Component 2: Critical Engagement (Written Paper) 2019/2021 – Let’s Do It!!!

What do we have to do?

Component 2 Critical engagement: Knowledge, understanding and critical appreciation of Two Set Works

Within their area od study

50% of A Level 2 ½ hour examination

100 marks Two sections: A – short answer questions (25 marks) and one essay question on

the compulsory set work/area of study (25 marks) B – two essay questions on the second set work/area of study – (25 marks for each essay)

What do we need to know?

The set works and areas of study provide an appropriate focus for you to critically engage with dance and understand the interrelationship between the creation, presentation and viewing/appreciation of dance. This specification requires you to develop an in-depth knowledge and understanding of two set works and their corresponding areas of study. One of these must be the compulsory set work and area of study – Rooster, Bruce (1991) / Rambert Dance

Company (formerly Ballet Rambert) 1966 – 2002. One further set work and area of study must be selected from the four options – We are studying - Sutra, Cherkaoui (2008) / The Independent contemporary dance scene in Britain 2000 – current.

3.3 Critical Engagement

Critical engagement with areas of study will enable you to develop and demonstrate an in-depth knowledge and understanding of dance through time and location relating to features of genre, including:

• style • technique • influences • key practitioners • professional repertoire

• communication of dance ideas The areas of study cover the genres of modern dance, ballet and jazz offering a breadth of study. For the purposes of this A level these genres are defined as:

Modern Dance: a form of theatrical dancing which began in the early 20th century, originally in opposition to the formality of ballet. As the dance form developed, this distinction has become less evident. The term ‘Modern’ has in some cases been replaced with other labels eg. Contemporary Ballet: a form of dancing which focuses on the technique and style of the danse d’ecole, using the port de bras, the five positions of the feet and turn out of the legs Jazz dance: a form of dancing based on African origins. It focuses on the use of complex rhythms and techniques, which include isolation of body parts. Throughout the 20th Century a wide range of jazz dance styles has evolved eg. Lyrical jazz dance and urban dance You need to show knowledge and understanding of the areas of study and these should reflect the appropriate range of stylistic features associated with the genre(s)

3.3.1 Constituent features Critical engagement with set works and areas of study requires students to develop knowledge and understanding of the constituent features of dances studied. For the purposes of this specification, this includes the following constituent features of a dance: Constituent Features:

Definition Movement Components

Compulsory Area of Study e.g. Optional Area of Study e.g.

Action elements

Space elements

Dynamic elements

Definition Dancers

Compulsory Area of Study e.g. Optional Area of Study e.g.

Number

Gender

Role

Physique

Definition Aural Setting

Compulsory Area of Study e.g. Optional Area of Study e.g.

Music

Sound

The spoken word

The audible aspect of dance

Silence

3.3.2 Compulsory set work and area of study

Set work: Rooster (Christopher Bruce, 1991) https://www.youtube.com/user/dramadancer1

Choreography Christopher Bruce

Music Songs recorded by the Rolling Stones

Costume designs Marian Bruce

Lighting designs Tina MacHugh

First performances 10 October, 1991 by the Ballet du Grand Théâtre de Genève British première, 28 October

1992 by London Contemporary Dance Theatre First performance by Rambert Dance Company, 8 December 1984

Students must know and understand the following about Rooster:

• the significance of the character of the dance • the subject matter (eg theme or topic) of the dance and its treatment • the form of the dance (eg phrases, sections) and its effectiveness in communicating the subject

matter • the Constituent features of the dance and their relevance in embodying the subject matter • the choreographic approach (the particular technique, movement style and choreographic style) of

the choreographer • the influences affecting the development of the choreographer • the origins of the dance • the relationship between the dance and its context • the importance of the dance in the development of both the choreographer and the genre • the similarities and differences between the dance and other works by the choreographer

It will be necessary for students to have an understanding of other works related to the choreographer to

understand the development of the choreographer’s style and place of the set work within the context of the area of study and the genre. These works are to be selected by the teacher and can include visual and/or

written sources.

