When writing a dance examination style response, your writing should be succinct, linked directly to the question and include relevant, detailed movement examples to support your ideas. You won’t be able to give all of the information that you know in the recommended 400 words. Unless the question asks for it, do not waste time contextualising the work and/or the choreographer. You should also avoid general waffle. Be very specific in your response and address the question immediately. Remember, it is not a recount. Do not try to explain the narrative of the work. Instead, where necessary, provide clear, specific links to your interpretation of the work's intent.

How to begin

• Break down the question.

• Underline/highlight the important words.

• Identify the number of concepts in the question.

• Decide what the stem verb is asking you to do in the question.

• Plan 2-3 concepts that you will address in your body paragraphs.

A student extended response sample using the S.T.E.E.L paragraph method.

Read the student extended response sample below. See if you can identify the different parts of the S.T.E.E.L structure in the body paragraphs. To extend yourself, complete the above activity for this question and example.

Question: How did Jiří Kylián's influences contribute to his movement choices in 'Sarabande'?

The social value of a choreographer's world is revealed in their choices as composers. Jiri Kylian combined classical technique with modern methods, and serenity with aggression to create the work that is ‘Sarabande’. As one of Kylian’s 'Black and White Ballets', ‘Sarabande’ features six male dancers and is composed of various sections. The piece explores the concept of masculinity where the dancers perform self-constraint and aggressive forms of movement through sustained control and dynamic strength. The piece exhibits vulnerability, sexuality, and respect, demonstrated through soft and organic movements. Kylian’s background and training both influenced his interpretation and choreography in ‘Sarabande’ and greatly contributed to his movement choices.

Jiri Kylian’s background and youth highly influenced his work in ‘Sarabande’. Kylian was born in 1947 in Prague, the capital of Czechoslovakia which was created in 1918 at the conclusion of World War One. This means Kylian’s formative years were under a communist regime with strict conformity and the absence of freedom, which is reflected throughout his movement in ‘Sarabande’. Kylian’s background and upbringing inspired the concept and choreography of ‘Sarabande’. We see the “black and grey” of Kylian’s childhood - these were the colours of his feelings, demonstrating the blandness the people from this time abided by. Throughout his movement in ‘Sarabande’, Kylian suggests how men were accustomed to certain idealistic values imposed by gender stereotypical societies. Males are heavily encouraged to correspond with the conventional male appearance, instead of searching for their own self-discovery. The movement alludes to a time where sexuality was frowned upon and self-expression was further prohibited. Kylian’s youth is reflected in the conformist movement when the men are seated, performing rigid, closed and angular movements in slow motion. The movement is precisely placed along with the positioning of the dancers across the stage. The men are constantly evenly spaced and stay in clean shapes, performing masculine movement; narrow, low level, straight, symmetrical shapes are displayed through the use of a ‘dying’ emotion, to represent how males were strictly conformed, without freedom to explore their identity. Kylian uses aural screaming and slapping to further explore this paradox, while the performers caress their body in representation of the struggle between being perceived as sensitive versus emotionless. The movement in ‘Sarabande’ can be identified as a reflection of how Kylian’s background restricted his freedom and allowance to explore throughout his childhood. It shows how he was never able to differ from the expectations of society and how he lived through the community's conformity. The staging and spacing of the performers reflects how Kylian’s background was highly conformist. The movement embodies the colour of Kylian’s background and allows the audience to understand the dullness of his experience as a young individual living in a communist society. In contrast to this, part of Kylian’s early career was spent in London during the time of the ‘Swinging 60s’. Throughout this time, London was loaded with new films and music of all kinds, as well as experimental fashion and art. Kylian has explained that he had seen everything and this is evident in the visual aesthetic of his choreography. The sexual revolution was developing around this time and was a social movement that challenged traditional codes of behaviour related to sexuality and relationships. The movement throughout ‘Sarabande’ explores how men attempt to break free of conformity to explore their true identity. The male dancers perform free movement, very feminine-like, and contrasting to the masculine movements performed throughout the work. Movement is performed at higher levels, with curvaceous, open, fluid lines, and a swinging momentum, to represent the feminine traits being explored. The feminine movement Kylian uses shows a sense of calm and peace when freedom of expression is allowed. In contrast to the conformist movement throughout ‘Sarabande’, the feminine shapes and dynamics performed represent the desire to explore sexuality and the representation of one’s individual self. Kylian’s history and youth has clearly influenced and inspired his vision for ‘Sarabande’. This is demonstrated through the masculine movement choices, staging and spacing which highlights the plain and bland environment he lived in and throughout his earlier years in Czechoslovakia. The contrasting feminine movement explores how men break free of the stereotypes society places on individuals and the exploration of their true identity.

