MOCK PAPER 1. Guidance

Transcription

1 MOCK PAPER 1. Guidance Section A Knowledge and understanding of choreographic processes and performing skills 37.5% (30 marks) you should spend about 30 minutes on this section You are choreographing a group dance for three dancers using the image below as stimulus Image: Bryan Minear. 1. Outline a dance idea or theme that you could consider from this stimulus. [1 mark] One mark for appropriate response to a theme or idea that is linked to the starting point eg The hand could represent one dancer drowning and the other two dancers doing all they can to help. 2. Give a formation that you might use for the start of the dance, which communicates your dance idea [1 mark] One mark for appropriate formation explaining how it supports the dance idea.

2 Eg: I was use a triangular formation with the drowning dancer at the front and the other two dancers behind. This would show the initial separation between them, the isolation and also emphasise the drowning dancer as the focal point. 3. Identify the type of structure you might use for your dance [1 mark] One mark for appropriate structure. Eg: binary, ternary, episodic, narrative, rondo, or for using letter form AB/ABA etc 4. Give two ways your chosen structure might communicate your dance idea [2 marks] One mark each for explaining how the chosen structure supports the dance idea. Eg: For binary, section A would be the drowning dancer, Section B would be saving them. 5. Describe the type of aural setting you might use to accompany the dance 2 marks One mark for appropriate each appropriate feature of accompaniment described. Accepted features might include, instruments, rhythm, found and natural sounds, dynamic, melody/pitch, style/genre 6. Give one way in which this this aural setting could enhance your chosen dance idea. [1 mark] One mark for explanation of how the accompaniment enhances the dance idea. References can include: climax, highlights, sections, tone, pitch, volume, mood, structure, dynamic contrast, relationship between the music and the action content, spatial content, relationship content but must link to the dance idea eg: The natural splashing water sounds were important for Section A, because it supported the idea of water and drowning 7. Describe a motif that you could choreograph for this dance. Your answer should include action, space and dynamics [3 marks] The response MUST be a sequential motif from start to finish before any marks can be awarded. Then, one mark each awarded for accurate description of actions, space and dynamics. Eg the drowning dancer kneels on both knees [action] centre stage [space]. S/he sharply [dynamic] reaches her right hand upwards with splayed fingers. [action]

3 8. Give one way in which this motif communicates your dance idea [1 mark] One mark for linking the motif in q7 to the dance idea stated in q1. Eg, The low level of the motif shows that the dancer is submerged in the water. The sharp dynamic and the splayed fingers helps to show their desperation and distress. 9. Describe the climax of your dance [2 marks] The response must describe a build up and then the climax, or indicate that the climax is a contrast to a previous section. It is a good idea to state when the climax occurs. One mark for describing the build up/contrast, one mark for the climax itself. Eg the climax of my dance happens towards the end of Section A. The two helpers have been trying to push, pull and drag the drowning dance from floor level to standing. The intensity builds as they speed up and the actions become more frantic. Then on a loud crash in the music, the drowning dancer shoots upwards. 10. Give one way in which this climax supports your chosen dance idea [1 mark] The response must link the climax described in q9 to the dance idea. Eg, The shooting upwards marks the end of Section A when the dancer has been rescued, before they move into a more gentle support and comfort section. The following questions refer to students knowledge and understanding of performing skills Define the term balance [1 mark] A steady or held position achieved by an even distribution of weight, or responses with the same meaning. 12. Describe one exercise a dancer could do to improve their balance [2 marks] One mark for appropriate exercise linked to balance and could be related to plie and rise, alignment exercises, core strength, brushes and tendu for example. The second mark must make reference to improvement so must suggest either increasing the number of repetitions, the amount of time spent on a rise or maintaining a held position, raising a leg off the floor etc. 13. How might you advise a dancer to safely prepare for a practical rehearsal? [2 marks] One mark for an appropriate description of a feature of safe practice, one mark for explaining why it would prepare a dancer for rehearsal.

