Question: Discuss the career of dance choreographer Twyla Tharp

Transcription

STAGE 2 DANCE
ASSESSMENT TYPE 2: RESPONSE
Part 1: Historical Perspectives
Purpose
To examine the historical foundations of modern dance through the research, analysis and
evaluation of the work of a key pioneer in dance history. -
Description of -Assessment
Choose one of the essay questions below and develop a structured essay response by:
•
developing a logical progression of information and ideas
•
referring to dance works where appropriate
•
using references (from video, textbook and internet) to justify your ideas
•
integrating quotations into your writing where appropriate.
Question:
Discuss the career of dance choreographer Twyla Tharp, with reference
to at least two 0/ her major works.
(You mustfocus on her work and contributions prior to 1986)
Assessment conditions A written response of a maximum of 1000 words. A bibliography must be included with
textbook and website references. A minimum of three sources are to be used.
Evidence of your Learning
To demonstrate evidence of your learning in this task you should aim to:
•
display in-depth knowledge and understanding of the work of dance artists locally,
nationally, or globally
•
demonstrate highly developed use of language and terminology relevant to the
dance context
•
show sophisticated, coherent, and sustained communication to exchange wellinformed ideas and opinions
•
exhibit in-depth research into, and analysis and interpretation of historical dance
works, practice, and issues in context, using a variety of sources
•
show perceptive analysis and in-depth understanding of dance from a variety of
perspectives.
Page 1 of 13
Stage 2 Dance Student Response
Ref: A370316 (revised January 2015)
© SACE Board of South Australia 2015
Learning Requirements
1.
2.
3.
4.
5.
6.
demonstrate knowledge and
practical application of dance
technique in the context of
safe dance practice
explore, select, refine, and
evaluate ideas and processes
in the creation of a dance work
and in the study of technique.
research, analyse, interpret,
and give informed opinions
about historical and
contemporary dance works,
practice and issues
demonstrate performance or
production skills both
collaboratively and
independently
understand the use of various
forms of technology relevant to
the study of dance as an art
form
research, analyse, and
understand dance from artistic,
aesthetic, and cultural
perspectives, communicating
in different forms, and using
appropriate dance terminology.
Assessment Design Criteria
Knowledge and Understanding
The specific features are as follows:
KU1 Knowledge and understanding of the dance technique
of a specific genre.
KU2 Knowledge and understanding of the work of dance
artists, locally, nationally, or globally.
KU3 Knowledge and understanding of the aesthetic qualities
in technique, choreography and/or performance.
Practical Application
PA1 Application of knowledge and technical skills for
demonstration, in the context of safe dance practice.
PA2 Exploration, selection and refinement of ideas.
PA3 Demonstration of the dynamic contrasts and musicality
within the principles of a specific dance genre.
PA4 Application of independent and collaborative
performance or production skills.
Presentation and Communication
PC1 Use of appropriate skills to communicate expressively
and to engage an audience, through practitioners’ onstage or off-stage roles.
PC2 Communication of original choreographic intention, with
elements of innovation.
PC3 Use of language and terminology relevant to the dance
context.
PC4 Communication, in different forms, to exchange ideas
and opinions.
Analysis and Evaluation
AE1 Research into, and analysis and interpretation of,
historical and contemporary dance works, practice, and
issues in context, using different sources.
AE2 Evaluation of the various relationships that interconnect
in the process of staging dance.
AE3 Critical review of and reflection on dance, and
evaluation of dance processes.
AE4 Analysis and understanding of dance as a creative art
form.
Page 2 of 13
Performance Standards for Stage 2 Dance
A
Knowledge and
Understanding
In-depth knowledge and
understanding of the dance
technique of a specific
genre.
Highly proficient and sustained
application of technical skills and
knowledge demonstrated, using safe
dance practice.
understanding of the work of
dance artists locally,
nationally, or globally.
Broad, varied, and thorough
exploration, selection, and refinement
of ideas.
understanding of the
aesthetic qualities in
technique, choreography,
and/or performance.
B
Proficient technical skills and
knowledge demonstrated
consistently, using safe dance
practice.
