Dance Choreography

RESEARCH PROJECT SUBJECT form of kick inress stage dancing TOPIC Choreograph devil moves in the schooldays medicational, broad(prenominal) enlighten musical ASSESSMENT TYPE 1 FOLIO marriage offer RESEARCH DEVELOPMENT Weeks 1-4 ( oscilloscope look for) Plan for the year. Background look into history of stage dancing Send letter to Kenny Ortega and Mia Michaels in America Analyse DVDs of musicals, Grease, High give instruction musical, Centre Stage, Bring It On Fringe and Festival Performances Research writeright laws and copying exact moves from the movie Weeks 4-10 (the audience turn) Send email to VN most testing techniques Interview ET, ST, AP ab place(p) auditioning experiences Interview BS strong-nighwhat how she selects dancingrs for musicals she choreographs Choreograph audition move and motor feed plunk for Interview MB roughly what inspires her choreography Weeks 10-11 nurture audition piece and select dancers Weeks 12-14 Research fa mous choreographers and how people lead Weeks 11-14 Choreograph dances to inform at the musical coterie Attend camp and read dances and rehearse them Weeks 15-20 Continue rehearsals and polishing performances Discuss my ideas for costumes for the dancers School musical theater Performance BACK GROUND RESEARCH ABOUT CHOREOGRAPHY AND CHOREOGRAPHERS (and my an nonations in blue) Kevin ODay lighting at the top choreographer and dancer Kevin ODay, the redheaded dancer so familiar to us from his distinguished tenure with the comp either of Twyla Tharp (he toiled at that place eight-spot pine years), his duties as soloist with Ameri mountain B eachet Theatre, and his current partship in Mikhail Baryshnikovs albumin Oak dance Project, has made a bravura leap into the tenuous, embarrassing world of choreography and emerged a winner. reachs me realise that choreography isnt easy, and non e trulyone succeeds, not even experienced dancers) With astonishing aplomb, ODay, at th irty-two, resonatems to acquire sprung handsome into the argonna of making dances, forging a vocabulary that while tinged with influences in conviction shapes movements and phrases at erstwhile formal, musical, inventive, and genuinely felt. realise my choreography go a modality in all probability deliver influences from appriseers I stick out had) That his choreographic gifts should take aim made themselves translucent within the span of less than a year, and by only two brief playing, each under a distinguished aegis, is a protective cover to his finely honed dance sensibilities and to the eyes and minds of his champions, Baryshnikov and Peter Martins.Indeed, so strong was their tenet in ODays talent and so positive was the audience and critical re litigate to these fledgling works that both directors instantly commissioned new works for their obligingnessive companies. ( displays that if people regard in you and guide and support you the choreography give the sack be nonplus dreaded. Also if some intimacy is so spectacular your work outho engross line noticed and take you remote) On February 9. ODays second work for youthful York City Ballet (still untitled at press time) volition be premiered.It is set to a score by the young English composer whole meal flour Fitkin. Last December in Tokyo, White Oak unveiled ODays The computable Army, to music of John Lurie of the Lounge Lizards, with Baryshnikov as one of its dancers. This uncommon whirlwind of choreographic success (success is knotty and uncommon ) all began in March 1994, when the White Oak Dance Project gave its first New York season at the New York State Theater. in that location was no question that ODays first ballet. authorise Quartet for IV (and sometimes one, two or three , was the unmodified hit of the companys first New York appearance.While several pleasures were garnered from Baryshnikovs mid frustrate troupe, not the to the lowest degree creationness hi s own masterly and immaculate performances, the companys repertoire was short on firstity or genuine interest. When ODays moment came, audiences responded with an immediacy that indicated the relief they felt at finally encountering a work that, in its exuberance and e bmal focus, turn out as intellectually engaging as it was entertaining. This para shows that if something isnt original or interesting the audience erect doesnt respond, but when something amazing is liven out reckon them they react and now be much to a greater extent(prenominal) engaged) A few critics carped at what they considered ODays glaring Tharpisms, such as his noodling with her polycoordinations and her odd manipulations of phrasing. only if some, notably Arlene Croce in the New Yorker, found this choreographic debut strange and worthy of attention. (His debut shows that even your first show back end be great.Gives me hope) When only a few weeks later ODay presented his second ballet, Viola ent irely (With One Exception), set to Hindemith, created at the invitation of Martins for New York City Ballets prestigious diamond Project II, the rarity of ODays gifts became even to a greater extent evident. Here was a work of very segmentationicular craft and content. (not all dancers can choreograph) Dance powder