4 Accepted features might be appropriate dancerwear, footwear and absence of jewellery, nutrition, hydration, warm up. Eg, making sure that you have eaten complex carbohydrates 1-2 hours beforehand would ensure that the dancer has enough energy to perform safely. Suitable foods might be bread or pasta. 14. Place an X next to the correct definition of the use of phrasing in a dance performance. [1 mark] The way in which the energy is distributed in the execution of a movement phrase. 15. Give one way a dancer might rehearse to improve their use of phrasing. [1 marks] One mark for an appropriate rehearsal method explaining how this would improve phrasing. Rehearsal methods might be video and playback, teacher /peer observation, use of mirror to observe energy flow. Eg I would video my performance and watch it back, looking for the amount of energy flow in my movements. I would make notes about extending the energy or reducing it where appropriate and then try again. 16. Name two mental skills that can help a dancer during their performance. [2 marks] One mark for each of two mental skills used during performance. Appropriate mental skills might be movement memory, commitment, concentration, confidence. 17. Give one way in which each mental skill named in [16] can help a dancer during their performance. [2 marks] One mark each for explaining how the skills named in Q16 help during performance. The response must focus on during the performance itself, rather than preparing for it beforehand. Eg: Being committed to a performance is very important because it means that even if the dancer went wrong, they wouldn t show it but would carry on regardless. This helps to set a high quality standard. Confidence is also very important because a confident dancer will perform with their focus up, looking out to the audience. This adds strength to the performance and gives the dancer presence. 18. Name two mental skills that can help a dancer prepare for their performance. [2 marks]

5 One mark for each of two mental skills used to prepare for performance. Appropriate mental skills might be systematic repetition, mental rehearsal, rehearsal discipline, planning of rehearsal, response to feedback, capacity to improve. 19. Give one way in which each mental skill named in [18] can help a dancer prepare for their performance. [2 marks] One mark each for explaining how each skills named in Q18 help a dancer prepare for performance. The response must focus on preparation and not the performance itself. Eg Being able to plan rehearsals is very important for ensuring a good performance. If sufficient rehearsals are not planned, they are not long enough or they fail to focus on areas for improvement, the end performance will not be strong. Repetition is also important because this builds movement and muscle memory. Without this memory it is possible that dancers will forget what they are doing and the performance will fall apart.

6 Section B Critical appreciation of own work 22.5% (18 marks) you should spend about 25 minutes on this section With reference to your own GCSE Dance Component 1: Choreography:. 20. Explain how your use of actions supported your choreographic intent. [6 marks] 6 Excellent knowledge and understanding of how actions support the choreographic intent with excellent explanation of effectiveness of choice. Well-selected examples illustrate this. 5 Highly developed knowledge and understanding of how actions support the choreographic intent with very good explanation of effectiveness of choice. Good examples illustrate this. 4 Sound knowledge and understanding of how actions support the choreographic intent with sound explanation of effectiveness of choice. Examples are provided. 3 Limited explanation of how actions support the choreographic intention. 2 Description of at least 2 aspects of dynamics to support the choreographic intention. 1 Description of one aspect of dynamics to support the choreographic intention 0 No evidence or nothing worthy of credit. Note that a degree of evaluation is required for marks Explain how your use of choreographic processes contributed to the overall effectiveness of your choreography. [6 marks]. Choreographic processes include: researching, improvising, generating, selecting, developing, structuring, refining and synthesising. 6 Excellent knowledge and understanding of choreographic processes with excellent explanation of effectiveness of choice. Well-selected examples illustrate this. 5 Highly developed knowledge and understanding of choreographic processes with very good explanation of effectiveness of choice. Good examples illustrate this. 4 Sound knowledge and understanding of choreographic processes with sound explanation of effectiveness of choice. Examples are provided.

7 3 Limited explanation of choreographic processes and the choices made. 2 Description of at least 2 aspects of choreographic processes and why they were used. 1 Description of one aspect of choreographic process and why it was chosen. 0 No evidence or nothing worthy of credit. Note that a degree of evaluation is required for marks 4-6 With reference to your own GCSE Dance Component 1: Duet/Trio Performance. 22. Explain how your use of physical skills contributed to the overall effectiveness of your duet/trio performance. [6 marks] Physical skills include: posture, alignment, balance, coordination, control, flexibility, mobility, strength, stamina, extension, isolation. 6 Excellent knowledge and understanding of how physical skills contribute to the effectiveness of the duet/trio performance. Well-selected examples illustrate this. 5 Highly developed knowledge and understanding of how physical skills contribute to the overall effectiveness of the performance. Good examples illustrate this. 4 Sound knowledge and understanding of how physical skills contribute to the effectiveness of the performance. Examples are provided. 3 Limited explanation of how physical skills contribute to the performance. 2 Description of at least two physical skills and their contribution to performance. 1 Description of one physical skill and its contribution to performance. 0 No evidence or nothing worthy of credit.