Some depth in knowledge
and understanding of the
work of dance artists locally,
Thorough exploration, selection, and
refinement of ideas.
Appropriate knowledge and
genre.
Considered knowledge of the
and/or performance.
D
Some identification and
genre.
Some awareness of the work
of dance artists locally,
Some knowledge and
and/or performance.
E
Highly productive, independent, and
collaborative performance or
production skills.
Detailed knowledge and
genre.
Well-informed knowledge
and/or performance.
C
demonstration of the dynamic
contrasts and musicality within the
principles of a specific dance genre.
Awareness of some basic
dance technique of a specific
genre.
Emerging awareness of the
and/or performance.
Page 3 of 13
Proficient demonstration of the
dynamic contrasts and musicality
within the principles of a specific
dance genre.
Mostly productive, independent, and
production skills.
Generally competent application of
technical skills and knowledge, using
safe dance practice.
Appropriate exploration, selection,
and refinement of ideas.
Generally competent demonstration
of the dynamic contrasts and
musicality within the principles of a
specific dance genre.
Generally competent, independent,
and collaborative performance or
production skills.
Basic technical skills and knowledge,
with some understanding of how to
apply safe dance practice.
Some exploration, selection, and
Basic demonstration of the dynamic
Some independent and collaborative
Emerging technical skills, with limited
awareness of safe dance practice.
Attempted exploration, selection, and
Emerging demonstration of the
dance genre.
Some attempt to work independently
or collaboratively in performance or
production.
Presentation and
Communication
Productive use of an extensive
variety of appropriate skills to
communicate sensitively and
expressively and to engage an
audience through practitioners’ onstage or off-stage roles.
Coherent and sustained
communication of original and
innovative choreographic intention.
Highly developed use of language
and terminology relevant to the dance
context.
Sophisticated, coherent, and
sustained communication, to
exchange well-informed ideas and
opinions.
In-depth research into, and analysis
and interpretation of, historical and
contemporary dance works, practice,
and issues in context, using a variety
of sources.
A purposeful evaluation of the
relationships that interconnect in the
process of staging dance.
Critical review of and reflection on
dance, and perceptive evaluation of
dance processes.
Perceptive analysis and in-depth
understanding of dance as a creative
form.
Mostly productive use of a variety of
skills to communicate expressively
and to engage an audience through
practitioners’ on-stage or off-stage
roles.
Thorough research into, and analysis
and issues in context, using several
different sources.
Clear communication of the original
choreographic intention with some
innovation.
A thoughtful evaluation of the
Capable use of language and
terminology relevant to the dance
context.
dance, and well-considered evaluation
of dance processes.
Consistent and clear communication,
to exchange informed ideas and
opinions.
Well-considered analysis and some
depth in understanding of dance as a
creative art form.
Competent use of appropriate skills to
communicate with some expression
roles.
Competent research into, and analysis
and issues in context, using different
sources.
Competent communication of an
original choreographic intention, with
Considered evaluation of the
Competent use of language and
context.
dance, and considered evaluation of
some dance processes.
Appropriate and generally clear
communication to exchange ideas
and opinions.
Considered analysis and
art form.
Some skills in communicating to an
audience, with some engagement,
through practitioners’ on-stage or offstage roles.
Some research into, and description
of, one or more historical and
contemporary dance works, practices,
or issues, using more than one source.
Some communication of aspects of
choreographic intention.
Some consideration of the
Basic use of language and
terminology with some relevance to
the dance context.
Attempted communication to
exchange ideas and opinions.
Superficial review of and reflection on
dance, and some description of dance
processes.
Description of dance as a creative art
form.
Emerging skills when attempting
communication of an idea to an
audience.
Attempted search for information on
historical or contemporary issues or
practice, using at least one source.
Attempted communication of an
aspect of choreographic intention.
Emerging recognition that relationships
interconnect in the process of staging
dance.
Attempted use of some language or
terminology with limited relevance to
the dance context.
Emerging skills in communication of
ideas or opinions.
Identification of an element of dance or
dance processes.
