Dancers who combine a number of composition skills to develop basic choreography for informal presentations apply the skills and knowledge outlined in this unit. They could be performing the choreography themselves for a dance class or teaching others how to perform the choreography for a non-professional performance.
At this level choreography skills and knowledge could be applied to a variety of dance styles, such as tap, jazz, contemporary, street and cultural forms of dance. Work is usually undertaken under some supervision, though autonomy and judgement can be expected.
Not applicable.
1. Develop an understanding of choreographic techniques used | 1.1. Identify components of choreography in dance sequences 1.2. Evaluate the artistic, creative and technical procedures of dance works by various well-known choreographers 1.3. Identify factors that have an effect on how to approach dance choreography 1.4. Select the most appropriate way of documenting dance sequences to be choreographed |
2. Invent movement material | 2.1. Consider the range of ways dance elements could be organised for different types of dance stimuli and purposes 2.2. Apply structural components of movement, phrases and sequences to dance 2.3. Create short pieces that demonstrate inventiveness in sequencing of movements 2.4. Create phrases that demonstrate a clear understanding of phrasing and rhythmic structures 2.5. Apply safe dance practices to prevent injury to self and others |
3. Present informal choreographic tasks | 3.1. Develop, rehearse and edit compositions for informal presentations 3.2. Communicate ideas using verbal, physical and tactile means and provide constructive feedback to other dancers as required 3.3. Use props, music and costumes effectively 3.4. Demonstrate choreographic approaches that move beyond literal or simple narrative 3.5. View work in progress with appropriate personnel and seek feedback on how well the choreography meets creative and technical requirements 3.6. Incorporate ideas and suggestions into work |
4. Evaluate choreography | 4.1. Develop a journal to detail composition process 4.2. Reflect upon and analyse choreographic structures and processes in written and verbal formats 4.3. Compare work against previous work to assess development of techniques and ideas 4.4. Discuss strengths and weaknesses of choreography with appropriate personnel and identify strategies for improving own choreography techniques |
Required skills
communication and teamwork skills to:
work with other dancers, including providing them with direction
consult with others involved in the choreographic and performance process
receive constructive feedback and apply it to future work
analyse, discuss and write about choreographic elements in relation to composition studies
initiative and creativity skills to:
develop new choreography
work creatively with others
follow through with own individual style or idea
solve choreographic problems in dance sequences
learning skills to:
improve performance and choreographic skills through experimentation and practice
research a topic to inform choreographic tasks
observe and interpret physical skills
planning and organising skills to:
collect information about various dance works for analysis
reflect on and analyse choreographic structures and processes
devise choreographic work for informal presentations
incorporate props, music and costumes into the planning process at a basic level
technical skills to:
manipulate movement within a range of composition structures and vocabulary
generate the structural components of shape, dynamics and rhythm in movement phrases and sequences
construct sequences of movement and form sequences into a cohesive whole.
Required knowledge
structural movement elements that comprise a choreographic work
role of movement motifs in composition
composition elements of choreographic dance sequences
artistic, creative and technical procedures used by well-known dance choreographers
structuring dance through the use of formal composition devices, such as:
canon
inversion
accumulation
retrograde
rondo
dance as a form of communication
issues and challenges that arise in the context of composing dance
dance vocabulary relevant to chosen style or genre
ways to document or notate dance
safe dance practices.
The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the ability to: use practical structural components of movement, phrases and sequences invent movement material construct sequences of movement devise choreographic work for informal presentation document, reflect and analyse choreography. |
Context of and specific resources for assessment | Assessment must ensure access to a dance studio or space, including: sprung floor tarkett mirrors and curtains sound system video recording and playback equipment. |
Method of assessment | A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit: observation of practice and performance verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit video recordings of performances or practice sessions case studies and scenarios as a basis for discussing components of the choreography process portfolios, journals or other documentation and notation that demonstrate the reflective processes used in choreography. Assessment methods should closely reflect workplace demands (e.g. literacy) and the needs of particular groups (e.g. people with disabilities and people who may have literacy or numeracy difficulties, such as speakers of languages other than English, remote communities and those with interrupted schooling). |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUACHR401A Create and perform dance pieces CUACHR402A Create short dance pieces CUADLT401A Document dance CUADLT402A Explore the relationship between music and dance CUAWRT501A Write about dance. |
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Components | improvisation starting points working with intention working with motifs, including: identifying a motif developing motifs by manipulating components of time, space and dynamics intent: reading movement expressing an idea through movement creating new vocabularies versus using known movements with intention working intuitively and cognitively form: binary ternary rondo theme and variations narrative organic phrasing: building phrases from isolated movement identifying phrase material from improvisational exercises creating variety in length of phrases structuring a work: unity and variety spatial organisation to enhance possible meanings contrast climax and resolution repetition sequencing transitions way in which solos, duos and trios affect and influence choreographic structure abstraction and stylisation understanding the difference. |
Choreographers | Martha Graham Mary Wigman Lester Horton Alvin Alley Twyla Tharp William Forsythe Cunningham D’Wate Duncan Bob Fosse Jack Cole Jerome Robbins Balanchine Nureyev Frederick Ashton Robert Helpmann Antony Tudor Fred Astaire Savion Glover Gregory Hines Bill Bojangles Dein Perry. |
Factors | purpose of choreography, such as for: specific dancer specific class or teacher ensemble music theatre specific type of music or stimuli specific genre or era of dance demonstrating particular skills or expertise own personal development corporate purposes cultural purposes educational purposes film and television other occasions and purposes. |
Ways of | notation methods, such as: Labanotation Benesh DanceWriting in-house custom method notation software video recording. |
Elements may include: | space time dynamics. |
Stimuli | music, such as: any type of musical style, like jazz, hip-hop and world vocal instrumental percussion, such as: drums hands feet stamps percussion instruments word motivation, such as: wobble, twitch, freeze vault, twirl, collapse pause, swell, jerk vibrate, bound, creep technical equipment, such as: lighting audiovisual fog machines scaffolding other props, objects and materials, such as: fabric instruments puppets or dolls piece of clothing ladder or chair silent space various texts. |
Structural components | building phrases from isolated movements identifying phrase material from improvisational exercises manipulating the following, independently and in groups: canon inversions accumulations retrograde rondo spatial organisation to enhance possible meanings geometrical distribution within whole or parts of bodily movements specific dynamic elements (rhythm, force, speed) to project dance-maker’s intentions use of props and basic costuming as intrinsic elements of meaning making. |
Inventiveness | unexpected connections between movement elements and a depth of movement investigation tasks or improvisational exercises designed to provoke unfamiliar movement formal procedures, such as splicing or chance procedures to change habitual movement patterns. |
Safe dance practices | understanding the body’s capabilities and limitations, including: alignment flexibility (mobility) strength (stability) cardiorespiratory endurance muscular endurance warm-up and cool-down activities, such as: gentle stretches aerobic exercises anaerobic exercises breathing exercises doing exercises and performing routines on flooring appropriate to the genre and style of dance, such as: sprung softwood tarkett sprung parquet tongue and groove hardwood resined for ballroom and Latin dance non-slip for ballet wood for tap and Spanish correct execution of dance steps appropriate clothing and footwear nutrition and diet. |
Informal presentations may include: | solo work duet work small group work sound-score spoken or written text minimal design elements. |
Appropriate personnel | teacher performer ensemble member designer: sound lighting costumes make-up and hair special effects client agent conductor tutor mentor. |
Reflection and analysis may include: | class discussions video replays journal entries adjusted choreographic showings drawings or diagrams visual and audiovisual stimuli and references. |
Performing arts - choreography
This unit contains employability skills.
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.