store senior editor Tobi Tobias, paper roughly the Diamond Project premieres in New York magazine, stated, ODays ballet, the most vivid and engaging of the seven seen, shows him attempting to steer exceed of the Twyla Tharpisms that argon his heritage. (still take to be individuals and break free from your influences)Then, describing the flow and social organisation of the ballet, Tobias concludes, At the end, Alexander Ritter gestures toward the onstage violist, as if to say, The c arfree days of my life asleep(p) nowlie in this music, but sentiment is so ruthlessly excluded from the earlier proceedings that the chief elements of the piece re important lusty ver ve and b sure-enough(a) motion, deftly marshaled. On speaking with ODay, one subscribe tos that the act of choreographing has long been part of his life as a dancer, a by-product of placard and, of course, desire I had al centerings worked in studios on my own whenever I could,. he says. Id point a video camera, set it up, and Id dance around. I was collecting material. (I allow be doing this this year e. g. experimental explore) I learn from Twyla Tharp that if youre sledding to choreograph, you had to go into the studio by yourself and spend time working. You exclusively had to work and work and work.And you had to work on your own way ahead working with a group of people or even just two people. The point is, you had to nurture an understanding of what you insufficiency from dancers out front you start working with them. You cant just snatch things out of the air. (This is excellent advice working by yourself before working with the class so you can perfect the pie ce. It takes a lot of time and lots of confide but this way you bonk how it looks and what to expect from the dancers) The influence of Twyla helps me when Im in the studio alone.You see, Twyla has a lot of ways of putting movements through a road test. Shell improvise, lounge around through a phrase, and then turn it into something very solid. She would in addition change the music. Within the span of an second she might change the music four or five times. So, she invites a body of material, and thats been her greatest influence on me how to put together a body of material. (a lot of trial and error ordain be multiform, so must allow time to experiment) Thus, explains ODay, he, akin Tharp, will try things on is own body, sometimes to divers(prenominal) music, and create a patchwork that whitethorn ultimately be practiced in a work The to a greater extent I try this, with contrastive textures, several(predicate) music, different road tests, different qualities of d oing a movement, to see how far a movement can be stretched or shrunk. All these things serve to build a body of material, which might then go into forming a piece. Dance Magazine, Feb, 1995 by John Gruen http//findarticles. com/p/articles/mi_m1083/is_n2_v69/ai_16686035/ NIGEL LITHGOWs line if the choreography is simplistic it is up to the performer to carry the routine to life. (So You Think You Can Dance) Will truly apply to me as most of the educatees I will be working with take for grantedt sire much experience so will extradite to have dim-witted steps. This means that I will have to enforce that dancers have to be so energetic to really knead the moves to life. This shows that my choreography, although very important, isnt everything. Theres a large-scale responsibility on the dancers to bring the dances to life. I will sh ar the quote with the group when its looking dull so they can bring it to life.My views on RESEARCH ON HOW TO TEACH from article in SACE STAGE 2 Physical fosterage Work apply, Different methodologies (ways to teach or coach) Visual Demonstrations this is the most useful way of tenet dance. This is the main method I have apply so far and its the method I will continue to use the majority of the production. This wont have to be strikee as much once the dance is learnt as the students have to complete how to do it without me because I will not always be standing at the front. This method is so useful for them to get a picture of the dance in their head and how to do it correctly.Usually when we start a rehearsal and before I begin to teach a new dance I sit everyone down and stand out the front and do the dance properly so they get laid what the dance is meant to look like. Then I break down each move, visually showing the cast each step. This would best suit visual learners. Audible Cues when I am teaching a dance from the beginning this method will only be used in conjunction with the visual demonstrations. Just ver bally sexual relation them how to do the dance wont work. This will be used similarly when they be doing the dance and I can call out the counts or gird straight , Point your toes etc. When I am instructing, have to ensure that instructions are short and simple so I dont confuse/overload the learner and once they get along the moves the instructions can get more than than than complex. This obviously suits a verbal learner who understands best through written and spoken words. usance havent used this methodology so far, but from historical experience in dancing I know its very effective. I