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, 643 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.

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 connected dance movements that work together.

In this evidence, the brief was to use Tapa cloth as the stimulus for the composition. The student’s statement of intention for their composition has been provided.

The student has used a range of movements and dance elements in the composed sequence, e.g. 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 it. 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 evidence of variation in their use.

For example, energy and time elements (e.g. tempo) could have been further varied. Transitions should also be further sequenced and developed, for example by including more variation in the loco-motor movement used.

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 sequencing developed movements to communicate ideas that respond to the brief. Developed dance movement should show evidence of having been purposefully shaped, refined, or extended.

In this evidence, 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 has been provided.

The student has used varied dance elements (e.g. energy quality, facings, body parts, tempo, contrasting, and complementary groupings) and movements which have been sequenced 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 sequencing 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 with coherence. Demonstrated coherence of ideas is required, e.g. transitions that better support the ideas (instead of walking).

More flow might also help to show the coherency required for Excellence. The movements themselves are not yet inventive, showing a reliance on arm movements to communicate ideas.

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 with coherence in response to the brief.

In this evidence, the students based their choreography on ideas from a whakataukī. The specific statement of intention for the composition is provided.

The composed sequence includes creative use of repetition and complementary use of shapes, movements, and levels. Key ideas are clearly referenced, e.g. 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, for example, in 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.

Communicating ideas with coherence could be strengthened, e.g. by more use of the closed hugging shape seen at the end, and/or by choosing one focus for the dance (home or playing). There is, however, an overall sense of choreographic logic to create a sense of completion.