Candidates have both broad and in-depth conceptual knowledge of how to perform. They understand movement in space—the space of the stage and the space in and around themselves and other performers. They understand tempo and energy in dance performance and they have the vocabulary to describe them. They understand how the human body is used and moves in dance. They understand anatomy and healthful practices as they relate to dance. They understand performance etiquette and production elements.
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Descriptive Statements:
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Demonstrate knowledge of movement in space, including how dancers
- identify directions for moving the body in general space and find and return to a place in space;
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demonstrate locomotor and non-locomotor movements that change body shapes, levels, and facings;
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move in straight, curved, and zigzagged pathways individually and with others;
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find and return to a place in space and use space three-dimensionally;
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make shapes with positive and negative space;
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perform movement sequences in and through space with intentionality and focus;
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integrate static and dynamic shapes as well as floor and air pathways into dance sequences;
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refine partner and ensemble skills in the ability to determine distance and spatial design;
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establish diverse pathways, levels, and patterns in space; maintain focus with a partner or group in near and far space;
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incorporate and modify differently designed shapes and movements from a variety of dance genres and styles for the purpose of expanding movement vocabulary;
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sculpt the body in space and design body shapes in relation to other dancers, objects, and the environment;
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use space intentionally during phrases and through transitions between phrases; maintain and break relationships through focus and intentionality; and
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modulate and use the broadest range of movement in space for artistic and expressive clarity.
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Demonstrate knowledge of tempo, including how dancers
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identify speed of movement as fast or slow;
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move to varied rhythmic sounds at different tempi;
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demonstrate tempo contrasts with movements that match the tempo of the stimuli;
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relate quick, moderate, and slow movements to duration in time and recognize steady beat and moving to varying tempi of steady beat;
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identify the length of time a movement or phrase takes (e.g., whether it is long or short), identify and move on the downbeat in duple and triple meter, and correlate metric phrasing with movement phrasing;
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fulfill specified duration of time with improvised locomotor and non-locomotor movements;
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differentiate between "in time" and "out of time" to music;
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perform movements that are the same or of a different time orientation to accompaniment and use metric and kinesthetic phrasing to respond in movement to even and uneven rhythm;
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dance to a variety of rhythms;
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use accented and unaccented beats in a variety of meters;
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vary durational approach in dance phrasing;
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perform dance phrases of different lengths that use various timings within the same section;
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perform dance studies and compositions that use time and tempo in unpredictable ways; and
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work with and against rhythm of accompaniment or sound environments.
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Demonstrate knowledge of energy and dynamics, including how dancers
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move with opposing dynamics;
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identify and apply different dynamics to movements;
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analyze and refine dance phrases through the use of energy and dynamics by modifying movements and applying specific characteristics to heighten the effect of their intent;
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contrast bound and free-flowing movements, initiate movements from a variety of points of the body, and analyze the relationship between initiation and energy;
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use the internal body force created by varying tension within one's musculature for movement initiation and dynamic expression;
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connect energy and dynamics to movements by applying them in and through all parts of the body and direct energy and dynamics in such a way that movement is textured;
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incorporate energy and dynamics to technique exercises and dance performance and use energy and dynamics to enhance and project movements;
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transition smoothly out of one phrase and into the next phrase, paying close attention to its movement initiation and energy; and
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modulate dynamics to clearly express intent while performing dance phrases and choreography.
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Demonstrate knowledge of dance vocabulary, including how dancers
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describe movement characteristics using descriptive vocabulary (e.g., use adverbs and adjectives that apply to movement);
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demonstrate kinesthetic awareness while dancing the movement characteristics; and
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compare and contrast movement characteristics from a variety of dance genres or styles, using dance terminology and descriptive language to describe them.
Sample Items:
Which of the following actions best illustrates the use of proximal initiation of a movement?
- A ballet dancer rotates and the dancer's arm extends from the torso.
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A modern dancer creates hand circles that travel up the arm to include the shoulder.
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A hip-hop popping action is created by lifting and freezing an elbow joint.
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A dancer begins a waltz by turning the head in the direction of intended movement.