believe its more useful for beginners or those who engagement with dancing. Basically I have to physically put the persons body/ arms/legs through the correct range of motion.Obviously there is a slight ethical concern here, I have to ensure I dont touch someone in the wrong way. barely I pretend I will start using this more especially with arm movements as they can be quite findfu l and visually and verbally showing them how to do it doesnt always work, Reflections about article Tips for Teaching Seven Principles of Good Practice http//honolulu. hawaii. edu/intranet/committees/FacDevCom/guidebk/teachtip/teachtip. htmtechniques Use time puff up very important time is everything, to get production take a crap on time.Have to remain reminding cast and they have to help. I have to tout ensemble plan rehearsals and set realistic goals. Communicate high expectations Expect more and you will get more. reflects my way of teaching. I have such high expectations of this musical and have a vision of how high-priced it will look. Expecting the cast to perform well is a bonus for me as I will put in the effort to ensure it reaches this standard. Respect different talents and ways of learning have to ensure all dancers have prospect to learn in ways that work for them.Seize the moment if people come and ask for clarification even though I might not have time to help them, I should as they are in all probability ready to learn at that moment. Involve the student in intend this could help if Im stuck for ideas cock-a-hoop the groups challenges to come up with choreography. There is some student involvement in the freestyle move where students get the chance to be creative and do their own thing. Move from simple to complex- I can use this principle in my teaching for sure If I teach complex choreography to begin with and then assess everyones progress who finds it easy and who finds it difficult.Then if everyone gets it and it looks withal simple I can make it more difficult. TELEPHONE INTERVIEW WITH ST (actor, singer, dancer) + My Reflections (in blue) a) What do you think works well in auditions as a performer? Having confidence is the pigment to success. believe in yourself. Forgetting a move just keep red I will have to reinforce these points to all the cast. They should be confident and believe in themselves and remind the m to keep going even if they make mistakes. b) How does a dance audition usually run?Get there and prove (giving name, age, enlarge experience). This is a good suggestion however, using military issues could be a bit intimidating for our students. We would get them to fill out their details of experience etc You then sit in a waiting way most people warm up up here. If it is an audition with a lively dance you practice it. Wed give them time to warm up, but not in an an opposite(prenominal)wise room Usually there would be 2 sittings with 40 dancers. You get called and line up and learn the dance in rows of four. First four would do the dance and then go to the back of the line.Because of the time constraints wed only have one session but I like the idea of doing it in rows and them moving to the back of the line There isnt usually a set warm up- done by the performers while they are waiting. Im considering doing a set warm up only because a lot of the performers are inexper ienced and would not know what stretches to do. c) What auditions have you been successful in and wherefore is that? Is it because of the way the auditions were run? It is mainly the auditions which make you feel really comfortable.You are already flighty adequate as it is and the places that make you feel proficient and secure make you perform better. The environment makes big difference, for example you would be feeling scared auditioning in a spooky house so rooms with warm nice colours give it a good feeling. I will make an effort to be really friendly, welcome and kind to make the students feel comfortable. A lot of them would never have danced before and I wouldnt loss them to feel scared and not come back. In no way would I get angry, spoil or grumpy if theyre not being cooperative. Ill be the nicest person I can try to be. ) Are the dances usually grueling so the good people excel or easy so everyone has the luck to shine rather than focus on the moves? Usually you wo uld learn a dance that is either going to be in the show or a similar style to what is going to be in it. At first I wanted to do a different dance rather than one well use but afterwards consultation this, and after talking to the director, I have decided to do the refrain of Were all in this together for the audition dance. e) Anything else you would like to add? You would usually receive a phone call, email or letter in the post about 3 eeks later saying if youre successful or not. Id have to discuss this with other teachers involved, but wed probably take 1-2 weeks to decide and let them know by hanging up the parts or telling them in person. You need a large wide room as there is nothing worse than trying to dance when it is crowded and squishy. Mirrors and bars are something you need but if its at school you might not have it. The auditions would usually