8 Section C Critical appreciation of professional works 40% (32 marks) you should spend about 35 minutes on this section In this section, all questions refer to the professional dance works in the GCSE Dance anthology Name a choreographic approach used by the choreographer for Emancipation of Expressionism [1 mark]. One mark for any appropriate choreographic approach and can include exploring and adapting hip hop movement in a contemporary way, working closely with the music and musicality, formation and use of space, signature moves Students should read ahead before making this choice to ensure that they can answer the 6 mark question that follows. Musicality would be the best choice to make here. 24. Explain how the choreographic approach you have named in question 23 helps the audience s understanding of the theme of sharing an emotional journey in Emancipation of Expressionism. [6 marks] 6 Excellent knowledge and understanding of how the choreographic approach helps the audience s understanding of the theme of an emotional journey Wellselected examples illustrate this. 5 Highly developed knowledge and understanding of how the choreographic approach helps the audience s understanding of the theme of an emotional journey. Good examples illustrate this. 4 Sound knowledge and understanding of how the choreographic approach helps the audience s understanding of the theme of an emotional journey. Examples are provided. 3 Limited explanation of how the choreographic approach helps the audience s understanding of the theme of an emotional journey. 2 Description of how the choreographic approach helps the audience s understanding of the theme of an emotional journey. 1 Limited description of how the choreographic approach helps the audience s understanding of the theme of an emotional journey. 0 No evidence or nothing worthy of credit.

9 Q 24 Explain how the choreographic approach you have named in question 21 helps the audience s understanding of the theme of sharing an emotional journey in Emancipation of Expressionism. [6 marks] Note: The choreographic approach selected for this task in Q21 is working closely with the music/musicality. At the beginning of the Genesis section [Section 1], the music features a steady throbbing pulse sound underneath a slow drum rhythm as the dancers writhe on the floor. There are also synthesized zapping sounds over the top and clattering drum sounds. This supports the theme of an emotional journey because we can interpret this section as the beginning of life [Genesis]. The pulse sounds could represent a heartbeat as the dancers lie and contract on the floor. The central dancer points to individuals on a series of accents in the music, and the dancers respond by reaching out - the zapping sounds suggesting the electrical impulses kickstarting life. Later, in Flow and Connection Between People [section 3] the dancers again work closely with the music. This time the music features violins playing rapid notes up and down the scale, creating an ebb and flow effect. Over the top, a high pitched violin pierces the air. The dancers are using waving technique here, rippling energy from the hands, up through the arms and through the torso. The correlation between music and movement, both moving fragments of notes/body parts in rapid succession helps to communicate the emotional journey this time communicating a flow of energy both within a dancer and between dancers. Finally in Empowerment [Section 4], the dancers work very closely with the music Til Enda throughout. The music builds in power and intensity from slow piano notes at the start to an aggressive drum rhythm, machine gun like rattles, piercing violin accents and then a driving rhythm moving the pace on. The movement works closely with it, beginning softly, hitting the accents, and moving into athletic contact and freestyling when the dynamic builds again. The driving rhythm signals the travelling Chariots of Fire motif building to the climax. This all supports the emotional journey because this section represents empowerment and freedom music and movement working together to communicate strength, endurance and climax. Commented [AP1]: Full description of music Commented [AP2]: Explanation Commented [AP3]: Musicality Commented [AP4]: Interpretation Commented [AP5]: 2 nd example Commented [AP6]: Musicality Commented [AP7]: Explanation Commented [AP8]: 3 rd example Commented [AP9]: Musicality Commented [AP10]: Explanation ArtsPool [UK] Ltd

