Conducting own research on the theme as relevant to the overall vision for the work; reading, writing, discussing, sketching, drawing, mind-mapping. Taking note of corrections and shifts or changes that occur and analysing why these shifts have been made to give greater depth of understanding to performance Task 1 (Week 13) Demonstration of technique practical test, including selected sections of the set solo Continue composition: application of techniques to develop a performance persona and 13–14 maintain a consistent performance in group composition, finalise design concepts for performance presentation; performance-specific warm up Task 2 (Week 14) Group composition final presentation of group dance for Year 12 – Showcase Task 5 Semester 1 practical examination (solo performance, structured improvisation and interview) under examination conditions 15 Semester 1 written examination a representative sample of the syllabus content Task 11 – from Semester 1 Semester 2 Extending the boundaries – Week Key teaching points Commence original solo composition planning the development of ideas and – implementation of processes for the original solo composition, looking at how it is different from a group work: challenges/limitations, advantages/new possibilities Defining choreographic intent and selecting own intention. Choreography as a process of making choices and problem-solving. Brainstorm concept for own solo choreography using choreographic planner Exercises and sequences that require a demanding level of the components of fitness: 1–3 strength, flexibility, coordination, muscular endurance and cardiovascular endurance Complex and extended sequences in the contemporary genre that develop dance skills in: floor work, standing work, centre work, turning, travelling and elevation, including the safe execution of skills and technique Continue set solo preparation application of techniques to develop a performance persona – and sustaining a performance focus. Map the solo trace energies and moments when – energy include specific gestures, map pathway of focus etc. Does the map offer a ‘shifts’, new understanding or new perspective? Original solo composition: continue development of ideas Improvisation workshops, including developing improvisational scores (plan) to encourage original movement discussion of what makes movement (Not using steps as – ‘original’? – the meaning becomes secondary therefore, original movement necessary to prioritise the – choreographic intent) Begin planning own solo, including design concept selection of music and creating a – 4–7 score Continue set solo preparation Continue original solo preparation documenting process in choreographic planner Revision of manipulation of movement and thematic concepts using the elements of dance: body, energy, space, time (BEST)
Conducting own research on the theme as relevant to the overall vision for the work; reading, writing, discussing, sketching, drawing, mind-mapping. Taking note of corrections and shifts or changes that occur and analysing why these shifts have been made to give greater depth of understanding to performance 13–14 Task 1 (Week 13) Demonstration of technique practical test, including selected sections of the set solo Continue composition: application of techniques to develop a performance persona and maintain a consistent performance in group composition, finalise design concepts for performance presentation; performance-specific warm up Task 2 (Week 14) Group composition – final presentation of group dance for Year 12 Showcase 15 Task 5 Semester 1 practical examination (solo performance, structured improvisation and interview) under examination conditions Task 11 Semester 1 written examination – a representative sample of the syllabus content from Semester 1 Semester 2 – Extending the boundaries Week Key teaching points 1–3 Commence original solo composition – planning the development of ideas and implementation of processes for the original solo composition, looking at how it is different from a group work: challenges/limitations, advantages/new possibilities Defining choreographic intent and selecting own intention. Choreography as a process of making choices and problem-solving. Brainstorm concept for own solo choreography using choreographic planner Exercises and sequences that require a demanding level of the components of fitness: strength, flexibility, coordination, muscular endurance and cardiovascular endurance Complex and extended sequences in the contemporary genre that develop dance skills in: floor work, standing work, centre work, turning, travelling and elevation, including the safe execution of skills and technique Continue set solo preparation – application of techniques to develop a performance persona and sustaining a performance focus. Map the solo – trace energies and moments when energy ‘shifts’, include specific gestures, map pathway of focus etc. Does the map offer a new understanding or new perspective? 4–7 Original solo composition: continue development of ideas Improvisation workshops, including developing improvisational scores (plan) to encourage original movement – discussion of what makes movement ‘original’? (Not using steps – as the meaning becomes secondary – therefore, original movement necessary to prioritise the choreographic intent) Begin planning own solo, including design concept – selection of music and creating a score Continue set solo preparation Continue original solo preparation documenting process in choreographic planner Revision of manipulation of movement and thematic concepts using the elements of dance: body, energy, space, time (BEST)