Identification and brief description of
dance as a creative art form.
Dance Historical Perspectives
Written Response
Discuss the career of dance choreographer TwyJa Tharp, with reference to at least two of
her major works.
Twyla Tharp (1941 - present) has been a significant contributor to the development of modern
dance. She began choreographing around 1965 and continues today. Throughout her career she
has choreographed over one hundred and thirty five dances, five Hollywood movies and
directed and choreographed four Broadway shows. Tharp has collaborated with and
choreographed dances for The Joffrey Ballet, American Ballet Theatre, Paris Opera Ballet,
Martha Graham Dance Company, Miami Citi Ballet and Pacific Northwest Ballet. Tharp's work
developed significantly over time, the use of music, virtuosic technique, pedestrian movement,
popular dance genre, humour and technology all combining to create iconic Tharp
choreography.
Tharp grew up in an incredibly intellectual environment. As a child she was exposed to a broad
range of artistic and cultural experiences. I started formal piano training when J was four. From
there I had little
violas~
and I had dancing lessons of every sort and
lessons. I had German and shorthand.
II
1
description~
and painting
This variety of artistic and cultural experiences fostered
Tharp's imagination, her broad movement vocabulary and the enormous range of inspirations
she draws from and allowed her to incorporate different elements of life and society into her
choreography.
Moving to New York had a Significant influence on Tharp's career, providing her opportunities
to work with other respected choreographers including Martha Graham, Merce Cunningham,
Paul Taylor and Erik Hawkins. Tharp admired the intellectual and emotional depth of Graham's
work and Cunningham's use of technology became a major inspiration for Tharp. Such artistic
influences led Tharp to found her own dance company in 1965, Twyla Tharp Dance.
TwyJa Tharp Quotes -, -, accessed 13 June 2012,
<http://wwvv.brainyquote.com/quotes/authors/tjtwyla_tharp.html>.
1
Page 4 of 13
Written Response
Tharp created using improvisation techniques that she described as Iffutzing".
Using this
technique she learnt about her body, explored new movements and developed an original and
unique nlovement vocabulary and repertoire. Tharp used a broad range of· different dance
genres including jazz} tap, ballet, contemporary, and ballroom} all fused to create her unique
style. Sometimes combining highly disciplined ballet techniques with normal pedestrian
movements such as running, walking,. skipping and jumping., Tharp broke down the barriers
r
between traditional classical ballet, contemporary dance and the social dance of the time. Tharp
believes everything is inspiration for dance, from the gesture inspired movement of the overexaggerated family in The Catherine Wheel (1981) to more classically influenced pieces such as
Deuce Coupe (1973). This eclecticism is also apparent in her use of music.
A significant amount of Tharp's work is closely reflective of the different layers and sounds of
the musical accompaniment. The Fugue (1971) demonstrates this. A fugue is a musical form
which involves more than two parts combined simultaneously to create a contrapuntal fonn.
Tharp's The Fugue~is inspired by ttA musical offering" by Bach. The choreography acknowledges
all sections, soprano, alto and bass, in the music with one or more dancers moving to each of
these parts.
Tharp also shows significant contrast in her choice of music styles. In contrast to the more
classical Bach in The Fugue, Deuce Coupe (1973) uses a montage of Beach Boys pop songs. In
one duet section of this work, a dancer moves to the voice of the song while the other moves to
the instrumental line. Deuce Coupe was a major development for Tharp; it was her first, big
public success and the first of several collaborations with Bob Joffrey of the Joffrey Ballet and
Twyla Tharp Dance. The work was a fusion of modern contemporary dance and traditional
classical ballet using pop music. At this time crossing the barriers between sodal and theatrical
dance and the blurring of genre was uncommon and was not approved of in traditional dance
circles. However, Tharp believed that all music styles could be danced to, and became famous
for this.
