MN Diocesan Dance Assessment Notification

H S C C o u r s e Y e a r 1 2 A s s e s s m e n t T a s k – D a n c e - 2 0 2 0

TASK NUMBER 3 WEIGHTING 10% Composition / 15% Major

DATE / TIMING Date Given: Week 1 Term 2 Due Date: Scheduled for Week 4 Term 2 – however, due to the current restrictions with COVID19, I will specify dates ASAP Late submission penalties will apply as per Assessment Handbook

CONTEXT / CONCEPT Finished works of Composition and Major Study Option

TASK DESCRIPTION: Part A: Core Composition

1. Due to social distancing restrictions – you are to perform your OWN Core Composition. This will still be the usual 3-5 minute work, based on a specific concept/intent. a) You must work to the three criterion of Core Composition as per the Stage 6 Syllabus

• Generating Movement (Stimulus, Abstraction, etc)

• Organising Movement (Motif, Phrase, Motif into Phrase)

• Organising the Dance (Formal structure, floor pattern, unity, etc) b) You must also work with the Elements of Dance – SPACE, TIME and DYNAMICS – and how you can manipulate them

throughout your work. 2. Prior to the performance of your Core Composition, you will be required to participate in a conversation where you will

discuss your choreographic process in relation to the above three criterion. a) You must aim to speak for approximately 6 minutes

3. A 300 word rationale will be required for your marker to draw out questions for your conversation a) Your rational must address elements from the three criterions and how you have developed your

work/choreographic process. 4. Your OneNote must have all weekly work and synced at the time of the assessment with documentation of your learning

process and experiences in relation to the syllabus requirements/dot points

Part B: Major Study Option You will be required to present your completed Major Study Component from ONE of the options below; Major Study Performance You are required to perform your Major Study Performance in progress

a) You will be marked on Dance Technique and Performance Quality – see marking criteria for detailed explanation b) You will be required to have a completed work of 4-6 minutes. c) At the completion of your performance, you will have two minutes to cool down before participating in a 9 minute

conversation in relation to Safe Dance Practice. d) You need to be using correct anatomical terms, dance/syllabus terminology and demonstrations during the

conversation e) Your OneNote must have all weekly work and synced at the time of the assessment with documentation of your

learning process and experiences in relation to the syllabus requirements/dot points Major Study Appreciation You are required to analyse; – ONE mandatory seminal work (Mats Ek, Appartement) – ONE prescribed era and TWO prescribed artists chosen from two options. (1960s-1980s: Pina Bausch and Twyla Tharp) Using the 2015 Past HSC Dance Section II Paper, complete a hand-in component of each question

- Aim for approx. 500 words for Question 1 and 2

- Aim for approx. 800-1000 words for Question 3

https://educationstandards.nsw.edu.au/wps/wcm/connect/2f66155b-d7e2-497f-806b-48ea4114e185/dance-hsc-exam-s2-

2015.pdf?MOD=AJPERES&CACHEID=ROOTWORKSPACE-2f66155b-d7e2-497f-806b-48ea4114e185-lG90eCD

MARKING CRITERIA/GUIDELINES: Part A – Core Composition – 20 marks

• Criterion 1 – Personal Style of Movement (12 marks)

Your OneNote must have all weekly work and synced at the time of the assessment with documentation of your learning process and experiences in relation to the syllabus requirements/dot points

Major Study Film and Video With the changes due to the COVID19 crisis, you are required to;

a) Submit all footage/editing you completed prior to the social distancing restrictions

b) Get creative with a digital storyboard.

a. The website https://www.canva.com/create/storyboards/ allows you to include images and videos,

however you can use any website you like. These can be images/videos you have as stimulus or from

your previous shot footage.

b. Have a new story board for each of your Section with 8-10 ‘snap shots’ (or story board boxes) within in

story board.

c. Be sure to use a range of different camera angles and shots

d. Don’t forget to showcase the best sections of your work

i. Motifs of both dancers (previously shot footage would be beneficial here if possible – if not, try

to have a least one ‘snap shot’ for the movement each dancer would be doing)

ii. Variation and contrast

iii. Transition into the next section.