Kylian’s style has been immensely influenced by various styles of dance he has witnessed and studied. From being introduced to John Cranko and neoclassical dance, to visiting Australia and being exposed to the traditional Aboriginal cultural dance, Kylian’s choreographic style has evolved due to these other varying styles he has been surrounded by. As the style of the 20th century classical ballet, neoclassical tremendously influences Kylian’s style. It utilises the advanced technique from 19th century Russian imperial dance, but excludes the detailed narratives and theatrical components. This leaves only movement; sleek, sophisticated, modern, still retaining the pointe shoe aesthetic, but without the drama and mime of a full length story ballet. Kylian was inspired by John Cranko, who was the artistic director of Stuttgart Ballet, which showcased ample full length narrative based ballets and neoclassical ballets. Cranko is one of the few choreographers that could combine tragedy, comedy and romance equally. Kylian’s works are dramatic, with hints of humour and his choreographic style displays neoclassical qualities. The male dancers perform neoclassical inspired movements throughout ‘Sarabande’. One of the male soloists executes a strong arabesqué line through to a développé along with deep plié's and high level elevations. The movement is technically executed like a classical ballet dancer and incorporates more complex shapes to amplify Kylian’s evolving style. The neoclassical style brings elegant technique and precise movement to Kylian’s choreography. His choreographic style is clearly influenced by neoclassical dance and this is evident through the expression and flow of the movement which explores flexibility and storytelling. Kylian first witnessed traditional Aboriginal dance when he watched a documentary in 1972 and years later he observed the Aboriginal culture when he travelled to Arnhem Land in Australia. He experienced the traditional culture and studied their rituals and ceremonial dances. Smooth classical lines followed by several sharp, percussive movements that involve angluar lines and twitches make up the Aboriginal inspired movements throughout Kylian’s choreography. The dancers perform grounded, stamping movements which are interpretations of the traditional Aboriginal connection to the land. The aural aspect is also influenced by traditional Aboriginal style, where the males make percussive sounds like clapping and vocal sounds. The traditional Aboriginal style of performing has highly influenced Kylian’s style and is evident throughout his choreography in ‘Sarabande’. The shapes and lines performed embody several elements of Aboriginal style, it is obvious that Kylian’s style, which has been labelled as ‘eclectic’, has been influenced by traditional culture, for the cultural Aboriginal dances are derived from their connection to the country and an awakening of their spirituality. Kylian’s style is very much influenced by neoclassical dance and traditional Aboriginal dance. John Cranko in particular inspired Kylian to perfect the art of elegant technique and storytelling, and the traditional Aboriginal culture influenced him to incorporate raw, grounded gestures and movements. These styles that influenced Kylian when choreographing ‘Sarabande’ evolved his own personal style and contributed to his movement choices throughout his work.

Kylian developed his choreography to highlight society's expectations and assumptions on gender stereotypes and what it means to be male in contrast to exposing one’s true self. It is clear that Kylian has been highly influenced by his background and training in his youth, traditional Aboriginal dance, and the neoclassical style and it is evident in his movement choices throughout his episodic composition. From living in Czechoslovakia in his formative years, to, living through the ‘Swinging 60’s’ in London when he was training, Kylian’s movement choices reflect his youth and the various ways it influenced him. His style is also influenced by other contributing styles like neoclassical and traditional Aboriginal dance which contribute greatly to his choices as the choreographer and composer of ‘Sarabande’.