Question: Discuss the career of dance choreographer Twyla

Purpose

STAGE 2 DANCE ASSESSMENT TYPE 2: RESPONSE

Part 1: Historical Perspectives

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. demonstrate knowledge and practical application of dance technique in the context of safe dance practice

2. explore, select, refine, and evaluate ideas and processes in the creation of a dance work and in the study of technique.

3. research, analyse, interpret, and give informed opinions about historical and contemporary dance works, practice and issues

4. demonstrate performance or production skills both collaboratively and independently

5. understand the use of various forms of technology relevant to the study of dance as an art form

6. 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’ on-stage 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.


Performance Standards for Stage 2 Dance

- Knowledge and Understanding

Practical Application Presentation and Communication


A In-depth knowledge and understanding of the dance technique of a specific genre.

In-depth knowledge and understanding of the work of dance artists locally, nationally, or globally.

In-depth knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

Highly proficient and sustained application of technical skills and knowledge demonstrated, using safe dance practice.

Broad, varied, and thorough exploration, selection, and refinement of ideas.

Highly proficient and sustained demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Highly productive, independent, and collaborative performance or production skills.

Productive use of an extensive variety of appropriate skills to communicate sensitively and expressively and to engage an audience through practitioners’ on-stage 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.

B Detailed knowledge and understanding of the dance technique of a specific genre.

Some depth in knowledge and understanding of the work of dance artists locally, nationally, or globally.

Well-informed knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

Proficient technical skills and knowledge demonstrated consistently, using safe dance practice.

Thorough exploration, selection, and refinement of ideas.

Proficient demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Mostly productive, independent, and collaborative performance or production skills.

Mostly productive use of a variety of skills to communicate expressively and to engage an audience through practitioners’ on-stage or off-stage roles.

Clear communication of the original choreographic intention with some innovation.

Capable use of language and terminology relevant to the dance context.

Consistent and clear communication, to exchange informed ideas and opinions.

Thorough research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using several different sources.

A thoughtful evaluation of the relationships that interconnect in the process of staging dance.

Critical review of and reflection on dance, and well-considered evaluation of dance processes.

Well-considered analysis and some depth in understanding of dance as a creative art form.

C Appropriate knowledge and understanding of the dance technique of a specific genre.

Considered knowledge of the work of dance artists locally, nationally, or globally.

Appropriate knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

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.

Competent use of appropriate skills to communicate with some expression and to engage an audience through practitioners’ on-stage or off-stage roles.

Competent communication of an original choreographic intention, with elements of innovation.

Competent use of language and terminology relevant to the dance context.

Appropriate and generally clear communication to exchange ideas and opinions.

Competent research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using different sources.

Considered evaluation of the relationships that interconnect in the process of staging dance.

Critical review of and reflection on dance, and considered evaluation of some dance processes.

Considered analysis and understanding of dance as a creative art form.

D Some identification and understanding of the dance technique of a specific genre.

Some awareness of the work of dance artists locally, nationally, or globally.

Some knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

Basic technical skills and knowledge, with some understanding of how to apply safe dance practice.

Some exploration, selection, and refinement of ideas.

Basic demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Some independent and collaborative performance or production skills.

Some skills in communicating to an audience, with some engagement, through practitioners’ on-stage or off-stage roles.

Some communication of aspects of choreographic intention.

Basic use of language and terminology with some relevance to the dance context.

Attempted communication to exchange ideas and opinions.

Some research into, and description of, one or more historical and contemporary dance works, practices, or issues, using more than one source.

Some consideration of the relationships that interconnect in the process of staging dance.

Superficial review of and reflection on dance, and some description of dance processes.

Description of dance as a creative art form.

E Awareness of some basic dance technique of a specific genre.

Emerging awareness of the work of dance artists locally, nationally, or globally.

Emerging awareness of the aesthetic qualities in technique, choreography, and/or performance.

Emerging technical skills, with limited awareness of safe dance practice.

Attempted exploration, selection, and refinement of ideas.

Emerging demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Some attempt to work independently or collaboratively in performance or production.

Emerging skills when attempting communication of an idea to an audience.

Attempted communication of an aspect of choreographic intention.

Attempted use of some language or terminology with limited relevance to the dance context.

Emerging skills in communication of ideas or opinions.

Attempted search for information on historical or contemporary issues or practice, using at least one source.

Emerging recognition that relationships interconnect in the process of staging dance.

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 description~ and painting

lessons. I had German and shorthand. II 1 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.