be held in the hall but from ult experience this is narrow and squashy. Ideally Id like them to be held in the spacious gym, but guess it depends on the availability of the gym.The main thing is to talk sporty. With echoing rooms the noise can bound off the walls and it is hard to hear which is difficult for people at the back. You are already nervous enough and this makes it much more stressful if you cant hear the instructor. This is a good point. Nothing is worse than not being able to hear the teacher, especially in a big room where theres lot of people. Im going to speak loudly and shortly so everyone can understand. This also raises the roll in the hay if theres so many people in rows, its hard to see people up the backI think this question was really successful as ST gave me some really good ideas and insights. REFLECTIONS ON THE scoff AUDITION AND WHAT I LEARNED ABOUT CHOREOGRAPHY On Monday I gathered 3 close friends to trial the audition process. The aim was to teach the dance I had prepared for the audition and get some feedback on what the dance was like and how I went teaching it. I chose three friends with 3 diff levels of dancing ability one is a talented well inter link dancer one is a suitable dancer but inexperienced and one is not into dancing at all.I filmed the majority of the audition if I need it for future reference. I think this was a worthy task and I got so much out of it as I reflexiond some hurdles but the main thing was they erudite the dance in the allocated time frame. One thing I learnt during this bemock audition is to be totally prepared. On the day I forgot the CD I was using. I also prospect about what was a more book method of teaching facing the cast and therefore the moves being opposite direction or facing the similar way as the cast with them not able to see what is going on the front of the body.I also had to think about how much I would teach at once. For example, teach 4 or 8 counts before renewing it. How competent did they have to be before we tried it to the music? I also demonstrated the moves in different areas aro und the room so everyone got to see exactly what I was doing and from different angles. I found I involve to speak slower and clearer to G as she needed more explanations so I have to remember there will be a variety of standard in the room. plentiful the cast the opportunity to do it without me, whilst I sit back and watch not only gives me the chance to see how my choreography looks but makes the students think harder. From past experience I know that doing a new routine without the teacher demonstrating with you gets the routine drilled in your mind, especially as theyll have to do it alone/pairs at the audition. Giving the cast the opportunity to watch me and the way it is meant to be done will also help. Finally I think I have to show Im confident and happy with my choreography because I thought I looked a bit embarrassed and worried about what others would think.Things Ill do the same- filming, deconstructing choreography into 8 counts, demonstrate with them NOT participating , demonstrate with them conjoining, face same way as cast then swap so they get to see the whole picture, stand aside and watch them do it alone, move around room demonstrating + giving advice, get feedback. Things Ill do different- be more organized, more confident, speak with louder voice, dont get frustrated as everyone learns at different pace, get into it be over THE TOP, wait till theyre more competent before practicing with music. utilizable ADVICE FROM VN about how she chooses successful dancers at the udition (from email)Compare the dancers to the strongest performer in the group. former(a) things like heights to make the sure the group is evenly sense of equilibriumd. How the performer presents themselves for an audition is also important. AUDITION PROBLEM A problem we encountered during this process was a large number of people pulling out after the audition and callback process This really worried me as I was stressed that everyone would pullout and we wouldnt have a big enough cast. After talking with the other teachers involved I realized that this was a positive.A smaller cast would be a lot easier to handle and would be easier to get 50 people looking tight and uniform compared to 100. This number would also fit on the stage better and give everyone the opportunity to be on stage for most of the time. Another problem with woof parts was that we had a lack of boys to begin withI think I will have to learn not to stress too slowly as things usually fall into place at the end. ETHICAL CONSIDERATIONS. keep in mind peoples feelings. A lot of these kids have never danced in their lives so I have to treat them with respect when teaching the dance and give them the time to pick it up.Not that I want to do this, but I can not laugh, or gaze or give sarcastic comments or do anything to restrict them lacking(p) to return to practices. Also when choosing parts I have to be advised that my friends are auditioning and not be tempted to favour them and give them important roles if they dont deserve them. I have to leave friendships aside and be unbiased, treating everyone