Correct Response and Explanation (Show Correct ResponseHide Correct Response)
A. The terms proximal and distal refer to the relationship of a body part to the body's core, with proximal indicating the point of attachment closer to the core and distal farther from the core. The initiation of movement is described as proximal or distal, depending on whether the energy for movement flows from the core and radiates outwards or begins or occurs in isolation at an extremity of a body part. A torso rotation that extends into the opening of an arm is using a proximal initiation of energy to open the arm.
Watch the video1 below to answer the question that follows. The video shows a segment of a young man dancing outside. To play this video, click the Play icon (
). You may also use the Pause (
), Stop (
), and Replay (
) features. You may watch the video as many times as you wish.
This video shows ten seconds of dance movement. Performing outside on a paved space, a teenage boy, wearing street clothes, performs a series of six turns using his hands as the base of support. From a wide stance, he places one hand on the ground and, with legs open and extended slightly bent, rotates around his axis, changing the hand underneath him as he turns and balancing over the supporting hand. He repeats this action eight times, pressing a foot to the ground between each to initiate the next rotation. Each turn is a single rotation, except the third and fifth turns in which he rotates twice. All are performed with relatively even timing except the fifth turn, during which he accelerates his rotation, bending his legs closer to his body, as he turns.
Which of the following sets of terms would be most useful for describing the dance movement shown in the video?
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growing, focused, punching
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asymmetrical, balanced, rotating
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stretching, diagonal, pressing
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symmetrical, supported, rising
Correct Response and Explanation (Show Correct ResponseHide Correct Response)
B. Throughout this segment of movement, the dancer's body is rotating around his axis in a series of turns. The frequent use of one hand or, at times, a press into one foot as the base of support creates movement in asymmetrical shapes. During the rotations, the dancer balances his body over the single base of support.
Descriptive Statements:
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Demonstrate knowledge of locomotor movement, non-locomotor movement, and body patterning, including how dancers
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demonstrate full-body, same-side, and cross-body locomotor movement, non-locomotor movement, and body patterning;
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replicate body shapes, movement characteristics, and movement patterns in a dance sequence that require moving through space using a variety of pathways with awareness of body alignment and core support;
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repeat, modify, and recall movement sequences with an awareness of self and others in space; and
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demonstrate technical dance skills (e.g., alignment, coordination, balance, core support) and movement characteristics when replicating and recalling patterns and sequences of locomotor and non-locomotor movements.
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Demonstrate knowledge of body use in space, including how dancers
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move safely in general space through a range of activities and group formations while maintaining and changing personal space;
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adjust body use to coordinate with a partner or other dancers to safely change levels, directions, and pathway designs;
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execute techniques that extend movement range, build strength, and develop endurance and explain the relationship between execution of technique, safe body use, and healthful nutrition;
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demonstrate safe body-use practices during technical exercises and movement combinations;
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coordinate phrases and timing with other dancers by cueing off each other and responding to stimuli cues (e.g., music, text, lighting); and
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collaborate with peer ensemble members to repeat sequences, synchronize actions, and refine spatial relationships to improve performance quality.
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Demonstrate knowledge of technical dance skills, including how dancers
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recall and execute a series of dance phrases using technical dance skills (e.g., functional alignment, coordination, balance, core support, clarity of movement, kinesthetic awareness, flexibility/range of motion) to retain and execute dance choreography;
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embody technical dance skills to accurately execute changes of direction, levels, facings, pathways, elevations and landings, extensions of limbs, movement transitions, spatial designs, and musical or rhythmical dance phrases;
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apply body-use strategies to accommodate physical maturational development to technical dance skills;
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refine technical dance skills to improve performance; and
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apply mind-body principles to technical dance skills in complex choreography when performing solo, partnering, or dancing in ensemble works in a variety of dance genres and styles.
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Demonstrate knowledge of anatomy and healthful practices, including ways of researching healthful and safe practices for dancers; applying basic anatomical knowledge, proprioceptive feedback, spatial awareness, and nutrition to promote safe and healthful strategies when warming up and dancing; using and evaluating personal healthful practices in dance activities and everyday life (e.g., nutrition, injury prevention) and discussing choices made, effects experienced, and methods for improvement; applying anatomical principles and healthful practices to a range of technical dance skills for achieving fluency of movement; and developing a plan for healthful practices in dance activities and everyday life, including implementation strategies, that supports personal performance goals.