Significance of the Character

Subject Matter (e.g. theme or topic) of the dance and its treatment

The form (content) of Rooster (e.g. phrases, sections) and its effectiveness in communicating the subject matter

Episode Chorographic Intention/Effectiveness 1 Little Red Rooster

2 Lady Jane

3 Not Fade Away

4 As Tears Go By

5 Paint It Black

6 Ruby Tuesday

7 Play With Fire

8 Sympathy for the Devil

The constituent features of Rooster including movement components (ASD), dancers, the physical and aural setting and the relevance of these features in embodying the subject matter

e.g. analysis charts

Movement Components: Action/Space/Dynamics

Dancers: Number, gender, role, physique

Aural Setting Music, sound, spoken word, the audible aspect of dance, silence

Episode: 1.Little Red Rooster

2. Lady Jane

3. Not Fade Away

4. As Tears Go By

The constituent features of Rooster including movement components (ASD), dancers, the physical and aural setting and the relevance of these features in embodying the subject matter

e.g. analysis charts

Movement Components: Action/Space/Dynamics

Movement Components:

Action/Space/Dynamics

Movement Components: Action/Space/Dynamics

5. Paint It Black

6. Ruby Tuesday

7. Play With Fire

8. Sympathy for the Devil

The choreographic approach (the particular technique, movement style and choreographic style) of Christopher Bruce

The influences affecting development of Christopher Bruce

The origins of the dance - why Christopher Bruce made the piece

The relationship between the dance and its context - its importance in the development of both Christopher Bruce and the genre –

How Rooster fits into Bruce’s career, other works by him

Background: Prior to Rooster

Importance in the development of the choreographer?

Importance in the development of the genre?

What was going on in history, culture and society at the time?

The similarities and differences between the dance and other works by Christopher Bruce

Ghost Dances (1981) https://www.youtube.com/watch?v=E0o2PEewTu8

Swansong (1987) https://www.youtube.com/watch?v=038BdfaaVVs

Choreographic Intention: Context/Historical Background: Key ASDR: Use of ASCL:

How did Rooster reflect and challenge society and the dance world?

It will be necessary for students to have an understanding of other works related to the choreographer to

understand the development of the choreographer’s style and place of the set work within the context of the area of study and the genre. These works are to be selected by the teacher and can include visual and/or

written sources.

Potential Exam Questions that they could ask you!

Analyse the movement content in relation to the narrative sections of Rooster. You should consider how the movement chosen supports the choreographic intention.

What themes are evident through the movement in the opening sections of Rooster? Your answer should include references to action, space, dynamics and relationships.

Discuss which of Bruce’s key influences are evident in Rooster. Your answer should make specific references to movement examples.

Compulsory area of study: Rambert Dance Company (formerly Ballet Rambert) 1966-2002

The 1960’s saw the start of a process to introduce modern dance to Britain. Ballet Rambert played a key part in this development and 1966 heralded a period of change in the company, Marie Rambert was encouraged by Norman Morrice associate director, to make changes to the company, relating to the company size, the preservation and creation of works, the inclusion of Graham technique in the dancers training, the involvement of guest choreographers and teachers, and the development of the touring schedule. When Morrice left in 1974 John Chesworth continued Morrice’s policies with the promotion of new work from company members and the expansion of the repertoire through guest choreographers. He was also instrumental in developing Ramberts educational activities. Christopher Bruce became associate director in 1975 and then associate choreographer in 1979. From 1975 to 1985 there were links between Ballet Rambert and LCDT though the use of choreographers, eg Robert North and Richard Alston. In the 1980’s the repertoire of Ballet Rambert focused on the work of three British choreographers: North, Bruce and Alston. North directed the company from 1981 to 1986 and was keen to develop the physicality, musicality and dramatic quality of the dancers. Alston became resident choreographer in 1980 and artistic director in 1986, consolidating the Cunningham influence. The name of the company changed to Rambert Dance Company in 1987. Bruce returned to the company in 1994 as artistic director until 2002 and then continued its development with the inclusion of a range of techniques, new works, guest choreographers and a repertoire of neoclassical and modern works.

You must know and understand the following about the area of study: • The stylistic features of Rambert Dance Company and how these relate to the genre • The choreographic approach (the particular technique, movement style and choreographic style) of a minimum of two practitioners from the list above showing the range within the genre, including:

The influences affecting the development of the named practitioners technique and style At least two works from each of the selected named practitioners, including the following features of each work: Significance of character of each dance The subject matter (eg theme or topic) and its treatment The form of the dance (eg phrases, sections) The constituent features of the dance and their relevance in embodying the subject matter The importance of the practitioners work in the development of the genre in relation to Rambert Dance Company

The relationship between the development of the genre and its context, ie. the position of the genre within history, culture and society The genres capacity to reflect and challenge society Terminology specific to the genre

You will be required to respond to short questions and one essay question on the compulsory area of study in the the written exam.

