GCSE Dance. Unit Choreography Report on the Examination June G13. Version: 1

Transcription

1 GCSE Dance Unit Choreography Report on the Examination 4230 June G13 Version: 1

2 Further copies of this Report are available from aqa.org.uk Copyright 20yy AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre.

3 Unit 4a Solo Composition General Comments There was a wide variety of work presented this year with some exceptional and inspiring solos where candidates had choreographed a cohesive and unified dance. In contrast the outcomes for those candidates that had simply created a study of linked partially developed motifs were less successful. Motif length was more uniform this year and centres that facilitated the choice of motifs with different content contexts advantaged their candidates. There is no prescription about the length of each of the initial three motifs used, but they do need to contain sufficient action content to allow scope for development and creativity whist not being so long that developments become unfocussed and difficult to manage. Candidates who had worked with 3 motifs all based on gesture found it difficult to gain punctuation, variety and originality in development, whereas those that had used contrasting motifs were best advantaged because they had more material to manipulate and develop. Outcomes which gained the higher marks had almost always used original motifs that were already varied in terms of dynamics, action and space. Centres are reminded that the three original motifs are a springboard to devising and the end result can be different from the style of the selected work. When candidates had taken ownership of the motifs and used them personally, the work became very interesting and innovative. Candidates were prepared with the original motifs in a number of ways, including: All candidates using the same three motifs Candidates making their own choice of professional work, viewing it, and then selecting three motifs for their own use. The centre making the choice of professional work, then teaching five or six motifs from which the candidate then selected three for their personal use Most candidates had been encouraged to select their own music for this task as a preparation for Unit 4(b) and it was clear that where students had been tutored in their choice of accompaniment it often supported the choreography by providing structure, dynamic quality and contrast. In some centres all candidates used the same track which tended to stifle individual creativity and did not encourage a personal response to the task. Where the track has been cut and edited to provide a finite ending, candidates achieve better in the Structure criterion. Unfortunately some candidates work to an open ended piece of music, finishing their dance before the track ends and this inevitably affects the marks that can be awarded for consideration of structure. Centres are reminded that there is a requirement for the moderator to see the three original motifs at moderation before the composition is assessed Motifs must be selected from the prescribed list of professional works with Rosas Danst Rosas, Perfect, Dance Tek Warriors, Nutcracker and Ghost Dances being popular choices amongst teachers and students. Centres are reminded that the professional work chosen for this task MUST be different to that chosen for Unit 3. 3 of 8

4 Specific observations related to the criteria for assessment Imaginative development of original motifs The best work incorporated higher order developments such as fragmentation, instrumentation etc. Where centres had really focused on the creative process and had encouraged candidates to experiment and manipulate the motifs the resulting solos were exciting and personal to the student. Weaker candidates were often over reliant on repetition and the dynamic development was often not fully explored. Some candidates presented work with minimal developments of the three motifs but added huge amounts of their own material or material from other sections of the chosen work or from one of the set dances. This did not demonstrate creative flair as seen in some of the best work. Some centres added a stimulus to the work which sometimes helped candidates focus on the creation of a coherent piece and helped the candidates achieve better outcomes. Successful integration and linking of motifs into composition There was a real range of achievement seen in the integration and linking of motifs. The most successful candidates were able to create sophisticated transition material in the same style as the motifs to link their developments. Variety of transitions and the fluidity of the phrases contributed to more successful solos. There is a danger that this task can become jigsaw-like with students taking a development and just adding it to another. Some candidates do not seem to understand the task and often include new material that showcases their technical ability rather than devising dance material that is sympathetic to the mood and style of their chosen piece. eg. Some candidates used action content taken from commercial videos as transitions when this was at odds with the rest of the material. Structuring and use of choreographic devices Favoured structuring forms chosen by candidates for their solos were binary and ternary. Most candidates understand the need to choreograph a beginning, middle and end however there are still examples of compositions with abrupt endings which are not brought to a satisfying conclusion. Much preparation time goes into motif development and linking, so sometimes the overall structure is not so well considered. Simple repetition dominated the weaker pieces but where the use of climax, highlights and contrast was utilised the solos usually gained higher marks. The choice of good and varied accompaniment which was properly edited clearly advantaged candidates in this criterion. Analysis and evaluation to bring about improvement Some centres produced very detailed evidence to support marks awarded in this criterion. It is important to note that marks are awarded for analysis and evaluation to bring about improvement, therefore lots of description without the above will not adequately support the award of a high mark. The most successful examples were found where a diary or ongoing account of progress was kept, or where the centre provided a template for guidance. Many candidates still have difficulty in evaluating and analysing their work in any great depth and often the evidence is purely descriptive and lacks detailed analysis. Centres should avoid confusing the evidence required to support the award of a mark in this criterion (which every candidate needs to have), with the introduction/brief note/verbal explanation which candidates need to provide for the moderator during the moderation event so as to appropriately inform but not delay the moderation process (this only applies to candidates being moderated). 4 of 8

