AS 91936 Annotated exemplars

This annotated exemplar is intended for teacher use only. Annotated exemplars consist of student evidence, with commentary, to explain key parts of a standard. These help teachers make assessment judgements at the grade boundaries.

Download all exemplars and commentary [PDF, 647 KB]

Level 1 Dance assessment resources (external link) - NCEA.education

For Achieved, the student needs to compose a dance sequence in response to a brief. The brief should provide the purpose and stimulus for the composition. In this example, the brief was to use Tapa cloth as the stimulus for the composition. The student’s statement of intention for their composition is provided.

Composing a sequence at this level involves using dance movements and elements to create choreography and selecting movements that respond to the brief. The sequence should comprise of connected dance movements that work together.

This student has used a range of movements and dance elements in the composed sequence. For example, use of levels, groupings, unison, canon, near and far, use of general space, diagonal facings, and body bases. Shapes of flower petals and circular air pathways with arms are related to the brief, and have clearly been selected to respond to that brief. Overall, the movements work together as a connected sequence.

For Merit, the student could show further evidence of variety in the use of dance elements and more development of the movement (e.g. motif and variation). While there is a range of elements used, there is not yet evidence of variation in this use.  For example, energy and time elements (e.g. tempo) could have been further varied. Transitions also need to be further developed, for example by including more variation in the loco-motor movement used.

Achieved video

For Merit, the student needs to compose an effective dance sequence in response to a brief.

This involves using variations of dance movements and elements and developing movements to communicate ideas that respond to the brief. Developed dance movement should show evidence of having been purposefully shaped, ordered, refined, or extended in ways that respond to and communicate the brief.

In this example, the brief was to use a whakataukī as the stimulus for the composition. The specific whakataukī used and the student’s statement of intention for their composition are provided.

This student has used variation of dance elements (e.g. energy quality, facings, body parts, tempo, contrasting and complementary groupings) and movements which have been ordered in a considered way. There is effective use of repetition of key movements that relate to the whakataukī (e.g. the sharp turn of the head to look in a different direction). Movements have been thoughtfully and purposefully used to create effective choreography, with some structuring and development evident. The ending relates to the beginning, with effective use of variation.

For Excellence, the composition needs further evidence of inventive choreography. The ideas are not yet consistently and clearly communicated. To reach Excellence, more evidence of the clear communication of ideas is needed. For example, transitions that better support the ideas instead of walking. More flow to enhance the choreography would also help meet Excellence criteria. The movements themselves are not yet inventive, showing a reliance on arm movements to communicate ideas.

Merit video

For Excellence, the student needs to compose an inventive dance sequence in response to a brief.

This involves creatively using variations of dance movements and elements to enhance choreography and communicating ideas clearly in response to the brief. In this example, the students based their choreography on ideas from a whakataukī.  The specific statement of intention for the composition is shown below.

The composed sequence includes creative use of repetition and complementary use of shapes, movements, and levels. Key ideas are clearly referenced. For example, movements that clearly communicate the idea of children playing. Key movements are repeated without continually introducing new ideas. Instead, variation and development are used to enhance the choreography.

There is a repeated motif that represents the idea of home in a literal way, but which communicates the ideas clearly and is varied and developed throughout. The movements are arranged in ways that are unexpected and not predictable (inventive sequencing). This is seen in, for example, the contrasting and varied small groupings and formations that smoothly transition into whole group sequences. These transitions are interesting, as is the use of facings and levels. Dance elements have been used in creative ways, particularly contrast, relationships, and unison vs non-unison.

The criteria to communicate ideas clearly could be further strengthened, for example by more use of the closed hugging shape seen at the end and/or by choosing one focus for the dance (home or playing). However, there is an overall sense of choreographic logic to create a sense of the movements all belonging together in the same dance for a clear purpose.

Excellence video