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Demonstrate knowledge of collaboration, including collaborating as an ensemble to refine dances by identifying what works and does not work in executing complex patterns, sequences, and formations and collaborating with peers to practice and refine dances, to develop group performance expectations through observation and analyses, and to discover strategies for achieving performance accuracy, clarity, and expressiveness.
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Demonstrate knowledge of rehearsal planning, including planning and executing collaborative and independent practice and rehearsal processes to meet performance goals and initiating, planning, and directing rehearsals with attention to technical details and fulfilling artistic expression.
Sample Item:
A dancer practicing jumps begins by slowly executing pliés into relevés. This activity is most likely to help the dancer develop which of the following technical skills important to jumping?
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the ballistic attack and follow-through into flight
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leg shape, initiation of power, and ballon
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alignment, foot articulation, and eccentric use of leg muscles
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use of the ball of the foot to push the floor away to sustain power
Correct Response and Explanation (Show Correct ResponseHide Correct Response)
C. To perform a relevé, a dancer begins in a demi-plié, rises to demi-pointe or en pointe, which requires strength and articulation of joints in the feet. Most important to correct execution is the vertical alignment of body parts to ensure the ability to move with minimal effort and retain balance through the movement. As the dancer pushes against the floor to rise upward with concentric contraction of foot and quadriceps muscles, the hamstrings lengthen in eccentric contraction.
Descriptive Statements:
- Demonstrate knowledge of performance space, including delimiting different areas for performers and audience to occupy; identifying the main areas of a performance space using production terminology (e.g., stage right, stage left, center stage, upstage, downstage); considering how to establish a formal performance space from an informal setting (e.g., gymnasium, grassy area); and demonstrating the ability to adapt dance to alternative performance venues by modifying spacing and movements to the performance space.
- Demonstrate knowledge of production elements, including selecting and using props; identifying, exploring, evaluating, and selecting production elements that heighten and intensify the artistic intent of a dance and are adaptable for various performance spaces; producing dance in a variety of venues or for different audiences and, using production terminology, explaining how the production elements are handled in different situations; and working collaboratively to produce dance concerts in a variety of venues and designing and organizing the production elements that would be necessary to fulfill the artistic intent of the dance works in each of the venues.
- Demonstrate knowledge of performance etiquette and performance practices, including recognizing needs and adapting movements to performance areas; using performance etiquette and performance practices during class, rehearsal, and performance; keeping and accepting performance notes and using them to recommend changes and apply corrections to future performances; demonstrating leadership qualities (e.g., commitment, dependability, responsibility, cooperation) when preparing for performances; modeling performance etiquette and performance practices during class, rehearsal, and performance; enhancing performance using a broad repertoire of strategies for dynamic projection; and developing a professional portfolio that documents the rehearsal and performance process with fluency in professional dance terminology and production terminology.
Sample Item:
Use the photograph2 below to answer the question that follows.
In a photograph showing a moment in a dance performance, the stage is covered with a layer of fine white powder. A female dancer wearing a white leotard has just dropped forward to balance on her hands. Her torso is arched so her hips are nearly over her head. Her legs form a split in the air with her left leg extended horizontally behind her and her right leg bent in an arched shape over her head. Her head is lifted and her focus is forward. A spray of powder arches up over her body mirroring the shape created by her legs, apparently lifted off the stage surface by her feet and dispersed by the trajectory of her movement into the pose.
Based on the image shown, the choreographer of this dance work most likely chose to spread the stage with a light powder for which of the following purposes?
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to enhance the shapes and energies of the dancer's movements
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to provide an element of unity in combination with the dancer's costume
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to enable the dancer to create sliding actions across the floor
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to abstract the lines of the dancer's body away from human form
Correct Response and Explanation (Show Correct ResponseHide Correct Response)
A. In the performance from which this picture is taken, the powder spread on the floor functions as a stage property. As the dancer contacts and moves off the floor, her movement picks up powder and disperses it in shapes that complement and extend the form and shape of her movement. In this way, the choreographer uses the powder to enhance the dancer's movements.
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