1. Dance 2019 v1.1 IA2 high-level annotated sample response
July 2018
Choreography (20%)
This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described in the instrument-specific marking guide (ISMG).
Assessment objectives
This assessment instrument is used to determine student achievement in the following objectives:
1. demonstrate an understanding of elements of dance, structure, and production elements in relation to chosen purpose, context and viewpoint
2. apply literacy skills using relevant dance terminology and language conventions that communicate ideas about the dance concepts within the chosen purpose, context and text
3. organise and apply the elements of dance, choreographic devices and production elements for a chosen purpose and context
7. create a contemporary dance to communicate a social, political or cultural viewpoint
8. evaluate the dance by justifying choices made in terms of elements of dance, structure and production elements used to communicate meaning.
Note: Objectives 4, 5 and 6 are not assessed in this instrument.

2. Instrument-specific marking guide (ISMG)
Criterion: Evaluating dance concepts
Assessment objectives
1. demonstrate an understanding of elements of dance, structure, and production elements in relation to chosen purpose, context and viewpoint
2. apply literacy skills using relevant dance terminology and language conventions that communicate ideas about the dance concepts within the chosen purpose, context and text
8. evaluate the dance by justifying choices made in terms of the key elements of dance, structure and production elements used to communicate meaning
The student work has the following characteristics:
Marks
application of literacy skills through sequenced and connected ideas that enhance communication of meaning about the dance concepts
evaluation of dance incorporates a well-reasoned justification using examples that reveal the interrelationship between purpose, context and meaning
4–5
demonstration of an understanding of elements of dance, structure, and production elements in relation to chosen purpose, context and viewpoint
application of literacy skills using relevant dance terminology and language conventions that communicate ideas about the dance concepts within the chosen purpose, context and text
evaluation of the dance by justifying choices made in terms of the key elements of dance, structure, and production elements used to communicate meaning 3
demonstration of understanding of elements of dance, structure, and production elements
application of literacy skills using relevant dance terminology and language conventions to communicate ideas and meaning
evaluation of dance, justifying the use of elements of dance, structure or production elements in own dance work 2
identification of elements of dance, structure, or production elements
use of language to communicate ideas
description uses examples of elements of dance, structure or production elements 1
does not satisfy any of the descriptors above.

3. Criterion: Applying dance concepts
Assessment objective
3. organise and apply the elements of dance, choreographic devices and production elements for a chosen purpose and context
The student work has the following characteristics:
Marks
organisation and application makes purpose and context explicit through manipulation of movement and use of production elements 6
organisation and application shows integration of dynamics and spatial relationships, enhancing the chosen purpose and context 5
organisation and application reveals choices in production elements and choreographic devices, including motif/s, to support purpose and context 4
organisation and application of the elements of dance, choreographic devices and production elements for a chosen purpose and context 3
organisation of movement to develop transitions using the elements of dance, choreographic devices or production elements 2
development of isolated sequences of movement 1
does not satisfy any of the descriptors above.

4. Criterion: Communicating meaning
Assessment objective
7. create contemporary dance to communicate a social, political or cultural viewpoint
The student work has the following characteristics:
Marks
creation of dance reveals complex and subtle layers of meaning to communicate viewpoint with impact and sensitivity 9
creation of dance integrates dance concepts into a cohesive form to communicate stated viewpoint
7–8
creation of dance shows purposeful selection of production elements to communicate meaning 6
creation of contemporary dance to communicate a social, political or cultural viewpoint 5
movement sequences use elements of dance or structure that link to meaning
3–4
movements are selected to show ideas
1–2
does not satisfy any of the descriptors above.

5. Task
Choreograph a contemporary dance using a narrative structure to communicate a social, political or cultural viewpoint using a strong, dynamic male or female character of historical, social or political significance as stimulus.
Choreography must include:
the use of choreographic devices
at least two production elements.
You:
may choreograph your own complete work or a section of a larger work
must complete a choreographic statement
will be assessed individually
will be filmed to substantiate the teacher judgments of your choreography.

