lecturers
 Reflective writing

 Student demonstration
 Research from printed material,
magazine articles, texts,
newspaper articles
 Videoing and analysing own
performances


 Attendance at and discussion of
live performances


119
Teacher demonstration
Group work
Open ended tasks, with guidance
and limitation
Individual work
Composition processes used
with assistance (teacher or
peers)
Viewing films/video/DVD
Guided use of internet,
assistance where needed
Differentiation, by language
(simplified with considered use
of key terminology appropriate
for student), task (alternative
task to accommodate skill/
cognitive level) and outcome
(identical task to Accredited unit
but outcome expectations differ
to make achievement more
accessible)
Written and oral reflective
responses of own and peer work
not required
not required
Recording students work and
using the viewing of such for
self-awareness
. attendance at live
performances, as available as
part of class excursions is
encouraged
Board Endorsed December 2010 v2 amended August 2013
Assessment
Refer to page 19.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware
citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content Teaching
yes
Yes
yes
yes
yes
yes
Yes
yes
yes
Yes
yes
Yes
yes
yes
yes
yes
Assessment
yes
Specific Unit Resources
Books
Bracilovic, A
2009, Essential Dance Medicine: Musculoskeletal Medicine.
Humana, New York.
Carter, A & O'Shea, J
2010, The Routledge Dance Studies Reader. Routledge, New
York.
Clippinger, KS
2007, Dance Anatomy and Kinesiology, Human Kinetics,
Champaign, Ill. USA.
Foster, SL (ed.)
2009, Worlding Dance, Palgrave Macmillan, Basingstoke.
Gottlieb, R (ed.)
2008, Reading Dance: a gathering of memoirs, reportage,
criticism, profiles, interviews, and some uncategorizable
extras, Pantheon Books, New York, USA.
Greig, V
1994, Inside Ballet Technique, Princeton Book Company, New
Jersey.
Kant, M (ed.)
2007, The Cambridge Companion to Ballet, Cambridge
University Press, Cambridge.
Kennedy, JG & Hodgkins, 2008, Foot and Ankle Injuries in Dance, Saunders, London.
CW (eds.)
Muller-Townsend, KL
2009, The relationship between working memory capacity
and movement memory of dancers, BA Hons thesis, Edith
Cowan University, Faculty of Computing, Health and Science.
Murray, K
2008, Is dance good for the body or not? An examination of
body awareness and injury prevention for specialised tertiary
dance students, BA Hons thesis, Edith Cowan University,
Faculty of Education and Arts, Western Australian Academy
of Performing Arts.
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Oliver, WR
2010, Writing About Dance, Human Kinetics, Champaign,
Illinois, USA.
Pomer, J
2009, Dance Composition: an interrelated arts approach,
Includes 1 CD-ROM, Human Kinetics, Champaign, Ill. USA.
Scheff, H & Sprague, M
et al (eds.)
2010, Exploring Dance Forms and Styles: a guide to concert,
world, social and historical dance, Human Kinetics,
Champaign, Illinois, USA.
2007, Dance for Senior Students, Thomson Learning, South
Melbourne, VIC.
2006, Dance Composition Basics: Capturing the
choreographer's craft, Includes DVD, Human Kinetics,
Champaign, Ill. USA.
2005, Preventing Dance Injuries, Human Kinetics, Champaign,
Illinois, USA.
2009, Dancing in Time, Includes 1 CD-ROM, Piper Press and A
H Design & Publishing, Annandale, NSW.
Snook, B
Sofras, P
Solomon, RL
Wauchop, D
Journals
Dance Australia, Yaffa Publishing Group, Surry Hills, NSW
Dance Forum, [Australian Dance Council: online journal subscription]
Dance train, Dance Train Pty Ltd, Cremorne, NSW
Audio Visual Material
Video performance of Christopher Bruce’s Ghost Dances, performed by Ballet
Rambert.
Dance composition basics: Capturing the choreographer's craft (DVD), Human
Kinetics, Champaign, Ill, USA
Dance Theatre of Harlem (DVD), 2007 Enhance TV, Neutral Bay, NSW
Multicultural Folk Dances (from 18 different countries) (DVD), 2007 Human Kinetics,
Champaign, Illinois
Rhythm Is It: Rite of Spring (video recording), 2004, Boomtownmedia, Berlin
The American Dance Festival's Dancing in the Light: six dances by African-American
choreographers (DVD), 2007 Kultur, West Long Branch, N.J., USA
Websites
Ausdance 2009 (on line)
< http://www.ausdance.org.au >
Australia Dancing 2010 (on line)
< http://www.australiadancing.org >
Chunky Move 2004 (on line)
< http://www.chunkymove.com/home.html >
New Zealand Performing Arts Teacher Resource Exchange 2010 (on line)
< http://www.tki.org.nz/r/arts/curriculum/statement/pg30_31_e.php >
These were accurate at the time of publication.
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Dance History M
Value: 1.0
Student Profile: Student 1 has Down's Syndrome and a moderate intellectual
disability
Prerequisites
While there are no formal prerequisites, strong interest and individual commitment
are essential.
Specific Unit Goals
A or T unit before Modification
This unit should enable students to:
M unit after Modification
This unit should enable students to:

Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography

Use the body as the instrument of
communication and creativity to
demonstrate the elements and
processes of choreography

Develop knowledge of appropriate
dance terminology and acquire and
demonstrate a range of dance skills
and techniques of classical ballet
and/or contemporary dance

Develop knowledge of appropriate
dance terminology and acquire and
demonstrate a range of dance skills
and techniques


Develop and demonstrate an
understanding of dance in historical
and other contexts
Demonstrate an understanding of
dance in a cultural context

Discuss the influence of key pioneers
and eras in dance and recognise the
historical development of present
styles
Content
A or T unit before Modification
Creating
effective communication of ideas,
emotions, concepts and themes
through dance; knowledge of dance
elements, skills and processes;
application of elements of composition
and improvisation; effective problem
solving and imaginative thinking; ability
to work individually and collaboratively;
application of safe dance practices;
application of effective rehearsal
strategies through the management of
M unit after Modification
Creating
effective communication of ideas,
emotions, concepts and themes through
dance; engagement with dance
elements, skills and processes; effective
problem solving and imaginative
thinking; ability to work individually and
collaboratively; application of safe dance
practices; application of effective
rehearsal strategies through the
management of time and resources.
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Board Endorsed December 2010 v2 amended August 2013
time and resources.
Presenting
confident application of specific dance
techniques; ability to communicate the
technical and thematic intent of the
choreographer; application of a range of
performance skills appropriate to a
variety of audiences; effective rehearsal
strategies in preparation for
performances; knowledge and
application of safe dance practices.
Evaluating
ability to analyse, interpret and
evaluate dance; ability to select,
sequence, organise and synthesise
information about a specific topic;
critical reflection of student’s own work
and the work of others; knowledge of
past and present pioneers of dance;
knowledge of aesthetic, cultural,
contemporary and historical aspects of
dance; ability to use specific dance
terminology in its appropriate context;
ability to research and document, using
a wide range of resources.
Presenting
ability to apply and recall technique,
sequencing, rhythmic awareness and an
audience awareness; effective rehearsal
strategies in preparation for
performances; knowledge and
application of safe dance practices.
Evaluating
reflection of student’s own work and the
work of others; knowledge of cultural
aspects of dance; ability to use specific
dance terminology in its appropriate
context; ability to research and
document, using a wide range of
resources.
123
Board Endorsed December 2010 v2 amended August 2013
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to
engage in successful and challenging learning experiences in all key learning areas.
The outcomes for them will be appropriate to their abilities and needs.
M unit after Modification
A or T unit before Modification
Creating
Opportunities to explore and
improvise for personal expression,
leading to the development of
individual styles, approaches and
methods. It is important to provide
experiences to support the
relationship between creating and
evaluating. This relationship should
encourage critical thinking and
discourse about students’ work,
acknowledging a range of responses.
Students should be encouraged to
continually and critically reflect on
their own works by defining context,
intent and response to stimulus.
Teachers should encourage a variety
of approaches to creating works that
can be retained, discarded or
manipulated.
Presenting
Experiences that aim to develop the
technical and expressive skills of
each student. Although replication is
essential to many performances, it is
important to encourage individual
expression, and acknowledge the
individual nature of the performer
and the unique impact this will have
on her/his interpretation of the
work. The teacher should encourage
and demonstrate safe work practices
to help students understand the
nature of their bodies and their
environment.
Evaluating
Opportunities for students to
experience and appreciate the
evolution of Performing Arts.
Students should be given the
opportunity to develop responses
and value their own work and those
124
Creating
Opportunities to explore and
improvise for personal expression,
leading to the development of
individual styles, approaches and
methods. It is important to provide
experiences to support the
relationship between creating as an
individual and within a group.
This relationship should encourage
reflection and discourse about
students’ work, acknowledging a
range of responses. Teachers should
encourage a variety of approaches
to creating works that can be
retained, discarded or manipulated.
Presenting
Experiences that aim to develop the
technical and expressive skills of each
student. Although replication is
essential to many performances, it is
important to encourage individual
expression, and acknowledge the
individual nature of the performer
and the unique impact this will have
on her/his interpretation of the
work. The teacher should encourage
and demonstrate safe work practices
to help students understand the
nature of their bodies and their
environment.
Evaluating
Students should be given the
opportunity to develop responses
and value their own work and those
of others. The teacher needs to
develop in students the skills of
research and communication.
Board Endorsed December 2010 v2 amended August 2013
Viewing of own and others’ work
Viewing of live dance performances
Student seminars
Research (e.g. internet, oral, text)
Dance
Study of dance reviews
Construction of movement sequences
Process journals
Improvisation
Constructive feedback
Response to stimuli
Workshops with professional artists
Individual or group work
Repertoire
Structured rehearsals
Viewing of own and others’ work
Teacher/student demonstration
Peer teaching
Physical warm ups
of others. The teacher needs to
develop in students the skills of
analysis, interpretation, evaluation
and communication.
Creating/Presenting
Evaluation
Assessment
Refer to page 19.
125
Board Endorsed December 2010 v2 amended August 2013
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content Teaching