Page 5 of 13
Written Response
Tharp'sec1ecticism was also highlighted by her long term working relations with Mikhail
Baryshnikov. In 1976, Tharp worked with Baryshnikov in Push Comes to Shove. This piece was
ground-breaking for Tharp. Mikhail Baryshnikov was a famous classical dancer but with Tharp
was dancing in a style unfamiliar to both himself and his audiences. Push Comes to Shove was a
crossover between the traditional classical ballet and the current social dance, recreated into
Tharp's own movement. Push Comes to Shove was the first of many collaborations between
Tharp and Baryshnikov.
Tharp also worked with film. Hair produced in 1979 was the first film she choreographed, and a
good example of Tharp's frequent use of humour and unpredictability. In the opening scenes of
the film Tharp's movement mimicked the movement of the horses, in a most humorous way.
~Hair'
marked a significant development in Tharp's career, working on a number of films and
then on Broadway.
Tharp's work in film may well have come from her interest in technology, as inspired by Merce
Cunningham. Cunningham was one of the first major choreographers to explore the use of
technology with dance. This influence led Tharp to experiment and incorporate digital
technology into her works. The Catherine Wheel (1981), incorporates significant amount of
computerised images and visual effects. At times the dancers create silhouetted shapes behind a
white curtain at the back of the stage and projected images are used frequently. Throughout The
Catherine Wheel, Sarah, the main dancer tries to attain perfection by trying to replicate a
computerised image of a dancer on the screen next to her; she follows the computer's lead on
many occasions throughout the work.
Throughout the years, Tharp has been a significant influence on modern dance. Tharp still
choreographs today and during the course of her career has won numerous awards for her
choreography. Tharp is an innovator, not afraid to challenge traditional dance boundaries and
incorporate contrasting elements into her works. She has worked on stage, television and film
and has also written books including her own autobiography. Her ability to reach popular
Page 6 of 13
Written Response
audiences rather than just the elite has broadened dance audiences. She has influenced many
other dancers and choreographers in a long and extremely successful career.
=
Word Count 998 words
Bibliography
Di Nardo, T 2008, 'Pennsylvania Ballet: Tharp's Push Comes To Shove Shows Its Sense of
Humor', Playbill Arts, -, accessed 9 June 2012,
<http://www.playbillarts.com/features/article/7780.html>
Twy/a Tharp 2012, Unknown, accessed 5 May 2012, <http://www.twylatharp.org/home.shtml>.
Twyla Tharp Biography 2007, Unknown, accessed 6 May 2012,
<http://www.achievement.org/autodoc/page/thaObio-1>.
The Fugue 2010,
Unknown~
accessed 10 May 2012,
<http://www.twylatharp.org/archive/dance_page.asp?danceSelected=21>.
Deuce Coupe 2010, Unknown, accessed 10 May 2012,
<http://www.twylatharp.org/archive/ dance_page.asp ?danceSelected=31 #>.
'Fugue (music)' 2012, in Talktotalk, accessed 28 May 2012,
<http://www.talktalk.co.uk/reference/ encyclopaedia/hutchinson/m0019024.html>.
Warta, T -, Twy/a Tharp, Unknown, accessed 9 June 2012,
<http://dance.lovetoknow.com/Twyla_Tharp>.
Twy/a Tharp Quotes - , - , accessed 13 June 2012,
<http://www.brainyquote.com/quotes/authors/t/twyla_tharp.html> ..
Page 7 of 13
Discuss the work created by Garry Stewart since he took over as the Artistic Director of the Australian
Dance Theatre. Include mention of at least three (3) works Stewart has choreographed for the ADT,
to justify your discussion.
Garry Stewart has made major change to the Australian Dance Theatre (ADT) and he is now one of
the most well-known choreographers in Australia. Stewart took over the Artistic Directorship of the
ADT in late 1999. The work that has been created since his appointment has engaged audiences
locally and overseas. With its own distinctive style" Stewa rt's works include the use of extensive
multi-modal technology, an eclectic movement vocabulary, collaborations with artists from a range
of media and the use of text in a wide variety of ways. ,
Many aspects of technology are incorporated into Stewart's ADT pieces. These technologies include
use of electronic sound, video projection and complex lighting. Be Yourself choreographed and
performed in 2010, is based on the different aspects of the human body, exploring the question
'what makes you, you'. The computer generated soundscape is designed to synchronise seamlessly
with the movement incorporating a range of sound effects, such as, cracking bones, stomach
gurgling and breathing. The soundscape is, at other times, loud and droning whilst also soft and
lyrical, contrasting well with the sound effects and the punctuating loud bursts of sound.
