NCEA Level 2 Dance key terms

The process of selecting, arranging and structuring movement into a dance work, including choosing the intent, the movement vocabulary, the spatial design and the accompaniment.

The purpose or idea a choreographer wants the audience to experience. It guides every decision about movement, space, music, costume and dancers, and should be describable in a short statement.

The starting point that triggers a dance idea, such as an image, poem, personal experience, piece of music, social issue or artwork. It is developed into an intent rather than simply illustrated literally.

The full set of movement material a dance uses, including steps, gestures, body shapes and qualities. A strong vocabulary is varied but coherent, so the work reads as one piece.

A short, memorable phrase of movement that carries the core idea of a dance. It is repeated and varied throughout the work so the audience recognises it as a signature.

The deliberate altering of a motif to create new material while keeping it recognisable. Common devices include changing size, level, direction, timing, body part or quality.

Performing the same movement again, either exactly or with slight change. It helps an audience remember material and can build intensity, ritual or a sense of inevitability.

Performing a movement phrase backwards, from its last action to its first. It is a development device that creates fresh material while preserving the shape of the original phrase.

Turning a movement upside down or reversing its spatial relationship, for example performing a floor pattern in the air or swapping high and low levels. It changes how the body reads without inventing new steps.

A compositional device in which dancers perform the same phrase starting at different times, so the movement overlaps like a round in music. It creates density and visual interest from one phrase.

Two or more dancers performing the same movement at the same time. It creates clarity, power and emphasis, and is often contrasted with canon or counterpoint to shape dynamics.

The arrangement of dancers in the performance space, such as a line, circle, wedge, cluster or scattered spread. Formation choices direct the audience's eye and shape relationships between dancers.

The route a dancer travels through the space, for example straight, curved, zigzag or spiral. Pathways shape the spatial design of a dance and can suggest journeys, conflict or flow.

The way a movement faces or travels, such as forward, backward, sideways, diagonally, upstage or downstage. Changing direction alters focus and the audience's reading of a phrase.

The height at which movement occurs: low (floor), middle (standing) or high (jumping, lifting, reaching). Varying level creates contrast and can signal status, mood or energy.

The form the body makes in space, described as curved, angular, twisted, symmetrical or asymmetrical, open or closed. Shape choices communicate meaning alongside the movement itself.

How movement is performed in terms of energy and force, such as sharp, sustained, swinging, percussive, vibratory or collapsing. Dynamics give a phrase its expressive quality rather than its shape.

A moment of extra emphasis within a phrase, created by a stronger impulse, a sudden stop, a held shape or a change of dynamic. Accents shape phrasing for the viewer.

How movement is grouped and paced over time, including where a phrase begins, peaks and resolves. Clear phrasing helps an audience follow the dance's structure and emotional arc.

The overall organisation of a dance over time, such as binary (AB), ternary (ABA), rondo, narrative, theme and variation, or chance order. Structure gives the work shape and coherence.

The link between two sections or phrases, such as a travelling step, a pause, a change of formation or a lighting shift. Smooth transitions make a work feel seamless rather than stitched together.

Spontaneous movement created in the moment, often guided by a task, score or stimulus. Choreographers use it to generate raw material that is later selected and refined.

A partnering form in which dancers share weight and follow points of physical contact through rolling, leaning, lifting and falling. It relies on listening through touch rather than set choreography.

The stacking of body segments so bones and joints are efficiently placed, for example ears over shoulders and hips over ankles. Good alignment supports safe technique and controlled movement.

Engaging the deep muscles of the torso to support the spine and pelvis during movement. It underpins balance, safe lifting and controlled extensions in all dance styles.

The outward rotation of the legs from the hip joints, used especially in ballet and contemporary technique. It should come from the hips, not the knees or feet, to avoid injury.

Lengthening and stretching a limb or the whole body away from its centre, producing long lines. Full extension requires both strength and flexibility and reads as clarity on stage.

The range of motion available at a joint, developed through safe and regular stretching. It allows fuller extensions and reduces injury risk when balanced with strength.

Maintaining the centre of gravity over the base of support, whether still or moving. Dancers train balance through core control, spotting and consistent weight placement.

A technique for turning in which the dancer fixes the eyes on one point and whips the head around last. It prevents dizziness and keeps the direction of the turn clear.

Supporting body weight through the limbs, as in balances, lifts, falls and floorwork. Correct weight bearing uses the skeleton efficiently and protects joints during demanding movement.

A structured sequence that raises heart rate, mobilises joints and rehearses movement patterns before dancing. It prepares the body for exertion and lowers the risk of strain.

Gentle movement and stretching after dancing that helps the body return to rest and reduces stiffness. It is part of safe dance practice alongside warm-up and hydration.

The performer's use of focus, energy and presence to communicate to the whole audience, including the back row. Projection is not volume but clarity of intention.

Where a dancer directs their gaze and attention, whether outward to the audience, to a partner or inward. Focus guides the audience's eye and reveals relationships on stage.

The ability to move in relation to music or sound, matching, anticipating or contrasting with the beat, phrasing and accents. Strong musicality makes timing feel intentional.

The expressive dimension of performing, including energy, commitment, characterisation and consistency. Two dancers can perform identical steps and differ entirely in performance quality.

The core building blocks of movement: body, space, time, energy and relationships. Choreographers and analysts use them to describe what a dance is made of.

The performance area and how it is used, including zones such as upstage, downstage, centre, wings and the diagonals. Spatial choices affect visibility, emphasis and meaning.

Description of how movement feels and looks rather than what it is, using words such as flowing, staccato, suspended, heavy or light. It links analysis to the audience's felt response.

A recognised set of movement conventions, training methods and aesthetic values, such as ballet, contemporary, hip hop, kapa haka or salsa. Style shapes how movement is performed and read.

A broad category of dance or performance sharing conventions, for example theatrical dance, social dance or ritual dance. Genre helps place a work in relation to tradition and audience expectation.

The social, historical and cultural conditions in which a dance is made and received, including its community of origin, purpose and values. It shapes meaning and appropriate response.

Taking movement, symbols or practices from a culture without permission, understanding or benefit to that community. It differs from respectful exchange, which involves consent, credit and reciprocity.

A Māori performing arts form combining waiata, haka, poi and movement, performed by groups with strong choral and choreographic elements. It carries tikanga and identity, not just entertainment.