c) To assess your editing skills, you are to recreate the following video using a movement phrase from your own

film - https://www.facebook.com/10764587274/posts/10158770417327275/?vh=e

a. Select ONE sequence – perhaps the sequence where the dancers do the most unified movement or a

section where one dancer is more prominent than the other. This way you can focus solely on one

dancer rather than the relationship between them. Don’t forget about your use of motif! It needs to be

clearly communicated in this task.

b. Use the above video as a guide – you can be original and completely change it up. The purpose of this

task is to see how create you can be with your editing skills.

c. Play around with the different locations of around your house (do not put yourself at risk by going

anywhere else during these times – as you can see in the video, they are in the driveway or different

rooms of the house)

d. Play with slow motion, black and white, focus, etc use a variety of editing techniques.

e. Incorporate appropriate costuming to suit your concept where possible

d) Upload your previous rationale which was based on your film. However, you are also now required to write a

300-500 word response on the above two tasks. In this response you are to address the choices you made in;

a. selecting specific snap shots for your story board (linking to syllabus terminology) and how you believe

it effectively establishes a clear basis of what your film would look like once filmed.

b. Discuss the editing choices you decided on when creating the recreation of the video. Mention the

different editing skills you used to showcase your ability.

e) You will still be required to participate in a conversation for up to 12 minutes where you will discuss the work

you planned to film as well as the editing/choices you used in the tasks asked of you above.

f) Your OneNote must have all weekly work and synced at the time of the assessment with documentation of

your learning process and experiences in relation to the syllabus requirements/dot points

** Note – these new tasks can be ‘works in progress’. I don’t expect you to have them as polished as what your film SHOULD be at

this point. For your Trials, you will be then assessed on the above again, but it will be expected you have more depth and detail to

them.

▪ Criterion 1a – Generating Movement (4 marks) ▪ Criterion 1b – Organising the Movement (8 marks)

• Criterion 2 – Organising the Dance (8 marks)

Part B – Major Study Option – 40 marks Major Study Performance

• Dance Technique incorporating Safe Dance Practice (20 marks)

• Performance Quality (20 marks) OR Major Study Appreciation (20 marks)

• demonstrates dance knowledge and understanding relevant to the question

• communicates ideas and information using relevant examples and terminology • presents a logical and cohesive response

Major Study Film and Video

• Generating movement in relation to dance composition for 2 or 3 dancers based on a stated concept/intent in a film medium (8 marks) – in this section, you will be assessed on the planning of your work. Your brainstorming, improvising videos of yourself, reflection pages etc. as well as any previously filmed/edited footage

• Organises and films movement for 2 or 3 dancers in relation to a stated concept/intent in a film medium (16 marks) – in this section you will be given a mark on the way in which you have used ‘snap shot’ from your story board and the edited sequence communicating movement as well as any previously filmed/edited footage

• Organises and edits the Work for 2 or 3 dancers in relation to a concept/intent demonstrated in the work and stated in the rationale, in conjunction with additional considerations that may arise from the intent of the Work, within the context of the study of dance as an artform in a film medium (16 marks)

OUTCOMES: Core Composition H1.1 understands dance from artistic, aesthetic and cultural perspectives through movement and in written and oral form H3.1 identifies and selects the appropriate elements of composition/choreography in response to a specific concept/intent H3.3 recognises and values the role of dance in achieving individual expression.

Major Study Performance

H1.2 performs, composes and appreciates dance as an artform H2.1 understands performance quality, interpretation and style relating to dance performance H2.2 performs dance skills with confidence, commitment, focus, consistency, performance quality and with due consideration of safe dance practices H4.5 acknowledges that the artform of dance is enhanced through reflective practice, study and evaluation. Major Study Composition & Film and Video H1.1 understands dance from artistic, aesthetic and cultural perspectives through movement and in written and oral form H1.2 performs, composes and appreciates dance as an artform H3.1 identifies and selects the appropriate elements of composition/choreography in response to a specific concept/intent H3.2 demonstrates the use of the elements of composition/choreography in a personal style in response to a specific concept/intent H3.4 explores the elements of dance relating to dance composition H4.5 acknowledges that the artform of dance is enhanced through reflective practice, study and evaluation. Major Study Appreciation H1.2 performs, composes and appreciates dance as an artform H4.1 understands the concept of differing artistic, social and cultural contexts of dance H4.5 acknowledges that the artform of dance is enhanced through reflective practice, study and evaluation.