In both Birdbrain (2000) and Proximity (2012), video projections are displayed on a screen. In
Birdbrain Stewart's deconstruction of Swan Lake. and salute to, the tradition of classical ballet, is
the first f\Jlllength work he created for the ADT:Video projections are used extensively in this piece.
Images are shown on a screen, centre back of the stage, revealing different elements of the original
story of Swan Lake, examples of these projections are the swans swimming across the screen
throughout the piece and the countdown of the 32 fouette turns, whilst the dancers are turning in a
canon like formation: On the screen, behind the dancers\ there is a countdown of numbers
displaying the number of turns the dancer has done. Proximity also makes extensive use of
projection. Throughout the work dancers film one another from different angles and the images are
projected and significantly manipulated onto three large screens behind the performers. One such
image features a female dancerl lifting and lowering her arms through second position slowly, the
prOjection being manipulated to create an image of her with multiple arms.
I Word Count: 1,004
Page 8 of 13
Discuss the work created by Garry Stewart since he took over as the Artistic Director oj the Australian
Dance Theatre. Include mention oj at least three (3) works Stewart has choreographed jor the AD!,
The lighting, that is integral to Stewarfswork, is often complex. Devolution (2006), explores the
relationship between humans and robots incorp()rating pools of light dividing the stage and
highlighting specific dancers at different times. He also uses laser lights androbotically controlled
spotlights to suggest the controlling relationship between human and robot.
Since taking overthe Artistic Directorship ofthe ADT, Stewart has developed his own now
recognisable movement style which fuses many different genres of dance/His eclectic movement
.j./
vocabulary combines break dancing, martial arts, acrobatics, yoga, gymnastics, tumbling, ballet,
contemporary and jazz. His works often include high jumps parallel to the floor followed by fast rolls,
dancers spinning on their knees, jumps landing on the floor, dive rolls and almost violent physical
manipulation of dancers the movement is often incredibly fast and percussive, contrasting to the
soft and lyrical movement also shown throughout a number of his works.
Garry Stewart often collaborates with other artists to help develop the themes and inspirations in
the body of his work. He has used other dance artists, actor, designers, dramaturges, writers and
more. Held is a collaboration with New York photographer, Lois Greenfield. The work,
choreographed in 2004 is largely abstract, but based on revealing the movement that the eye cannot
capture. Held, is a dance performance about photography, the photos shot by Lois Greenfield are
displayed on screens throughout this piece.\Stewart also collaborated with New York architectural
firm 'Diller, Scofidio + Renfro' who created the huge white ramp in Be Yourself. The dancers work
their bodies on and through the structure whilst unusual images are projected on their bare skin and
the ramp. 'Canadian robotics artist, Louis-Philippe Demers constructed the enormous robotic figures
that move around the stage in Devolution. These dominate the stage and complete the
confrontational images of man versus machine,
Throughout Stewart's Artistic Directorship of the ADThe has choreographed a number of abstract
works exploring global, social, political and cultural issues. The Age of Unbeauty (2003) is a reflection
I Word Count: 1,004
Page 9 of 13
Dance Theatre. Include mention of at least three (3) works Stewart has choreographed for the AD!,
upon man's inhumanity toward man. This piece reflects upon the violence, killings and torture that
occur in the contemporary world. Birdbrain and G are also inspired by traditional classical ballets.
Birdbrain is a deconstruction of the original classical ballet Swan Lake, While Gis based on the
emotions explored in Giselle.