10 25. Name the type of performance environment used in Within Her Eyes. [1 mark] One mark for site sensitive. 26. Discuss how the setting and the lighting in Within Her Eyes contribute to the stimulus of the work. [12 marks] Level 4 At the top of the level, a student s response is likely to be well structured and will include convincing analytical, interpretative and evaluative commentary that references both production features. Subject terminology is used throughout with accuracy and effect. At the bottom of the level, a student s response will include level 3 and is developing into a structured piece of writing. The response will include analytical, interpretative and evaluative commentary that references production features in some detail or details one of the production features in more detail than the other. Subject terminology is used throughout with accuracy. 7-9 Level 3 At the top of the level, a student s response will include coherent analytical, interpretative and evaluative responses specific to both production features. There will be specific references to particular aspects of both production features. Subject terminology is used well and is almost always accurate. At the bottom of the level, a student s response will include level 2 and include some detailed analytical, interpretative and evaluative responses specific to both production features. There may be some specific references to particular aspects of one production feature more than the other. Subject terminology is used well but is not always accurate. 4-6 Level 2 At the top of the level, a student s response will include more analytical, interpretative and detail of both production features. Responses are supported by some evaluative explanation but may be very general. Subject terminology is used with some accuracy. At the bottom of the level, a student s response will include level 1 and have some analytical/ and interpretative and evaluative responses to the work. One production feature may have more analytical/interpretative and evaluative detail than the other or both production features may have limited analytical/interpretative and evaluative detail. There may be limited use of subject terminology or it may be inaccurate. 1-3 Level 1 At the top of the level, a student s response is likely to be descriptive in its approach. There may be no use of subject terminology. At the bottom of the level, a student s response will be a simple description of one production feature with some detail. 0 No evidence or nothing worthy of credit.

11 Discuss how the setting and the lighting in Within Her Eyes contribute to the stimulus of the work. [12 marks] EXEMPLAR Within Her Eyes is a site sensitive work which uses a variety of different outdoor spaces. The stimulus is A Love Story with a Twist. The first image we see is of a girl walking through deserted streets, and then walking through a cemetery. This suggests that she is isolated, alone and perhaps has lost someone dear to her, giving us insight into her character. This is important so that the audience to understand her part in the love story and suggests the twist element of the stimulus. The light is also important here. It is natural light but prior to seeing the girl in the street there is a short glimpse of a night time sky, dark and cloudy. By the time she walks through the town, the sky is overcast and the light a mid intensity possibly suggesting that she has been up walking all night long. These settings and light support the stimulus of a love story with a twist because it gives us an important back story to the girl s life, and her state of mind when she meets the man and begins the relationship. She is grieving and lost. The first setting we see for the duet is a wide field with long grass, the dancers performing in the middle of it. The sky is cloudy and there is a wind. This sets a cold and bleak mood, making the dancers appear vulnerable, sad and isolated, unusual for a love story. A love story would ordinarily begin with warmth and comfort, but not this one, supporting the stimulus further. In Flow One, we see the dancers performing in a dense forest between the trees. This space is far more enclosed than the previous ones, as if the dancers are hugged by the trees, suggesting a little more security for the girl as she settles into the relationship a little more. This marks a change in the relationship from distant to a little closer and so supports the narrative and stimulus further Flow Two is another important section and cuts between a cliff top, the field and a quarry. The quarry frames the dancers, again providing security however the harsh, sharp and rough terrain supports the idea that this relationship is still not going smoothly, the rocks and stones presenting a further challenge. In addition the three spaces could represent different states of mind for the girl the field perhaps isolation, the cliff top danger and risk, the quarry security. Performing in all 3 spaces within the same section therefore builds to the climax and could suggest confusion and that she is still not ready to move forwards. Light falls during this section and by the end the dancers are in silhouette. This supports the stimulus further by suggesting that the relationship is coming to an end. Commented [AP1]: Description: settings Commented [AP2]: Interpretation Commented [AP3]: Character insight Commented [AP4]: Evaluation Commented [AP5]: Link to stimulus Commented [AP6]: Light description Commented [AP7]: Interpretation Commented [AP8]: Link to stimulus Commented [AP9]: Interpretation Commented [AP10]: Field description Commented [AP11]: Mood Commented [AP12]: Interpretation Commented [AP13]: Evaluation Commented [AP14]: Link to stimulus Commented [AP15]: Forest description Commented [AP16]: Space encloses action Commented [AP17]: Interpretation Commented [AP18]: Link to stimulus Commented [AP19]: Settings description Commented [AP20]: Interpretation linked to stimulus Commented [AP21]: Interpretation Commented [AP22]: Multiple spaces build to climax Commented [AP23]: Interpretation Commented [AP24]: Light description Commented [AP25]: Link to stimulus