Teacher/s: Miss S Purnell Co-ordinator: Mrs C Tapley

MN Diocesan Dance Part A – Composition Mark Sheet

Core Composition (20 marks) Criterion 1: The candidate demonstrates in the dance and rationale the ability to compose movement in a personal style based on a concept/intent which is then organised into phrases within the context of the study of dance as an artform (12 marks)

Criterion 1a: Generating movement in relation to dance composition based on a stated concept/intent (4 marks)

The candidate will be assessed on how well he/she:

• composes movement in a personal style based on a stated concept/intent within the context of dance as an artform.

The candidate demonstrates skills and understanding of: – manipulation of the elements of dance (space, time and dynamics); – personal style; – abstraction.

Marking Criteria – Generating Movement Mark

• Demonstrates a skilled, personalised manipulation of the elements of dance in response to a clearly established concept/intent in theory and practice

• Consistently composes appropriately abstracted movements in response to a clearly established concept/intent in theory and practice

• Physically and orally demonstrates a consistent understanding of the link between a concept/intent and the generation of movement in theory and practice

4

• Demonstrates a sound, personalised manipulation of the elements of dance but may lack consistency in establishing relevance to a concept/intent in theory and practice

• Demonstrates sound skills in composing abstracted movements but has inconsistencies in relation to the appropriateness of the abstraction to support the establishment of a concept/intent in theory and practice

• Physically and orally demonstrates a sound understanding of the link between a concept/intent and the generation of movement in theory and practice

3

• Demonstrates a limited use of aspects of the elements of dance and/or personalisation in establishing a concept/intent in theory and practice

• Shows a limited level/appropriateness of abstraction in establishing a concept/intent in theory and practice

• Physically and orally demonstrates a limited understanding of the link between a concept/intent and the generation of movement in theory and practice

2

• Attempts to use aspects of the elements of dance but has minimal personalisation and/or relationship to a concept/intent in theory and practice

• Attempts movements with minimal abstraction and/or minimally linked to a concept/intent in theory and practice

• Physically and orally demonstrates a minimal understanding of the link between a concept/intent and/or the generation of movement in theory and practice

1

Criterion 1b: Organising movement in relation to a stated concept/intent (8 marks)

The candidate will be assessed on how well he/she:

• organises the motif(s) into phrases relative to the stated concept/intent within the context of dance as an artform.

The candidate demonstrates skills and understanding of the manipulation of space, time and dynamics to:

– establish motif(s); – manipulate motif(s) to create phrases; – develop phrases to support a concept/intent.

Marking Criteria – Organising the Movement Mark

• Demonstrates consistent manipulation of the elements of dance to establish motif(s) relevant to a concept/intent in theory and practice

• Demonstrates consistent manipulation of motif(s) to create and develop phrases relevant to a concept/intent in theory and practice

• Physically and orally demonstrates a consistent understanding of the link between a concept/intent and the organisation of movement in theory and practice

7-8

• Demonstrates a sound manipulation of the elements of dance to establish motif(s) but may have inconsistencies in the relationship to a concept/intent in theory and practice

• Demonstrates sound manipulation of motif(s) to create and develop phrases but with inconsistencies and/or inconsistencies in the relationship to a concept/intent in theory and practice

• Physically and orally demonstrates a sound understanding of the link between a concept/intent and the organisation of movement in theory and practice

5-6

• Makes an attempt to manipulate aspects of the elements of dance, but is limited in establishing a motif(s) and/or is inconsistent in the relationship to a concept/intent in theory and practice

• Makes an attempt to create phrases but this is not clearly developed using motif(s), and/or not linked to a concept/intent in theory and practice

• Physically and orally demonstrates a limited understanding of the link between a concept/intent and the organisation of movement in theory and practice

3-4

• Attempts to use aspects of the elements of dance but shows minimal evidence of establishing a motif(s) and/or a minimal relationship to a concept/intent in theory and practice

• Shows movements with minimal evidence of phrases and/or link to a concept/intent in theory and practice

• Physically and orally demonstrates a minimal understanding of the link between a concept/intent and/or the organisation of movement in theory and practice

1-2

Criterion 2: The candidate demonstrates in the dance and rationale, the ability to organise the dance based on a concept/intent within the context of the study of dance as an artform (8 marks) The candidate will be assessed on how well he/she:

• structures the dance in a form relevant to a stated concept/intent, within the context of dance as an artform.