Assessment






Creative and critical thinkers
Students of Dance will develop their creative and research skills throughout the
course. The ability to reflect, understand and apply different thinking strategies will
be encouraged through various activities in creating, presenting and evaluating.
Enterprising problem-solvers
Students throughout this course will develop skills that encourage them to be
resourceful and to show initiative. Creating, presenting and evaluating activities will
encourage independent and collaborative work, develop them as confident users of
metalanguage and skills of dance and develop their lateral thinking.
Skilled and empathetic communicators
In this course, students will communicate their ideas in written and practical forms.
Students will develop skills in communicating with their peers, teachers and
audience in an empathetic way.
Informed and ethical decision-makers
The study of dance will raise an awareness of students’ cultural and artistic
sensitivity when presenting, creating and evaluating tasks. These tasks will
encourage students to critically examine their own and others values, beliefs and
perspectives.
Environmentally and culturally aware citizens
This Dance Course will promote an awareness of environmental issues through the
responsible use and reuse of resources. The dance course offers opportunities to
explore socio-cultural and environmental issues through thematic exploration.
Confident and capable users of technologies
Students will be exposed to and develop their confidence and competence in using a
variety of technologies relevant to their study. They will assess which technologies
are appropriate for particular purposes.
126
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

Board Endorsed December 2010 v2 amended August 2013
Independent and self-managing learners
This Dance Course is designed to encourage and develop skills in independent
learning to achieve the desired outcomes of the course. Students will assess which
skills and knowledge are appropriate for particular purposes.
Collaborative team members
Students will have the opportunity to contribute to group work regarding various
aspects of assessment tasks. This will build skills in negotiation and compromise and
foster cooperation and respect for others.
Specific Unit Resources
In order to provide a safe, functional and productive teaching and learning
environment for dance, the following physical resources need to be addressed.
Minimal Requirements:
A ventilated dance studio, with a sprung floor and an appropriate surface
A portable, high output stereo cassette recorder/CD player and appropriate music
resources
Access to other audio-visual equipment, including a television, VCR/DVD players,
video camera and dubbing equipment
Ready access to injury management procedures, including ice-pack availability
An adequately resourced library, including some relevant videos/DVDs
These were accurate at the time of publication
127
Board Endorsed December 2010 v2 amended August 2013
Glossary
abstraction
active space
alignment
appreciation
axial
movement
body
articulation
choreography
choreographic
principles
choreographic
structure
composition
concept
contrast
control
dynamics
energy
the move from the representational to the symbolic; the process of
removing movement from a particular or representative context
and (by manipulating it with elements of space, time and force)
creating a new sequence or dance that retains the essence of the
original
when the space itself becomes alive, when it has meaning, or takes
on symbolic suggestions of its own
the relationship of the skeleton to the line of gravity and the base
of support
the knowledge of dance as an art form derived from the
procedures of research, analysis, interpretation, writing, criticism
and evaluation
any movement that is anchored to one spot by a body part using
only the available space in any direction without losing the initial
body contact. Movement is organised around the axis of the body
rather than designed for travel from one location to another; also
known as non-locomotor movement
the ability of the dancer to isolate and combine individual body
parts to communicate a desired intent
the art and craft of planning and arranging dance movements into a
meaningful whole
the essential qualities of choreography relating to the areas of
study, i.e. manipulation of the elements of dance; generating
movement; organising the movement; and organising the work,
and additional considerations
the specific compositional forms or frameworks used to determine
the overall structure of an entire dance/work
the arrangement of parts to produce a complete and unified whole,
including the processes of exploring, improvising, selecting and
forming movement into a dance
the motivation behind the composition/choreography of
movement
the use of different attributes of the elements of movement
the ability to employ dance technique to meet the needs of the
dance/work
one of the elements of dance; the level of energy or force applied
to the execution of a movement or movement sequence
the potential for force; propels or initiates movement
From www.boardofstudies.nsw.edu.au/ HSC syllabuses/Dance Stage 6
128
Board Endorsed December 2010 v2 amended August 2013
The Elements of Dance
Space
Time
Dynamics
Compositional Processes
Improvisation
Stimulus
Choreographic Devices
Phrase
Sequence
Canon
Unison
Retrograde
Energy
Form
Motif
Styles
Ballet
Contemporary
Modern
Jazz
Tap
Hip Hop
Body Actions
Gesture
Locomotion
Elevation
Fall
Turn
Stillness
Weight transfer
Other
Safe Dance
129