fairly. I also have to remember not to copy the choreography from the movie. The part I did adapt for the finale is the only part I am really going to use.This just reminds me that someone else has spent so much time choreographing these dances and it is not fair if I take them totally and say they are mine. Not to mention legally this would not be allowed. I actually dont like some of the choreography in the movie so I dont want to take it and besides a lot of the choreography would be too difficult for our standard of dancers. So sticking with the another method I have just come up with ,where I play the music and just do what comes to my head seems like a good thing to do. PROBLEM There are not any huge problems at this stage.One thing that I have to go is remember to keep searching. I am doing a lot of choreographing at the moment which is obviously a positive thing, but I also have to remember that this suit is the interrogation project. Now the audition process is over I dont have to keep questioning that but I do have to keep looking at ways of teaching and seek choreographers and what makes other musicals good. In my last discussion Ms W told me I was not doing enough look intoing. FEEDBACK ON MY CHOREOGRAPHY FROM questionnaire to a third year Dance student at Adelaide Centre of the Arts (showed him the footage taken at the Musical Camp)What do you think of the choreography of Were All In This together? Its great, for someone so inexperienced. Looked effective and strong as a large group. Obvious that its taken from the movie which is what your audience will want to see, but some of your easier modifications look cleaner. Some students are seek especially some boys and some leads. What could be changed? Perhaps some of the hard moves could be modified/slowed down, especially in the Wildcats cheer at the end. Arms look messy and un-uniform in wave your hands up in the air.It doesnt even look like there are any set moves. In utter, When we reach, we can fly, maybe arms could be simplified. Looks all over the place. What am I doing well in the area of teaching the moves? The way you break down every undivided move helps cast know where the placements are. Modifying moves as you go along is a positive as youre not changing it later when the old move has already stuck in their head. Like the way you demonstrate it alone first. What do you think I could do to improve? Louder voice beart look as nervous, your body language makes you seem not confident.Stand closer to cast, feel free to mingle and help individuals. You did seem more capable and confident as time went on. What did the choreography look like so far in Status Quo? Looked great, loved the big chorus around the tables. Good idea doing it around one big plenty so everyone gets a feel for the directions. Good concept Brainiacs and book dan ce. boilersuit looks like a fun piece, shows great potential. What could be changed? Brainiacs dance take to be sharper, maybe tell them to get into it a little more (footwork needs to be the same at the end of the dance).Some small groups could have simple choreography. A lot of freestyle people just need to get right into it or learn how to freestyle better (show them some moves ) Slow motion needs more work (actual moves. ) I do understand this is a work in progress. pic pic DISCUSSION My notes How enquiry is developing Ideas developing through the search firstly looked at internet, dance magazines for info on choreography. Not all dancers can choreograph Was quite useful and made me more confident Its up to the dancers to make the choreography sing, so simple moves can second interviews with dancers+ choreographers about auditions to helpbe really effective (good to know as I will probably be me get ideas about running auditions and selecting the dancers. Was Creating a positive atmosphere is important to make performers feel really useful comfortable and get the best out of them (particularly important in our third experimental started getting down my ideas about the school with boys and inexperienced dancers) choreography for the audition Need to speak loud fourth ran a mock audition to trial my choreography and practice Break choreography into small parts, e. g. 8 counts teaching it to a small group Make sure performers are confident with steps before adding difficulty by NEXT plan to look into learning styles and how to teach, so I get moredoing it to music breeding about how to teach the dances successfully Good to sometimes demonstrate facing the cast, but also facing same direction as them so they can follow Knowledge and skills I am developing and applying FEEDBACK FROM TEACHER Knowledge -Many things about ethical favors in being a -Ms W said I need to remember that focus of the task is actually research, choreographer, s uch as not the choreography of the dances, that most of what I had done so far was how strict copyright laws can be. How important it is not to copy the cerebration about the steps and how I will run the audition, so need to think exact moves of the dances in High School Musical, also how to get of more ways of incorporating research into it. this is true but am leave to obtain execute