5 Unit 4b Solo/Group Choreography General Comments Moderators reported seeing some excellent choreography with a much wider range of interesting and unusual starting points this year whilst still emerging out of the generic list of starting points as detailed in the specification. Many candidates had clearly been tutored in an individual and bespoke choice of the starting point and had then been encouraged to develop the idea in a creative way leading to an outcome that was beyond a literal response. Where candidates had been allowed to decide on the theme or idea of the dance first, before obtaining a specific stimulus, the outcomes were less successful. Similarly when centres permit or require several candidates to use the same starting point the resulting work is often similar and lacking in originality and creativity. Candidate notes were provided in almost all centres and these really helped the moderator to understand the intention of the choreography, however it is also really important to include any relevant stimulus material, such as the poem/image/photograph used as without this it can be difficult to fully value the relationship between the stimulus and the work. These notes should be no more than a single side of A4 so the moderator has just enough information without causing undue delay to the event.. Specific observations related to the criteria for assessment Creative and imaginative response to the selected stimulus/starting point Less successful outcomes tend to emerge from very broad themes such as drugs, friendship, relationships, etc. as they almost always lead to literal or simple responses. Where the starting point was specific and had potential for originality and where candidates had been encouraged to thoroughly research their idea it was very much easier for candidates to access the higher marks for this criterion. Some centres provided candidates with a menu of stimulus / starting points to choose from. This strategy may be useful for the less able students who need to be encouraged to avoid the more obvious and broader themes. Students that demonstrate a personal connection with their work are often those that have been inspired by their own choice or selection. Some examples of ideas which produced really creative outcomes this year were: Box of Crayons, Gossip, Dominoes, Morse Code, The Berlin Wall, Mathematical Equation, Invention of the Bicycle, Before the Fall, Origami, Washing Machine etc. Selection of action content and its application to relationships where appropriate This was generally well considered and the best work used action content which was original, bespoke, did not rely just on the technique of a specific style, and was created specifically to support the dance idea. Less successful candidates tended to favour large body actions using just arms or legs, whereas the most successful investigated fine detailed movement possibilities. It was very obvious where candidates had played with material and explored and developed it in unusual and creative ways, building an appropriate vocabulary of action content and then crafting it to meet the needs of the dance idea. Some moderators found that at times the action content was not chosen for specific purpose but chosen to demonstrate technical ability without being consistent in style and/or suitable for the 5 of 8

6 dance idea. Some candidates rely too heavily on movements taken from technique classes rather than exploring and creating their own bank of dance statements that support and inform their dance idea. Selection of dynamic content This is an area that candidates seem to have some difficulty with and often just fast and slow are used. More consideration of the use of dynamic variation to inform the intention of the choreography would benefit some outcomes as was apparent in the work of candidates who utilised dynamic contrast and sophisticated and subtle changes of dynamics within their choreographies. Selection of spatial content and relationship content where appropriate Generally candidates were able to use a variety of levels and pathways and where relevant they appropriately considered the use of relationships and patterns. Some candidates could have further considered multi-directional facings and variation from linear patterns. Others found it difficult to make their work travel extensively or had not considered the use of space in relation to the dance idea and some candidates had not considered the use of a front for their choreography. Further consideration of these skills could help to enhance outcomes for candidates. Overall form and structure Most candidates have a basic understanding of the ways in which structuring devices can be used and almost all are able to utilise a beginning, middle and an end in their choreographies. However, candidates could be encouraged to consider the choice of ending earlier in the choreographic process so they have a vision of where the piece is leading and concluding. This approach may help avoid endings that are contrived and abrupt. Sometimes the structure indicated in the programme notes was not apparent or even the same as that featured in the dance and it could not therefore be credited. The best choreographies featured smooth and seamless transitions and had a sense of unity. Use of choreographic devices and principles Lessons learned in unit 4a have generally improved candidates choreographic skill and most candidates seem to have a better understanding of how to develop their work and use a wider range of choreographic devices including climax. Motif and development is often clearly understood and many centres encourage candidates to create and develop several bespoke motifs for this task. In order to gain the highest possible marks, candidates need to be encouraged to utilise a wide range of devices to facilitate complexity. Relationships in group dances did have variety although some candidates tended to rely too heavily on the use of unison and canon. Choice of aural setting Choices have improved with some very diverse, unusual and appropriate pieces of music being used, so that many candidates were able to access high marks in this criterion. Three elements of this criterion are about choice only: a) offers suitable mood/atmosphere; b) offers contrast/variety; e) offers opportunities for demonstration of sensitivity/musicality. For these 6 of 8

7 elements marks are awarded for the candidates choice of accompaniment only, not how it has been used. Two elements of this criterion are about conscious choice: c) works with the structure of the choreography; d) works with the theme or idea. For these elements if the candidate doesn t acknowledge the presence of the feature in the accompaniment in some way, then it hasn t been chosen for purpose eg. If the chosen a piece of music has a clear build up to a climax but the candidate hasn t used it in the dance, then it isn t a choice for purpose so cannot be credited. Candidates were sometimes disadvantaged when two or more pieces of accompaniment had been badly or unsympathetically edited. In such a short choreography it is rare that the editing of more than two tracks together is successful as there is insufficient time for the pieces to develop. Where accompaniment had been edited together sympathetically and appropriately, choices were often effective and candidates were able to choreograph to a specific ending or conclusion in the accompaniment. Some candidates need further guidance to fully appreciate the way in which a good choice of accompaniment can enhance and inform their choreographies by supporting the dance idea and providing an appropriate atmosphere for the work. These candidates tend to default to the use of their favourite popular song when it has little or no relevance to the choreographic intent and where it can interfere with the audience s enjoyment of the movement content. Overall communication of meaning, mood or dance idea As with the first criterion this differentiates the most able, and there were some exciting, creative and sensitive interpretations of themes. Those candidates that could layer their ideas and not just produce a linear version of their dance were the most successful in this criterion. Most candidates had made clear links to their starting point and their ideas were communicated well. 7 of 8

8 Mark Ranges and Award of Grades Grade boundaries and cumulative percentage grades are available on the Results Statistics page of the AQA Website. Converting Marks into UMS marks Convert raw marks into Uniform Mark Scale (UMS) marks by using the link below. UMS conversion calculator 8 of 8