SACE Stage 2 Dance cheat sheet

Choreographic intent is the stated purpose of a work; every movement choice should be justifiable against it, and the intent must be describable in one or two sentences.

The elements of dance are space, time and dynamics (energy); manipulating any one element while holding the others constant is a reliable device for generating and varying movement.

Space covers level, direction, pathway, shape, size and focus; time covers tempo, metre, rhythm, duration and accent; dynamics covers weight, flow, force and quality (e.g. sustained, percussive, swinging).

Motif is a short, repeatable movement phrase carrying the work's core idea; a motif can be altered through retrograde, inversion, augmentation, diminution, fragmentation, embellishment or accumulation.

Choreographic devices include repetition, contrast, variation, canon, unison, abstraction, distortion, accumulation and chance; each device changes how the audience reads the motif.

Formal structures to organise a dance include binary (AB), ternary (ABA), rondo (ABACA), theme and variations, narrative, and episodic or collage structure.

Safe dance practice requires warm-up, cool-down, appropriate flooring, hydration, and attention to alignment and turnout initiated from the hip joint rather than the feet.

Performance quality is built from projection, focus, musicality, spatial accuracy, dynamic contrast and safe, controlled execution; rehearsal should record these as observable criteria.

A dance review typically moves from description (what is seen) to analysis (how the elements and devices are used) to interpretation (meaning) to evaluation (judgement against intent).

Analysis names specific elements, devices and structures and then states their effect; a claim without a cited movement example is description, not analysis.

Evaluation requires explicit criteria, such as clarity of intent, coherence of structure, use of motif and development, performance skill and effectiveness of design elements.

Production elements include lighting, costume, set, sound and staging; each should be discussed for its function (e.g. focus, character, atmosphere, transitions) rather than merely listed.

Choreographic intent and audience interpretation can diverge; a strong response distinguishes what the maker intended from what the work communicates and explains the evidence for each.

Cultural and historical context (e.g. the origins of a dance style, its social function) informs interpretation and should be attributed accurately rather than generalised.

Comparative responses use consistent criteria across works so that judgements are defensible; changing criteria between works weakens the argument.

Written responses should use precise dance terminology and reference specific moments (section, dancer, timing) so that the reader can locate the evidence.