Brief History of Dance (Including Context of Rambert Dance Company

(formally Ballet Rambert Prior to 1966)

Date(s): Practitioner/ Company

Key Dance Developments:

Historical Context

Stylistic Features of Rambert Dance Company & how these relate to the genre

The relationship between the development of the genre and its context,

ie. the position of the genre within history, culture and society

The genres capacity to reflect and challenge society

Terminology specific to the genre

Named Practitioners:

Glen Tetley (1926-2007)

Robert North (born 1945)

Christopher Bruce (born 1945)

Richard Alston (born 1948)

Siobhan Davies (born 1950)

Ashley Page (born 1956) Required to look at whole picture plus 2 named and 2 works for each:

Practitioner: Glen Tetley (1926-2007) Rambert Dance Company (formerly Ballet Rambert) 1966-2002:

The choreographic approach (the particular technique, movement style

and choreographic style)

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to Rambert Dance Company?

What was going on in history, culture and society at the time?

How did these works reflect and challenge society and the dance world?

Practitioner: Robert North (born 1945) Rambert Dance Company (formerly Ballet Rambert) 1966-2002:

The choreographic approach (the particular technique, movement style

and choreographic style)

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to Rambert Dance Company?

What was going on in history, culture and society at the time?

Lonely Town, Lonely Street ( )

https://www.youtube.com/watch?v=8M3mkE0Pflk

Death and the Maiden ( )

https://www.youtube.com/watch?v=6wbULxDtNXg

Context/Historical Background: Significance of character: Subject matter (e.g. theme or topic) and its treatment Form (e.g. phrases, sections) Choreographic Intention: Constituent Features(their relevance in embodying the subject matter): Movement Components (ASD): Dancers (music, gender, role, physique) Aural Setting (music, sound, spoken word, the audible aspect of dance, silence) Physical setting (costume, properties, set, lighting design, performance environment, film

How did these works reflect and challenge society and the dance world?

Practitioner: Richard Alston (born 1948) Rambert Dance Company (formerly Ballet Rambert) 1966-2002:

The choreographic approach (the particular technique, movement style

and choreographic style)

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to Rambert Dance Company?

What was going on in history, culture and society at the time?

Soda Lake (1981) https://www.youtube.com/watch?v=kMNCorAtQPY

Pulcinella (1987) https://www.youtube.com/watch?v=F1SnjDuZJTE

Context/Historical Background: Significance of character: Subject matter (eg theme or topic) and its treatment Form (eg phrases, sections) Choreographic Intention: Constituent Features(their relevance in embodying the subject matter): Movement Components (ASD): Dancers (music, gender, role, physique) Aural Setting (music, sound, spoken word, the audible aspect of dance, silence) Physical setting (costume, properties, set, lighting design, performance environment, film

How did these works reflect and challenge society and the dance world?

Practitioner: Siobhan Davies (born 1950) Rambert Dance Company (formerly Ballet Rambert) 1966-2002:

Her background:

The influences affecting the development of her technique and style?

The Importance of her works in the development of the genre in relation to Rambert Dance Company?

What was going on in history, culture and society at the time?

Practitioner: Ashley Page (born 1956) Rambert Dance Company (formerly Ballet Rambert) 1966-2002:

His background:

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to Rambert Dance Company?

What was going on in history, culture and society at the time?

Brief Outline: Rambert Dance Company (formally Ballet Rambert Inspires...)

Date(s): Practitioner/ Company

Key Dance Developments Who the company has inspired since/ where has

modern dance moved forward to?

Historical Context

The professional dance works (either in visual or written format) should be in the public domain and easily

accessible to examiners. Students will be required to respond to both short questions and essay questions on the compulsory set work and corresponding area of study in the written exam.

Potential Exam Questions that they could ask you!

Discuss how the works you have studied reflect the features of Rambert Dance Company across the time period. You should refer to examples from the works of at least two practitioners.

Explain the significance of two practitioners you have studied to the establishment and/or

development of Rambert Dance Company in the time period.

Examine the subject matter use by two of the practitioners you have studied. Your answer should make specific references to show how the subject matter is communicated.

