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DANCE 1.1 Compose Movement Sequences

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Number AS90001, Version 4 Dancing Towards Respect Part 2 "Respect"

Teacher Guidelines:

Context/setting: This assessment resource has been written to assess learning gained from Part Two of Dancing Towards Respect - Respect for Others.

Conditions: This assessment resource has been written for students to compose a dance for two people (a duet) in an AB (binary) structure.

Resource requirements:

  1. Several copies of the 'situations' (see below)
  2. Appropriate music provided by the teacher from which the students can choose accompaniment.
  3. Authenticity sheets for students to sign as verification that the composition is their own work if the teacher has not observed the process.
  4. A video camera to record work for formative feedback and moderation purposes.

Situations:

1. Someone disagrees with you 2. A new student arrives in your class
3. Someone accidentally knocks into you 4. You see someone taking up two seats in a bus while others have to stand
5. You see an elderly lady struggling to climb some steps 6. Your friend tries to persuade you to do something that you don't want to do
7. You are being bullied 8. You are the bully
Respect

Student Instructions Sheet

This is the one of three opportunities you will have this year to compose a movement sequence to gain AS 90001. This sequence is for two people (a duet) and you will be one of the dancers.To achieve excellence in this standard you must select and combine movements in original and imaginative ways to make a dance sequence to communicate disrespect and respect.

Although this achievement standard is assessing your choreography, you will need to perform your sequence well so that your choreography looks effective. The movements need to be clear and precise, showing that your sequence is rehearsed and not improvised.You will be given some time in class to develop your sequence. You may also wish to work on it in your own time. It must be at least 45 seconds long, but it is recommended that you aim for 1 minute.

No costumes are required for the performance of the sequence but appropriate clothing should be worn. You will be given a choice of music or you may perform without music. Your sequences will be assessed within normal class time in the dance room with front facing away from the mirrors. The performances will be videoed for moderation.

The Brief

You are to compose a 1-minute AB sequence for two people based upon work completed during the 'Respect for Others' dance unit. You will select a 'situation' from the list on the next page and use counter balances, a motif and two choreographic devices to help communicate the idea of disrespect and respect. Your sequence should also:

  • Include unison and non-unison movements
  • Have variations in range (the distance between the dancers, from near to far)
  • Include a transition from a still shape in Section A into a new still shape to begin Section B

Each section must contain:

  • A gesture which both dancers perform (the motif) and at least one development of the motif using the choreographic devices of either embellishment, augmentation or insertion
  • At least one safe, but imaginative counter balance in Section A and a different counter balance in Section B
Steps in the Process
  1. Select a 'situation' from the choices below.
    Situations:
    1. Someone disagrees with you 2. A new student arrives in your class
    3. Someone accidentally knocks into you 4. You see someone taking up two seats in a bus while others have to stand
    5. You see an elderly lady struggling to climb some steps 6. Your friend tries to persuade you to do something that you don't want to do
    7. You are being bullied 8. You are the bully
     
  2. Section A: Disrespect. You are to compose a phrase or sequence of abstract movement (approximately 30 seconds in length) for two people about the situation you have chosen.
    You must include an appropriate gesture, which both you and your partner perform (a motif) and develop the motif using the choreographic devices of embellishment, augmentation or insertion. Include at least one safe and imaginative counter-balance.
    Finish the sequence in a still shape that expresses the idea of disrespect.
    This is Section A of your composition.
  3. Section B: Respect. Now compose a phrase or sequence of abstract movement (approximately 30 seconds in length) for two people about behaving with respect in the situation.
    Your sequence should begin with a still shape that represents the idea of respect.
    Create a new gesture and develop it using the choreographic devices of embellishment, augmentation or insertion. Include at least one safe and imaginative counter-balance that is different from the one performed in Section A.
    Finish the sequence in a still shape that expresses the idea of respect.
    This is Section B of your composition.
  4. The next step is to create a transition between Section A and Section B. Compose a short phrase of movement that changes the still shape performed at the end of Section A into the one that you composed for the opening movement in Section B. You will be changing the mood of the dance from one of disrespect to respect
  5. You can now put together, refine and rehearse your dance ready for assessment. It has the following structure:
    • Section A - Movement that represents disrespect, finishing in a still shape
    • Transition - Moving from a still shape communicating the idea of disrespect, into a still shape communicating the idea of respect
    • Section B - Movement that represents respect
     
Assessment Schedule: Dance 1.1 AS90001 'Respect'
Evidence Achievement Achievement with Merit Achievement with Excellence
The students present an original composed movement sequence for two people (a duet), which is appropriate to the brief and is at least 45 seconds long.

Clearly demonstrates disrespect and respect using an AB structure with a transition between sections.The sequence shows appropriate use of:

  • Unison and non-unison movements E.g. Non-unison: One dancer is moving while the other holds a still shape
  • Variations in range E.g. One variation from near to a short distance apart
  • A transition from a still shape in Section A into a new still shape to begin Section B E.g. Dancers perform a simple movement from one shape to the next
  • Motif and development using embellishment, augmentation or insertion E.g. A simple, but appropriate gesture such as a push with the arms, developed by augmenting the movement using a stronger action and reaction from the other dancer.
  • Counter-balances E.g. One symmetrical and one asymmetrical counter-balance using the feet as body bases

Clearly demonstrates disrespect and respect using an AB structure with a transition between sections in an interesting movement sequence composition.The sequence shows deliberate and effective use of:

  • Unison and non-unison movements E.g. Non-unison: Both dancers are performing different movements on different levels
  • Variations in range E.g. Two variations covering a wider area
  • A transition from a still shape in Section A into a new still shape to begin Section B E.g. Dancers use a variety of body parts and changes in facings to move into the new still shape (or counter-balance)
  • Motif and development using embellishment, augmentation or insertion E.g. An appropriate gesture using the arms and other body parts, developed by augmenting the movement into slow motion
  • Counter-balances E.g. Two asymmetrical counter-balances with different facings, where one dancer is sitting or kneeling

Clearly demonstrates disrespect and respect using an AB structure with a transition between sections in an imaginative movement sequence composition.The sequence shows skilful and perceptive use of:

  • Unison and non-unison movements E.g. Non-unison: Combinations of one dancer moving while the other holds a still shape and both dancers performing different movements on different levels, with different facings
  • Variations in range E.g. More than two variations covering the area of the dance space
  • A transition from a still shape in Section A into a new still shape to begin Section B E.g. Dancers engage the torso and a variety of other body parts, and change facings and levels to move from one still or counter-balanced shape into the new one.
  • Motif and development using embellishment, augmentation or insertion E.g. An appropriate gesture engaging the torso and other body parts, developed by augmenting the movement into slow motion and inserting new movement
  • Counter-balances E.g. More than two counter-balances with different facings and body bases

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