1 TwyJa Tharp Quotes -, -, accessed 13 June 2012, <http://wwvv.brainyquote.com/quotes/authors/tjtwyla_tharp.html>.



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 over-

exaggerated 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.



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



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> ..


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


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 of the 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



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



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


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). Analysis and Evaluation 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.


Performance Standards for Stage 2 Dance

- Knowledge and Understanding

Practical Application Presentation and Communication


A In-depth knowledge and understanding of the dance technique of a specific genre.

In-depth knowledge and understanding of the work of dance artists locally, nationally, or globally.

In-depth knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

Highly proficient and sustained application of technical skills and knowledge demonstrated, using safe dance practice.

Broad, varied, and thorough exploration, selection, and refinement of ideas.

Highly proficient and sustained demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Highly productive, independent, and collaborative performance or production skills.

Productive use of an extensive variety of appropriate skills to communicate sensitively and expressively and to engage an audience through practitioners’ on-stage 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.

B Detailed knowledge and understanding of the dance technique of a specific genre.

Some depth in knowledge and understanding of the work of dance artists locally, nationally, or globally.

Well-informed knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

Proficient technical skills and knowledge demonstrated consistently, using safe dance practice.

Thorough exploration, selection, and refinement of ideas.

Proficient demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Mostly productive, independent, and collaborative performance or production skills.

Mostly productive use of a variety of skills to communicate expressively and to engage an audience through practitioners’ on-stage or off-stage roles.

Clear communication of the original choreographic intention with some innovation.

Capable use of language and terminology relevant to the dance context.

Consistent and clear communication, to exchange informed ideas and opinions.

Thorough research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using several different sources.

A thoughtful evaluation of the relationships that interconnect in the process of staging dance.

Critical review of and reflection on dance, and well-considered evaluation of dance processes.

Well-considered analysis and some depth in understanding of dance as a creative art form.

C Appropriate knowledge and understanding of the dance technique of a specific genre.

Considered knowledge of the work of dance artists locally, nationally, or globally.

Appropriate knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

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.

Competent use of appropriate skills to communicate with some expression and to engage an audience through practitioners’ on-stage or off-stage roles.

Competent communication of an original choreographic intention, with elements of innovation.

Competent use of language and terminology relevant to the dance context.

Appropriate and generally clear communication to exchange ideas and opinions.

Competent research into, and analysis and interpretation of, historical and contemporary dance works, practice, and issues in context, using different sources.

Considered evaluation of the relationships that interconnect in the process of staging dance.

Critical review of and reflection on dance, and considered evaluation of some dance processes.

Considered analysis and understanding of dance as a creative art form.

D Some identification and understanding of the dance technique of a specific genre.

Some awareness of the work of dance artists locally, nationally, or globally.

Some knowledge and understanding of the aesthetic qualities in technique, choreography, and/or performance.

Basic technical skills and knowledge, with some understanding of how to apply safe dance practice.

Some exploration, selection, and refinement of ideas.

Basic demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Some independent and collaborative performance or production skills.

Some skills in communicating to an audience, with some engagement, through practitioners’ on-stage or off-stage roles.

Some communication of aspects of choreographic intention.

Basic use of language and terminology with some relevance to the dance context.

Attempted communication to exchange ideas and opinions.

Some research into, and description of, one or more historical and contemporary dance works, practices, or issues, using more than one source.

Some consideration of the relationships that interconnect in the process of staging dance.

Superficial review of and reflection on dance, and some description of dance processes.

Description of dance as a creative art form.

E Awareness of some basic dance technique of a specific genre.

Emerging awareness of the work of dance artists locally, nationally, or globally.

Emerging awareness of the aesthetic qualities in technique, choreography, and/or performance.

Emerging technical skills, with limited awareness of safe dance practice.

Attempted exploration, selection, and refinement of ideas.

Emerging demonstration of the dynamic contrasts and musicality within the principles of a specific dance genre.

Some attempt to work independently or collaboratively in performance or production.

Emerging skills when attempting communication of an idea to an audience.

Attempted communication of an aspect of choreographic intention.

Attempted use of some language or terminology with limited relevance to the dance context.

Emerging skills in communication of ideas or opinions.

Attempted search for information on historical or contemporary issues or practice, using at least one source.

Emerging recognition that relationships interconnect in the process of staging dance.

Identification of an element of dance or dance processes.

Identification and brief description of dance as a creative art form.


Documents

Question: Discuss the career of dance choreographer Twyla