12 27. Using your knowledge of the similarities and differences in the costumes used in Infra and Shadows, discuss how costume is used to enhance our appreciation of these two works. [12 marks] Level 4 At the top of the level, a student s response is likely to be well structured and will include convincing analytical, interpretative and evaluative commentary that references both works. Subject terminology is used throughout with accuracy and effect. At the bottom of the level, a student s response will include level 3 and is developing into a structured piece of writing. The response will include analytical, interpretative and evaluative commentary that references in some detail the choreographic intent of one work in more detail than the other or both works in some detail. Subject terminology is used throughout with accuracy. 7-9 Level 3 At the top of the level, a student s response will include coherent analytical, interpretative and evaluative responses specific to both works. There will be specific references to particular aspects of both works. Subject terminology is used well and is almost always accurate. At the bottom of the level, a student s response will include level 2 and include some detailed analytical, interpretative and evaluative responses specific to both works. There may be some specific references to particular aspects of one work more than the other. Subject terminology is used well but is not always accurate. 4-6 Level 2 At the top of the level, a student s response will include more analytical, interpretative and evaluative detail of both works. Responses are supported by some explanation but may be very general. Subject terminology is used with some accuracy. At the bottom of the level, a student s response will include level 1 and have some analytical/ interpretative responses to the works. One work may have more analytical, interpretative and evaluative detail than the other or both works may have a limited analytical, interpretative and evaluative detail. There may be limited use of subject terminology or it may be inaccurate. 1-3 Level 1 At the top of the level, a student s response is likely to be descriptive in its approach. There may be no use of subject terminology. At the bottom of the level, a student s response will be a simple description of one costume with some detail. 0 No evidence or nothing worthy of credit. An exemplar answer for this question follows.

13 Using your knowledge of the similarities and differences in the costumes used in Infra and Shadows, discuss how costume is used to enhance our appreciation of these two works. [12 marks] EXEMPLAR In Shadows, the costume for each dancer tells us about character. Mother wears a calf length pink, grey and white floral dress, Father wears a collarless white shirt with faint stripes, a brown waistcoat and grey trousers, Daughter wears a pretty pastel short sleeved blouse and blue/grey flared skirt and Son wears a similar costume to his father, but without the waistcoat. These costumes tell us clearly who they are meant to be. In contrast, the costumes in Infra are far more abstract tight lycra shorts, vests and long sleeved tops in shades of grey, black, white and flesh. The tightness of the shorts allows ease of movement for the high leg extensions. This is important for McGregor s movement style where complex rapid footwork and hypextended leg lines are a signature. In Shadows, Mother s dress is free flowing, however the sunray pleats running down the back of the dress gives it movement of its own as it swirls around her. This enhances the fluid flow of her action, softening the dynamic quality. In contrast the Infra costumes cling and sculpt the body, giving the impression of leisure wear or underwear. This contrasts the clothing worn by the LED figures on the screen above them, one who wears an overcoat carrying a briefcase, another in a pencil skirt, blouse and heels - outdoors and on their way to work. In this way the casual costumes for the dancers help to show their inner personal lives, supporting the stimulus of seeing below the surface of the city or a person. The costumes in Shadows help to show the age of the characters. Mother has her hair in a mature bun whilst Daughter wears hers in a youthful ponytail. Similarly Father wears his shirt sensibly tucked in, whilst Son has his untucked and untidy. In contrast we cannot determine age from the Infra costumes, but we can determine gender. Whilst many of the costumes are gender neutral, two of them stand out as different the man wearing trousers with a bare chest, and the girl with a black mini skirt and white crop top. These costumes are gender specific and could also highlight them as important dancers within the work. This is because the man is the only dancer to have a powerful, masculine solo and the girl is the dancer who collapses in the midst of a crowd. Shadows is about an Eastern European family facing the terror of what is outside their front door. Bruce has hinted that this could be a Jewish family forced to leave their home in WW2. The coats, shoes and hat that the dancers put on right at the very end supports it, showing that they are ready to leave. The children s coats are too big for them which could suggest poverty, malnutrition or hand me downs. In contrast, the costumes in Infra are very clean cut and sharp, as opposed to worn and tired. They have a modern feel to them appropriate to the modern day war on terror and 21 st Century London Bombings event it was influenced by. Commented [AP1]: Shad character 1 Commented [AP2]: Infra ease of movement 1 Commented [AP3]: Evaluative comment 1 Commented [AP4]: Shad enhances flow of action 1 Commented [AP5]: Infra interpretation 1 Commented [AP6]: Infra stimulus 1 Commented [AP7]: Shad age 1 Commented [AP8]: Infra gender 1 Commented [AP9]: Infra Interpretation 1 Commented [AP10]: Shad choreo intent 1 Commented [AP11]: Shad interpretation 1 Commented [AP12]: Infra era 1 ArtsPool [UK] Ltd 2017