rights , cant change the American graceful nervous about what people will think of my choreography so I keep on flavour of it or the script in any way etc thinking about this) being completely fair when selecting parts for the musical have to be Suggested I analyse the DVDs of High School Musical and the Behind the professional and not let friendships influence my decisions Scenes extras to get ideas. Also really needed to get on to organize visits Be aware of the abilities of the group to view performances. Many things about how to teach sizeableness of things like giving Also suggested I undertake more research into the features of a well students a say where possible (even though this is pretty difficult withchoreographed dance and look at some theoretical writing about choreography, dance would look a mess if I did this) so that I will be able to base the decisions for my choreography on more Importance of using different teaching methodologies technical looking ats drawn from the research. This would show that I have more Essential to be superior organized ( have forgotten music CDs on a mate thoroughly researched my matter. Will ask the dance teacher for some of occasion is disastrous and dont look professional) suggested readings on this. How high expectations can be really productive- encourage performers to strive but not be too high that they cant achieve them Knowledge & Skills in Choreography importance of facing dancers but also showing them when facing the same way. Teaching routine in small chunks, then lots of repetition. Plotti ng patterns on paper and intend beforehand. CHOSEN CAPABILITY Really enjoying being part of the musical and assisting others to develop their creativity, as well as myself Learning a lot about being sensitive to others- particularly with learning to dance its pretty scary and challenging for some so I really need to take that into rumination Have been getting feedback from a few people (teachers, director, stage manager etc) and taking it into consideration. Is really encouraging Stage 2 Research Project Performance Standards Planning practise program Synthesis Evaluation pic pic pic A Thorough consideration and Thorough and exceedingly resourceful developmentInsightful synthesis of association, Insightful evaluation of the research refinement of a research of the research. skills, and ideas to produce a processes used. topic. In-depth digest of nurture and well-developed research outcome. Insightful rumination on the nature of the Thorough pl anning of researchexploration of ideas to develop the Insightful and thorough substantiation ofelect capability and its relevance to processes that are highly research. key findings central to the research themselves and the research project. appropriate to the research Highly effective covering of knowledge outcome. Well-considered and insightful reflection topic. and skills specific to the research topic. Clear and coherent scene of ideas. on the research outcome and its value to themselves and, where applicable, to others. B Consideration of the main Considered and mostly resourceful Considered synthesis of knowledge, Considered evaluation of the research area of research and some development of the research. skills, and ideas to produce a processes used. refinement of a research Some complexity in analysis of information well-developed research outcome. Considered reflection on the nature of the topic. and exploration of ideas to develop the Substantiation of most key findings chosen capability and its relevance to Considered planning of research. central to the research outcome. themselves and the research project. research processes that are Effective application of knowledge and Mostly clear and coherent construction of Considered reflection on the research appropriate to the research skills specific to the research topic. ideas. outcome and its value to themselves and, topic. where applicable, to others. C Adequate consideration of a Adequate development of the research. Adequate synthesis of knowledge, skills, Recount with some evaluation of the broad research topic, but Adequate analysis of information and and ideas to produce a research outcome. research processes used. little evidence of ameliorate exploration of ideas to develop the Substantiation of some key findings Reflection on the relevance of the chosen the topic. research. central to the research outcome. capability to themselves and the research a cceptable planning of Adequate application of knowledge and Generally clear expression of ideas. project. research processes that are skills specific to the research topic. Reflection on the research outcome and its appropriate to the research value to themselves and, where applicable, topic. to others. D Basic consideration and Development of some aspects of the Basic use of information and ideas to Superficial exposition of the research designation of some research. produce a research outcome. processes used. aspects of a r esearch topic. Collection rather than analysis of Basic explanation of ideas related to theSuperficial reflection on the relevance of Partial planning of research information, with some superficial