The candidate demonstrates skills and understanding of:

– form/structure in relation to concept/intent; – organisation of the phrases/sequences/sections which achieves unity in relation to a concept/intent; – unity achieved through the use of transition, repetition, variation and contrast in relation to a concept/intent.

Marking Criteria – Organising the Dance Mark

• Demonstrates a skilled organisation of phrases/sequences/sections which achieves a clear sense of unity in a form relevant to a concept/intent in theory and practice

• Demonstrates a skilled application of transitions, repetition, variation and contrast which contributes to the achievement of unity in relation to a concept/intent in theory and practice

• Physically and orally demonstrates a consistent understanding of the link between a concept/intent and the organisation of the dance in theory and practice

7-8

• Demonstrates a sound organisation of phrases/sequences/sections but with inconsistencies affecting unity relative to form and/or a concept/intent in theory and practice

• Demonstrates a sound application of transitions, repetition, variation and contrast but with inconsistencies which affect unity, relative to a concept/intent in theory and practice

• Physically and orally demonstrates a sound understanding of the link between a concept/intent and the organisation of the dance in theory and practice

5-6

• Attempts organisation of phrases/sequences/sections but with inconsistencies throughout affecting unity relative to form and/or a concept/intent in theory and practice

• Shows limited skills in the use of transitions and/or repetition and/or variation and contrast in relation to a concept/intent in theory and practice

• Physically and orally demonstrates a limited understanding of the link between a concept/intent and the organisation of the dance in theory and practice

3-4

• Shows minimal understanding of the organisation of the dance in relation to form and/or a concept/intent in theory and practice

• Shows minimal understanding of the use of transitions, repetition, variation and contrast, in relation to a concept/intent in theory and practice

• Physically and orally demonstrates a minimal understanding of the link between a concept/intent and/or the organisation of the dance in theory and practice

1-2

MN Diocesan Dance Part B – Major Study Option Mark Sheet

Part B — Major Study Performance (40 marks)

Criterion 1: Dance Technique incorporating Safe Dance Practice (20 marks)

The candidate will be assessed on how well he/she:

• demonstrates Dance Technique applied to the dance performed, and/or during the interview, within the context of the study of dance as an artform.

The candidate demonstrates skills and understanding of: – the execution of body skills to the dance performed; – the control of complex locomotor and non-locomotor sequences, relative to strength, flexibility, endurance and coordination; – the application of the elements of dance to the performance of body skills.

• demonstrates Safe Dance Practice applied to the dance performed, and/or during the interview. The candidate demonstrates skills and understanding of:

– fundamental body mechanics; – anatomical structure in relation to execution; – body awareness and limitations; – placement and control of alignment; – body maintenance.

Additional considerations that may arise from the intent of the Work include:

– simple and appropriate costume and/or props; – appropriate choice of accompaniment/non-accompaniment.

Marking Criteria – Dance Technique Mark

• Sustains a skilled performance of a range of complex body skills, locomotor and non-locomotor sequences of varying complexity (incorporating the elements of dance applied to the Work performed) in theory and practice

• Consistently demonstrates understanding and control of anatomical structure, alignment, body limitations, capabilities and body maintenance in theory and practice

• Physically and orally demonstrates a consistent understanding of Dance Technique incorporating Safe Dance Practice applied to the dance performed, within the study of dance as an artform in theory and practice

17-20

• Demonstrates a sound performance of a range of body skills, locomotor and non-locomotor sequences of varying complexity (incorporating the elements of dance applied to the dance performed) in theory and practice

• Demonstrates a sound understanding and control of anatomical structure, alignment, body limitations, capabilities and body maintenance, with inconsistencies seen in the application throughout the Work, in theory and practice

• Physically and orally demonstrates a sound understanding of Dance Technique incorporating Safe Dance Practice applied to the Work performed, within the study of dance as an artform, in theory and practice

13-16

• Demonstrates an adequate execution of body skills, locomotor and non-locomotor sequences of varying complexity (incorporating the elements of dance applied to the dance performed) in theory and practice

• Demonstrates an adequate understanding and control of anatomical structure, alignment, body limitations, capabilities and body maintenance, with inconsistencies seen in the application throughout the Work, in theory and practice