Of the many design elements which Stewart incorporates into his work, the use of text either spoken
or projected as in Be Yourself, or on the costume, as in Proximity: is shown throughout a number of
his pieces. Birdbrain uses projected text on screens, in the lights and on the costumes. At the
beginning and end of Birdbrain there are big illuminated letters spelling the words {Begin' and 'The
end'. Text is also projected on large screens at the back of the stage, at one point scrolling through
names of famous ballerinas famous for dancing the Odette Odile role in the original Swan Lake,(the
Birdbrain costumes are typically plain, enabling the audience to focus more on the movement.The
dancers wear white or black t-shirts, the t-shirts often with the name of a character, an emotion or a
piece of scenery such as 'tree' or 'lake'. The use of text is typical of Stewart, even though it's not
always used in the same way.
Since Stewart took over the ADT in 1999, he has created a new ADT, challenging his dancers and his
audience. Stewart's use of multi-modal technology, his eclectic movement vocabulary,
collaborations with artists from a range of media and the use of text in a wide variety of ways has
gained both Stewart and the Australian Dance Theatre accolades and awards internationally. The
works they have produced have raised the profile of the company and Stewart himself, not only in
Australia but around the world.
I Word Count: 1,004
Page 10 of 13
Dance Theatre. Include mention of at least three (3) works Stewart has choreographed for the ADT,
Bibliography
Be Yourse/f2010, DVD, Australian Dance Theatre, Adelaide} Adelaide.
The Company - } ADT, accessed 02 April 2012, <http://www.adt.org.au/>.
Birdbrain 2000, DVD, Australian Dance Theatre, Adelaide, Adelaide.
Devolution 2006, DVD, Australian Dance Theatre, Adelaide, Adelaide.
Held 2004, DVD, Australian Dance Theatre, Adelaide, Adelaide.
The Age of Unbeauty 2003, DVD, Australian Dance Theatre} Adelaide, Adelaide.
Tonkin, M 2012, '\'Proximity\", - ,28th February, accessed 28 March 2012, <>.
I Word Count: 1,004
Page 11 of 13
Additional Comments
This Assessment Type includes 2 written responses, each to a maximum of 1000 words:

Task 1: Historical Perspectives

Task 2: Contemporary Issues
Knowledge and Understanding
Both pieces of writing show evidence of thorough research into the life and work of the dance artist in focus in each case
(KU 2, AE 1). In the study of the career of Twyla Tharp there is evidence of an understanding of the local and global
contribution of this choreographer. The report explores the way in which Tharp breaks down barriers between ‘classical,
contemporary and social dance’ using a range of media. In a similar way, the second report shows ‘depth in knowledge
and understanding’ (KU 2) of the contribution of Garry Stewart as artistic director of ADT. This is done through a
consideration of a number of his works that show innovation in the use of multimodal technology – lighting, video
projections, sound – as well as the fusion between various dance genres and ‘an eclectic movement vocabulary’.
Presentation and Communication
Both pieces of writing demonstrate ‘capable use of language and terminology relevant to the dance context’ (PC 3). In
each piece of writing the writer shows confidence in the use of dance terminology appropriate to the innovative styles of
the dance artists that are the subjects of study. At the same time the writing communicates information effectively to a
non-specialist reader. The writing is authoritative and the material is presented coherently and logically (PC 2).
Both pieces demonstrate ‘thorough research into and analysis and interpretation of’ the careers and works of the dance
artists under scrutiny (AE 1). The research, using a variety of sources in each case, enables the writer to demonstrate
knowledge about the development of the artist over time and also to focus on particular works that show innovation,
eclecticism and trends that combine together into what is seen as the unique ‘style’ of each (AE 2). Whilst the list of
sources in each case is impressive, the written pieces would have been improved by more careful attention to in-text
referencing or footnotes. The analysis of the material in each case is ‘well-considered’ and shows an understanding of the
innovative contribution of each artist to ‘dance as a creative art form’ (AE 2).
Overall Grade: B
This work fits comfortably into the B Band. It shows ‘some depth in knowledge’ and is expressed in language comfortable
with the ‘terminology’ of dance and able to communicate ideas and opinions in a ‘clear’ and coherent manner. The
research is ‘thorough’, though there needed to be more acknowledgement of the sources used for the ideas and
information. The analysis is ‘well-considered’ and shows an understanding of the contribution of each artist to the
development of dance as an art form.