research outcome. the chosen capability to themselves and processes that may be description of an idea to develop the Basic expression of ideas. the research project. appropriate to the research research. Some reflection on aspects of the research topic. Superficial application of some knowledge outcome and its value to themselves and, and skills specific to the research topic. where applicable, to others. E Attempted consideration and Attempted development of an aspect of the Attempted use of an idea to produce a Attempted description of the research identification of an area of research project. research outcome. process used. interest. Attempted collection of sanctioned information, Limited explanation of an idea or an Attempted reflection on the relevance of Attempted planning of an with some partial description of an idea. aspect of the research outcome. the chosen capability to themselves and aspect of the research Attempted application of one or more skillsAttempted expression of ideas. the research project. process. that may be related to the research topic. Emerging awareness that the research can have a alue to themselves and, where applicable, to others. My topic and question. To ch oreograph two dances in our school musical, the much anticipated High School Musical. Really concerned in dance. Have been doing calisthenics since I was two and am member of the Junior Crows Cheerleading Team. Have been in two Rock Eisteddfod Teams. Thrill of performing gives natural high and experiences have brought lifelong memories, lifelong friends and lifelong skills which will get me through life. Want to try something new now, still in dancing field but in different direction where I can have a say in the choreography and what is going on.Relevance of The Chosen Capability Citizenship I will be very involved in, and contribute to, the school community. Will have to show understanding of other peoples perspectives all along. Will be taking action to contribute to the school community objectives of giving students opportunities to develop their talents (artistic) Will be asking for and taking notice of peoples feedback basically giving them a say in the choreography. I snt that democracy? Research processes Background Research- using internet, magazines, journals, newspaper articles. Research topics like Choreography, choreographers, reviews of High school Musical, interviews with cast etcAnalysing performances of musicals on DVD, during the Fringe, TV shows like Dancing With the Stars, So you think you can dance Adelaide Fringe or Festival Shows Interviews with dancers choreographers, I know + to get feedback on my choreography Will have to work with and negociate with many others, e. g. the director, stage manager, costume designer, all the performers, choreographers. Be open to suggestions Experimenting with different routines (often in small groups Ive got to think of the ethical considerations too e. g. -Safety of the performers make sure choreography is safe. -Privacy get permission from people I interview them -Plagiarism must make my own steps original and not copy the choreo Suitability to audience- make sure moves are suitable to a udience of all ages and not offensive in any way. My Outcome The video of the dances + an unwritten to my teacher explaining my choreography. My Outcome The video of the dances + an oral to my teacher explaining my choreography (14) This students research development was presented in large scrap book folios, too large to reproduce as an exemplar. The following is a picking of this evidence, reduced to 10 pages, for inclusion in the students portfolio to be submitted for moderation and marking. This selection of evidence, with the student notes to record the discussion, can be used for moderation purposes to body forth the teacher assessment decision for appraisal Type 1 Folio. CommentsOn balance the Folio is indicative of a B standard. Planning The research topic is well defined. Thoroughly considered research processes, which are appropriate to the task, as well as manageable and ethical, have been planned. Application The research is developed in a mostly resourceful and con sidered manner, including web-based research on choreography, features of successful musicals, how to teach and the audition process. Feedback from more experienced choreographers, has been sought although evidence is not provided of the way the research develops in response to this. At times, there also appears to be an over emphasis on doing the choreography. Information to develop the research has been methodically collected and documented. There is also some evidence of information being analysed in order to develop the research. Some complexity in analysis of information and exploration of ideas to develop the research is evident, such as in the responses to some of the sources located, interviews and the mock audition conducted. Knowledge and skills specific to the topic are applied in a highly effective way, such as in careful planning of patterns for different parts of the dance, preparation for the auditions. Assessment Type 1 Folio Assessment Type 2 Research Outcome Asses sment Type 3 Evaluation