• Physically and orally demonstrates an adequate understanding of Dance Technique incorporating Safe Dance Practice applied to the Work performed, within the study of dance as an artform, in theory and practice

9-12

• Presents a limited range of body skills, locomotor and non-locomotor sequences of varying complexity (using aspects of the elements of dance applied to the Work performed) in theory and practice

• Demonstrates a limited understanding and control of anatomical structure, alignment, body limitations, capabilities and body maintenance, with inconsistencies seen in the application throughout the Work, in theory and practice

• Physically and orally demonstrates limited understanding of Dance Technique incorporating Safe Dance Practice applied to the Work performed, within the study of dance as an artform, in theory and practice

5-8

• Presents minimal body skills, simple locomotor and non-locomotor sequences (using minimal aspects of the elements of dance applied to the Work performed) in theory and practice

• Demonstrates a minimal understanding and/or control of anatomical structure and/or alignment and/or body limitations and/or capabilities and/or body maintenance, in theory and practice

• Physically and orally demonstrates minimal understanding of Dance Technique incorporating Safe Dance Practice applied to the Work performed, within the study of dance as an artform, in theory and practice

1-4

Criterion 2: Performance Quality (20 marks) The candidate will be assessed on how well he/she:

• demonstrates Performance Quality applied to the dance performed, and/or during the interview, within the context of the study of dance as an artform.

The candidate demonstrates skills and understanding of:

– control and manipulation of the elements of dance as they relate to performance; – quality of line; – projection and focus; – commitment and consistency; – kinaesthetic awareness; – interpretation/intent related to a context; – the link between the accompaniment and the physical realisation of the Work; – the language of dance.

Marking Criteria – Performance Quality Mark

• Sustains control and consistency in the manipulation of space, time and dynamics performed which leads to a clear interpretation of the Work performed in theory and practice

• Sustains commitment, focus, projection and consistently controls quality of line and kinaesthetic awareness, in relation to the Work performed, in theory and practice

• Physically and orally demonstrates a consistent understanding of Performance Quality applied to the Work performed, within the study of dance as an artform, in theory and practice

17-20

• Demonstrates sound control and manipulation of the elements of dance but may not maintain overall consistency which affects the interpretation of the Work performed, in theory and practice

• Demonstrates commitment, focus, projection, quality of line and kinaesthetic awareness, but may not sustain these consistently in relation to the Work performed, in theory and practice

• Physically and orally demonstrates a sound understanding of Performance Quality applied to the Work performed, within the study of dance as an artform, in theory and practice

13-16

• Demonstrates adequate control and manipulation of the elements of dance but may not maintain overall consistency which affects the interpretation of the Work performed, in theory and practice

• Demonstrates aspects of commitment, focus, projection, quality of line and kinaesthetic awareness, but may not demonstrate these consistently, in theory and practice

• Physically and orally demonstrates an adequate understanding of Performance Quality applied to the Work performed, within the study of dance as an artform, in theory and practice

9-12

• Presents movement with limited use and/or variation of aspects of the elements of dance, which limits the sense of interpretation, so that it becomes a dance in theory and practice

• Presents movement with limited evidence of aspects of commitment and/or focus, and/or projection, and/or quality of line, and/or kinaesthetic awareness and/or the link between the accompaniment and the physical realisation of the dance, in theory and practice

• Physically and orally demonstrates a limited understanding of aspects of Performance Quality and/or the language of dance applied to the dance performed, within the study of dance as an artform, in theory and practice

5-8

• Moves with minimal use of the elements of dance with minimal sense of interpretation, in theory and practice

• Moves with minimal sense of commitment and/or focus and/or projection and/or quality of line and/or kinaesthetic awareness and/or the link between the accompaniment and the physical realisation of the dance, in theory and practice

• Physically and orally demonstrates minimal understanding of Performance Quality and/or the language of dance applied to the dance performed, within the study of dance as an artform, in theory and practice

1-4

MN Diocesan Dance Part B – Major Study Option Mark Sheet

OR Major Study Film and Video (40 marks) Criterion 1: The candidate demonstrates the ability to compose, organise and film movement in a personal style based on a concept/intent, demonstrated in the Work and stated in the rationale, in conjunction with additional considerations that may arise from the intent of the Work, within the context of the study of dance as an artform Additional considerations that may arise from the intent of the Work include: – simple and appropriate costume and/or props for 2 or 3 dancers; – appropriate choice of accompaniment/non-accompaniment.