6. Sample response
Criterion
Marks allocated
Result
Evaluating dance concepts
Assessment objectives 1, 2, 8 5
Applying dance concepts
Assessment objective 3 6
Communicating meaning
Assessment objective 7 9
Total 20
The annotations show the match to the instrument-specific marking guide (ISMG) performance-level descriptors.

7. Choreographic statement
This dance work explores a socio-cultural context to communicate a strong message about racial equality and the power of non-violent protest. The purpose is to challenge and provoke the audience. It takes the viewpoint that one influential person can effectively change the course of history. The dance involves two dancers, one dressed in black to represent Martin Luther King, the other in white to represent racism. The dance uses a narrative form. The music is an instrumental, percussive piece that uses synthesized sound to create an ominous atmosphere to match the struggle of inequality. The first section introduces the idea of oppression, clearly showing an unequal relationship between the dancers. Different levels show the dancer wearing black on a lower level as the ‘oppressed’ and the dancer in white on the higher level as the ‘oppressor’. This distinctive motif re-appears at the end to show a reversal of roles. The pressure upon young King is made clear through grounded movements and contractions. The oppressor, in contrast, uses slow, forceful movements to push, pull and manipulate King to express dominance. To depict King’s non- violent philosophy, the white dancer fists King’s shirt and King circles his arms overhead placing his hands on his partner’s shoulders symbolising a strength and power without violence. King’s struggle to escape racism is shown as he is chased around the general stage space in wide circular pathways by the oppressor.
Evaluating dance concepts [5]
evaluation of dance incorporates a well- reasoned justification using examples that reveal the interrelationship between purpose, context and meaning
Purpose, context and viewpoint regarding communicating a strong message about racial equality and the power of nonviolent protest are made clear. Narrative structure, production elements (music) and elements of dance (such as space — levels; dynamics — force; relationships between dancers) are demonstrated throughout the statement.
Justification of dance concepts (space — level; choreographic device — motif; time — tempo; dynamics — force, energy) outlined with selection of key examples in the dance to communicate dance ideas about oppression and dominance.

8. The second section builds to King beginning to take a stand against racism. Physical challenges are mixed with unison work at a faster tempo as the dancers mirror movements to demonstrate reaching equality. The use of strong contractions shows the ongoing internal battle that is waged within King. This section ends with the oppressor raising his fists in the air and looking to the ceiling in confusion to signal that he is beginning to see the error in his ways. The change of levels and manipulation of the oppressor’s body by King shows signs of the changing balance of power. The third section uses partner work as the dancers push and pull against one another in a final battle of wills. In the end, the beginning motif is repeated as the white dancer falls to the floor staring at the floor as King stands over him in victory. Both dancers raise their arms in a complementary pose showing the shift in power towards being more equal. Reference: American Rhetoric: Top 100 speeches, Martin Luther King, Jr. I have a dream. Delivered 28 August 1963, at the Lincoln Memorial, Washington D.C. eam.htm. Accessed 12 May 2017.
Evaluating dance concepts [5] application of literacy skills through sequenced and connected ideas that enhance communication of meaning about the dance concepts Evidence of appropriate sentence structure, paragraphing and relevant dance terminology (e.g. unison, levels, tempo) throughout the statement.

9. Applying dance concepts [6]
organisation and application makes purpose and context explicit through manipulation of movement and use of production elements
Key choices made in terms of narrative form and use of key motifs (choreographic device) support chosen purpose, context and viewpoint about racial equality and the power of nonviolent protest.
Varying dynamics and changing spatial relationships between the two dancers combine with the music and costume to enhance and support the strong social message.
Communicating meaning [9]
creation of dance reveals complex and subtle layers of meaning to communicate viewpoint with impact and sensitivity
Layers of meaning are clearly communicated through crafting of movement using purposeful selection and integration of dance concepts such as levels, relationships between the dancers, variations in tempo and movement qualities.
A cohesive narrative form with strong visual impact.
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