WACE Dance ATAR key terms

The stacking of body segments so that weight passes efficiently through the skeleton, reducing strain and supporting balance, line and safe execution of movement.

The overall carriage of the body held at any moment, whether still or moving, shaped by habit, training and the demands of a particular movement phrase.

Engagement of the deep muscles around the trunk and pelvis to stabilise the centre of the body, allowing free movement of the limbs and controlled transfer of weight.

The ability to hold or recover the body's centre of gravity over its base of support, whether stationary or travelling, using visual, vestibular and proprioceptive information.

The point at which the body's weight is evenly distributed in all directions; it shifts constantly as limbs move and must stay within the base of support for stability.

The controlled movement of body weight from one body part or support to another, giving phrasing, momentum and clarity to travelling steps and transitions.

A bending of the knees performed with the legs turned out and heels kept on the floor where possible, used to cushion landings, prepare jumps and build leg strength.

The height achieved in a jump, created by the push from the floor and the body's upward momentum; judged alongside the quality of take-off, flight and landing.

The lengthening of a limb or of the whole body away from its centre, producing clear lines and completing movements fully rather than cutting them short.

The visual shape traced by the body in space, from fingertips to toes, valued for its clarity, continuity and expressive intent in a given style.

Moving one body part independently of the rest, such as a shoulder or hip, while the surrounding body remains still or follows a contrasting rhythm.

The body part from which a movement begins, determining its quality and pathway; a phrase may be led from the head, breath, pelvis or a single limb.

Clear, sequential and controlled movement through each joint, so that shapes are readable and transitions between positions are smooth rather than blurred.

How movement is performed in terms of force, speed and energy, ranging from sustained and swinging to percussive, vibratory or collapsing qualities.

A deliberate stress or emphasis within a phrase, created by sharper attack, stronger force, a pause or a change of level, drawing the viewer's attention.

The shaping of a sequence of movements into a coherent unit with a beginning, development and resolution, comparable to a sentence in speech or music.

Consciousness of the body's position and pathway in relation to the space, other dancers, the audience and the boundaries of the performing area.

The route a body part or the whole body travels through space, whether direct and straight, curved, zigzagged or spiral, contributing to the movement's design.

The direction of the dancer's gaze and attention, which can be internal, outward to the audience, or toward another dancer, shaping meaning and connection.

The quality of awareness, commitment and communication a dancer projects on stage, engaging the audience through intention, energy and sustained concentration.

Extending movement and intention outward so the performance reads clearly to the furthest viewer, achieved through full commitment rather than exaggerated facial expression alone.

The ability to hear, feel and respond to rhythm, tempo, pulse and phrasing in sound, so that movement and music interact rather than merely coincide.

A short, memorable movement unit that carries the idea of a dance and can be repeated, varied, developed or fragmented to build a longer composition.

The deliberate alteration of a motif through changes of space, time, dynamics, body part, level or number of dancers, generating material while keeping the original idea recognisable.

A connected sequence of movements that forms a unit within a dance, often shaped with its own rise and fall and linked to the musical or breath structure.

The link between two movements, phrases or sections, crafted so that the change of direction, level or energy reads as intentional and maintains flow.

Performing the same movement or phrase more than once; used to establish an idea, build intensity or create pattern, and most effective when intention is varied.

A version of a movement idea altered in one or more elements while retaining a recognisable connection to the original, adding interest and contrast.

Deliberate juxtaposition of opposing qualities such as fast and slow, high and low, or bound and free, used to create interest and highlight differences.

A compositional device in which dancers perform the same movement material one after another at staggered intervals, creating overlapping lines and texture.

Two or more dancers performing the same movement at the same time, producing a unified visual statement that emphasises shape and collective strength.

The arrangement of dancers in space, such as a line, circle, wedge or scattered grouping; changes of formation shape the viewer's reading of relationships.

The design traced by dancers' pathways across the performing area, which can be symmetrical, asymmetrical, circular or linear and affects spatial interest.

Moving away from literal narrative or gesture toward movement that suggests ideas, feelings or qualities indirectly, inviting the audience to interpret.

The purpose or meaning a choreographer and performer give to movement, guiding choices of dynamics, focus and staging so the work communicates clearly.

The starting point that inspires a dance work, such as an image, text, sound, memory or issue, from which movement ideas and structure are generated.

The overall organisation of a dance into sections, such as binary, ternary, rondo, narrative or theme and variation, giving shape to the whole work.

Behaviours that protect dancers from injury, including adequate warm-up and cool-down, correct technique, suitable flooring, hydration, rest and attention to personal limits.

A preparatory sequence that raises body temperature, mobilises joints and activates muscles, reducing injury risk and preparing the dancer physically and mentally.

Gentle activity and stretching performed after dancing to return heart rate and breathing toward resting levels and ease muscle tension.

The systematic examination of a work's movement content, choreographic devices, production elements and context to explain how meaning is created for an audience.

Non-movement components of a performance, including lighting, costume, sound, set and staging, which work with the choreography to shape atmosphere and meaning.

The placement of dancers and design elements within the performance space, including use of levels, entrances, exits and proximity to the audience.

A broad category of dance defined by shared stylistic conventions, such as ballet, contemporary, jazz, hip hop or cultural dance forms, each with distinct movement vocabulary.

The characteristic way movement is performed within a genre or by a particular choreographer, recognisable through qualities of line, rhythm, energy and focus.

Rhythmic stress placed on a normally weak beat or between beats, producing an off-beat accent that can drive energy and surprise in movement.