Criterion 1a: Generating movement in relation to dance composition for 2 or 3 dancers based on a stated concept/intent in a film medium (8 marks)

The candidate will be assessed on how well he/she:

• composes movement for 2 or 3 dancers in a personal style based on a stated concept/intent within the context of dance as an artform.

The candidate demonstrates skills and understanding of: – manipulation of the elements of dance (space, time and dynamics) for 2 or 3 dancers; – personal style; – abstraction.

Marking Criteria – Generating Movement Mark

• Demonstrates a skilled, personalised manipulation of the elements of dance for 2 or 3 dancers in response to a clearly established concept/intent in a film medium, in theory and practice

• Consistently composes appropriately abstracted movements for 2 or 3 dancers in response to a clearly established concept/intent in a film medium, in theory and practice

• Physically and orally demonstrates a consistent understanding of the link between a concept/intent and the generation of movement for 2 or 3 dancers in a film medium, in theory and practice

7-8

• Demonstrates a sound, personalised manipulation of the elements of dance for 2 or 3 dancers but may lack consistency in establishing relevance to a concept/intent in a film medium, in theory and practice

• Demonstrates sound skills in composing abstracted movements for 2 or 3 dancers but has inconsistencies in relation to the appropriateness of the abstraction to support the establishment of a concept/intent in a film medium, in theory and practice

• Physically and orally demonstrates a sound understanding of the link between a concept/intent and the generation of movement for 2 or 3 dancers in a film medium, in theory and practice

5-6

• Demonstrates a limited use of aspects of the elements of dance and/or personalisation for 2 or 3 dancers in establishing a concept/intent in a film medium, in theory and practice

• Shows a limited level/appropriateness of abstraction for 2 or 3 dancers in establishing a concept/intent in a film medium, in theory and practice

• Physically and orally demonstrates a limited understanding of the link between a concept/intent and the generation of movement for 2 or 3 dancers in a film medium, in theory and practice

3-4

• Attempts to use aspects of the elements of dance for 2 or 3 dancers but has minimal personalisation and/or relationship to a concept/intent in a film medium, in theory and practice

• Attempts movements for 2 or 3 dancers with minimal abstraction and/or minimally linked to a concept/intent in a film medium, in theory and practice

• Physically and orally demonstrates a minimal understanding of the link between a concept/intent and/or the generation of movement for 2 or 3 dancers in a film medium, in theory and practice

1-2

Criterion 1b: Organises and films movement for 2 or 3 dancers in relation to a stated concept/intent, in the film medium (16 marks)

The candidate will be assessed on how well he/she:

• organises the motif(s) into phrases for 2 or 3 dancers relative to the stated concept/intent within the context of dance as an artform.

The candidate demonstrates skills and understanding of the manipulation of space, time and dynamics to:

– establish motif(s); – manipulate motif(s) to create phrases; – develop phrases to support a concept/intent.

The candidate demonstrates skills and understanding of film and video techniques: – focus, zoom, framing, fade, tilt and pan; – point of view, angle, height and range of camera shot; – manipulating camera movement.

Marking Criteria – Organising the Movement Mark

• Demonstrates skilled, consistent manipulation of the elements of dance for 2 or 3 dancers to establish motif(s) relevant to a concept/intent, in the film medium, in theory and practice

• Demonstrates consistent manipulation of motif(s) to create and develop phrases for 2 or 3 dancers relevant to a concept/intent, in the film medium, in theory and practice

• Physically and orally demonstrates a consistent understanding of the link between a concept/intent and the organisation of movement for 2 or 3 dancers, in the film medium, in theory and practice

13-16

• Demonstrates a sound manipulation of the elements of dance for 2 or 3 dancers to establish motif(s) but may have inconsistencies in the relationship to a concept/intent, in the film medium, in theory and practice

• Demonstrates sound manipulation of motif(s) to create and develop phrases for 2 or 3 dancers but with inconsistencies and/or inconsistencies in the relationship to a concept/intent, in the film medium, in theory and practice

• Physically and orally demonstrates a sound understanding of the link between a concept/intent and the organisation of movement for 2 or 3 dancers, in the film medium, in theory and practice

