Clarification of this assessment:

• You are expected to perform three routines of different styles. The key word is 'contrasting' style. 

• You might perform in a group or as a class, however you will be assessed individually;

• Each routine must be a minimum of two minutes in length. You may learn an entire dance but only get assessed on a specific section, this will be confirmed at the time of teaching and is dependant on our timeline/pace of learning;

• You must understand the stylistic features that make each style unique (listed below and in learning guide 1) in order to demonstrate those specific features in assessment. Examples include correct technique, timing, energy, relationships, emotional projection etc.

• You will need to perform each dance at least two different times throughout the year for it to be considered 'in your repertoire';

• All three dances must be at least achieved level in order to achieve the standard. Teachers need to assess holistically across the three dances;

• A repertoire of dance consists of refined, rehearsed, polished pieces at performance standard. These must be kept in a performance ready state meaning they can be shown with short notice and on repeated occasions. Short bits of unpolished work are not suitable for this standard.
  
  

The purpose of this assessment:

• The learning of 3 dances of different styles should build a range of technical expertise and vocabulary. Your range and depth of understanding in each style should be clearly evident in your work presented for assessment. 

• Keeping the repertoire dances in a ready state is similar to the idea of repertoire in a dance company, where a programme of dances may be performed in multiple venues and dances may be rested or re-mounted at any point.

Features of Dance 1: Theatre Jazz, Bob Fosse

• Precise execution and timing:
  -Minimalism & Precision – Small, sharp, deliberate motions over big sweeping ones. Fosse often used small, sharp movements, emphasising control and precision.
  
  

• Precise Body Awareness through correct Body Shapes, Body Base and Body Parts:
  -Body Rolls & Hip Isolations – Sensual, fluid movements for rhythm and style. Exaggerated hip movements, and slow, sultry isolations contribute to the distinctive 'Bob Fosse' vibe.
  -Shoulder Rolls & Angular Poses – Exaggerated movements for a stylised effect. Sometimes it can almost look unreal/cartoony.
  -Turned-In Knees & Feet – Signature pigeon-toed stance for a quirky look. Usually presented in combination with signature Jazz hands. The Pigeon-toed stance adds a quirky, almost awkward charm.
  
  

• Accurate and effective textures/dynamics of Energy:
  -Jazz Hands – Splayed, vibrating fingers to add energy and attitude. It's about creating energy and attitude with every fingertip.
  -Isolations – Sharp, controlled movements of wrists, shoulders, hips, and even eyebrows. This creates a choppy, mechanical quality that contrasts with fluid transitions.
  
  

• Detailed Timing:
  -Stillness & Pauses – Strategic use of silence to build tension and impact. It draws the audience in, creating anticipation.
  -Isolations - The isolations should contrast with any flowing, larger movements. These includes locomotion and use of general space.
  
  

• Projection: Bob Fosse often encourages a persona of character.
  -It is usually theatrical & humour driven. Often a Vaudevillian charm with a dark, cynical edge.
  -Subtle Sexuality. Suggestive yet refined movement, often playful; never obvious, but suggestive through the sly movements and postures.

• Precision in execution of Relationships:
  -Props & Hat Tricks – Hats, canes, and chairs used as extensions of movement. The props aren't just accessories—they become extensions of the body and tools for storytelling.
  -correct and engaging focus. Helps draw attention and engage audience.
  -fluid transitions
  -correct shapes and use of general/personal space in formations.
  
  

• Stamina

 Any questions or concerns? Please contact your teacher:
Miss Samuel: jsamuel@ormiston.school.nz