Page 12 of 13
Performance Standards for Stage 2 Dance
A
Knowledge and
Understanding
genre.
application of technical skills and
knowledge demonstrated, using safe
dance practice.
understanding of the work of
dance artists locally,
Broad, varied, and thorough
exploration, selection, and refinement
of ideas.
and/or performance.
B
Proficient technical skills and
knowledge demonstrated
consistently, using safe dance
practice.
Some depth in knowledge
Thorough exploration, selection, and
genre.
Considered knowledge of the
and/or performance.
D
Some identification and
genre.
Some awareness of the work
of dance artists locally,
Some knowledge and
and/or performance.
E
Highly productive, independent, and
production skills.
Detailed knowledge and
genre.
Well-informed knowledge
and/or performance.
C
demonstration of the dynamic
Awareness of some basic
dance technique of a specific
genre.
and/or performance.
Page 13 of 13
Proficient demonstration of the
dance genre.
Mostly productive, independent, and
production skills.
Generally competent application of
technical skills and knowledge, using
safe dance practice.
Appropriate exploration, selection,
and refinement of ideas.
Generally competent demonstration
of the dynamic contrasts and
musicality within the principles of a
specific dance genre.
Generally competent, independent,
and collaborative performance or
production skills.
Basic technical skills and knowledge,
with some understanding of how to
apply safe dance practice.
Some exploration, selection, and
Basic demonstration of the dynamic
Some independent and collaborative
Emerging technical skills, with limited
awareness of safe dance practice.
Attempted exploration, selection, and
Emerging demonstration of the
dance genre.
Some attempt to work independently
or collaboratively in performance or
production.
Presentation and
Communication
Productive use of an extensive
variety of appropriate skills to
communicate sensitively and
expressively and to engage an
audience through practitioners’ onstage or off-stage roles.
Coherent and sustained
communication of original and
innovative choreographic intention.
Highly developed use of language
and terminology relevant to the dance
context.
Sophisticated, coherent, and
sustained communication, to
exchange well-informed ideas and
opinions.
In-depth research into, and analysis
and issues in context, using a variety
of sources.
A purposeful evaluation of the
dance, and perceptive evaluation of
dance processes.
Perceptive analysis and in-depth
form.
Mostly productive use of a variety of
skills to communicate expressively
roles.
Thorough research into, and analysis
and issues in context, using several
different sources.
Clear communication of the original
choreographic intention with some
innovation.
A thoughtful evaluation of the
Capable use of language and
context.
dance, and well-considered evaluation
of dance processes.
Consistent and clear communication,
to exchange informed ideas and
opinions.
Well-considered analysis and some
depth in understanding of dance as a
creative art form.
Competent use of appropriate skills to
communicate with some expression
roles.
Competent research into, and analysis
and issues in context, using different
sources.
Competent communication of an
original choreographic intention, with
Considered evaluation of the
Competent use of language and
context.
dance, and considered evaluation of
some dance processes.
Appropriate and generally clear
communication to exchange ideas
and opinions.
Considered analysis and
art form.
Some skills in communicating to an
audience, with some engagement,
through practitioners’ on-stage or offstage roles.
Some research into, and description
of, one or more historical and
contemporary dance works, practices,
or issues, using more than one source.
Some communication of aspects of
choreographic intention.
Some consideration of the
Basic use of language and
terminology with some relevance to
the dance context.
Attempted communication to
exchange ideas and opinions.
Superficial review of and reflection on
dance, and some description of dance
processes.
Description of dance as a creative art
form.
Emerging skills when attempting
communication of an idea to an
audience.
Attempted search for information on
historical or contemporary issues or
practice, using at least one source.
Attempted communication of an
aspect of choreographic intention.
Emerging recognition that relationships
interconnect in the process of staging
dance.
Attempted use of some language or
terminology with limited relevance to
the dance context.
Emerging skills in communication of
ideas or opinions.
Identification of an element of dance or
dance processes.
Identification and brief description of
dance as a creative art form.

Question: Discuss the career of dance choreographer Twyla Tharp

Transcription

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