9-12

• Makes an attempt to manipulate aspects of the elements of dance for 2 or 3 dancers, but is limited in establishing a motif(s) and/or is inconsistent in the relationship to a concept/intent, in the film medium, in theory and practice

• Makes an attempt to create phrases for 2 or 3 dancers but this is not clearly developed using motif(s), and/or not linked to a concept/intent, in the film medium, in theory and practice

• Physically and orally demonstrates a limited understanding of the link between a concept/intent and the organisation of movement for 2 or 3 dancers, in the film medium, in theory and practice

5-8

• Attempts to use aspects of the elements of dance for 2 or 3 dancers but shows minimal evidence of establishing a motif(s) and/or a minimal relationship to a concept/intent, in the film medium, in theory and practice

• Shows movements for 2 or 3 dancers with minimal evidence of phrases and/or link to a concept/intent, in the film medium, in theory and practice

• Physically and orally demonstrates a minimal understanding of the link between a concept/intent and/or the organisation of movement for 2 or 3 dancers, in the film medium, in theory and practice

1-4

Criterion 2: Organises and edits the Work for 2 or 3 dancers in relation to a concept/intent demonstrated in the work and stated in the rationale, in conjunction with additional considerations that may arise from the intent of the Work, within the context of the study of dance as an artform (16 marks) The candidate will be assessed on how well he/she:

• structures the Work for 2 or 3 dancers through editing techniques in a form relevant to a stated concept/intent, within the context of dance as an artform.

The candidate demonstrates skills and understanding of:

– editing techniques; – form/structure in relation to concept/intent; – organisation of the phrases/sequences/sections which achieves unity in relation to a concept/intent; – unity achieved through the use of transition, repetition, variation and contrast in relation to a concept/intent.

Marking Criteria – Organising the Work Mark

• Demonstrates a skilled organisation of phrases/sequences/sections for 2 or 3 dancers which achieves a clear sense of unity in a form relevant to a concept/intent in the film medium, in theory and practice

• Demonstrates a skilled application of transitions, repetition, variation and contrast for 2 or 3 dancers which contributes to the achievement of unity in relation to a concept/intent in the film medium, in theory and practice

• Physically and orally demonstrates a consistent understanding of the link between a concept/intent and the organisation of the Work for 2 or 3 dancers in the film medium, in theory and practice

13-16

• Demonstrates a sound organisation of phrases/sequences/sections for 2 or 3 dancers but with inconsistencies affecting unity relative to form and/or a concept/intent in the film medium, in theory and practice

• Demonstrates a sound application of transitions, repetition, variation and contrast for 2 or 3 dancers but with inconsistencies which affect unity, relative to a concept/intent in the film medium, in theory and practice

• Physically and orally demonstrates a sound understanding of the link between a concept/intent and the organisation of the Work for 2 or 3 dancers in the film medium, in theory and practice

9-12

• Attempts organisation of phrases/sequences/sections for 2 or 3 dancers but with inconsistencies throughout affecting unity relative to form and/or a concept/intent in the film medium, in theory and practice

• Shows limited skills in the use of transitions and/or repetition and/or variation and contrast for 2 or 3 dancers in relation to a concept/intent in the film medium, in theory and practice

• Physically and orally demonstrates a limited understanding of the link between a concept/intent and the organisation of the dance for 2 or 3 dancers in the film medium, in theory and practice

5-8

• Shows minimal understanding of the organisation of the dance for 2 or 3 dancers in relation to form and/or a concept/intent in the film medium, in theory and practice

• Shows minimal understanding of the use of transitions, repetition, variation and contrast for 2 or 3 dancers, in relation to a concept/intent in the film medium, in theory and practice

• Physically and orally demonstrates a minimal understanding of the link between a concept/intent and/or the organisation of the dance for 2 or 3 dancers in the film medium, in theory and practice

1-4

MN Diocesan Dance

Part B – Major Study Option Mark Sheet

OR Major Study Appreciation (40 marks) See the 2015 Section II Marking Criteria with ‘answers could include’ section;

https://educationstandards.nsw.edu.au/wps/wcm/connect/2a0bcb57-75d4-439e-9a64-2c4f724aed0e/dance-

hsc-mg-2015.pdf?MOD=AJPERES&CACHEID=ROOTWORKSPACE-2a0bcb57-75d4-439e-9a64-

2c4f724aed0e-lG9105z