Optional Set Work and Area of study: The independent contemporary dance scene in Britain 2000-current

Sutra (2008) Entire work! https://vimeo.com/40664952

Direction & Choreography Sidi Larbi Cherkaoui

Music Szymon Brzoska

Design Antony Gormley

Lighting Adam Carree

First performance May 2008

Students must know and understand the following about Sutra:

• the significance of the character of the dance • the subject matter (e.g. theme or topic) of the dance and its treatment • the form of the dance (e.g. phrases, sections) and its effectiveness in communicating the subject

matter • the Constituent features of the dance and their relevance in embodying the subject matter • the choreographic approach (the particular technique, movement style and choreographic style) of

the choreographer • the influences affecting the development of the choreographer • the origins of the dance • the relationship between the dance and its context • the importance of the dance in the development of both the choreographer and the genre • the similarities and differences between the dance and other works by the choreographer

Significance of the Character

Subject Matter (e.g. theme or topic) of the dance and its treatment

The form (content) of Sutra (e.g. phrases, sections) and its effectiveness in communicating the subject matter

Section Chorographic Intention/Effectiveness 1 Sword

2 Pond

3 Maze

4 War

5 Box

6 Lotus

7 Boat

8 Forest

9 Solo

10 Monkey

11 City

12 Pagodas

13 Animals

14 Dormitory

15 Dominoes

16 Wall

17 Temple

18 Courtyard

The constituent features of Sutra including movement components (ASD), dancers, the physical and aural setting and the relevance of these features in embodying the subject matter e.g. analysis charts

Movement Components: Action/Space/Dynamics

Dancers: Number, gender, role, physique

Aural Setting Music, sound, spoken word, the audible aspect of dance, silence

Section: 1. Sword

2. Pond

3. Maze

4. War

5. Box

6. Lotus

7. Boat

8. Forest

9.Solo

10.Monkey

11. City

12. Pagodas

13. Animals

14. Dormitory

15. Dominoes

16. Wall

17. Temple

18. Courtyard

The choreographic approach (the particular technique, movement style and choreographic style) of Sidi Larbi Cherkaoui

https://www.google.com/culturalinstitute/beta/exhibit/sutra/DgIScV4ZpewAIA - Information here to help you…

The influences affecting development of Sidi Larbi Cherkaoui Sidi Larbi Cherkaoui

TV Shows: Self taught by watching and then

performing in TV shows

Damien Jalet (singer/dancer)

Nienke Reehorst (and work with mentally disabled

actors)

Training: P.A.R.T.S

(De Keersmaeker’s School in Belgium)

Modern Dance: Includes hip hop and Jazz Forms

Alain Patel (invited to join Les Ballets C de la B

(co-operative company)) Wim Vandekeybus

(worked collaboratively with him)

The origins of the dance - why Sidi Larbi Cherkaoui made the piece

The relationship between the dance and its context - its importance in the development of both Sidi Larbi Cherkaoui and the genre –

How Sutra fits into his career, other works by him

Background: Prior to Sutra

Importance in the development of the choreographer?

Importance in the development of the genre?

What was going on in history, culture and society at the time?

The similarities and differences between the dance and other works by Sidi Larbi Cherkaoui

Zero Degrees ( ) https://www.youtube.com/watch?v=0wQG9BTW5AE

Babel ( ) https://www.youtube.com/watch?v=GhTQ86gY3qk

Choreographic Intention: Context/Historical Background: Key ASDR: Use of ASCL:

How did Sutrar reflect and challenge society and the dance world?

It will be necessary for students to have an understanding of other works related to the choreographer to

understand the development of the choreographer’s style and place of the set work within the context of the area of study and the genre. These works are to be selected by the teacher and can include visual and/or

written sources.

Potential Exam Questions that they could ask you!

Analyse the movement content in relation to the narrative sections of Sutra. You should consider how the movement chosen supports the choreographic intention.

What themes are evident through the movement in the opening sections of Sutra? Your answer

should include references to action, space, dynamics and relationships.

Discuss which of Sidi Larbi Cherkaoui’s key influences are evident in Sutra. Your answer should make specific references to movement examples.

The Independent Contemporary Dance Scene in Britain 2000-current

The last few decades have seen the emergence of several generations of successful practitioners working in Britain. Their choreographic skills have achieved considerable recognition through their own work and that created for different companies. The work of these independent practitioners often reflects a range of styles and embraces cultural similarities and differences. It is further enhanced through their collaborations with a range of designers, eg Antony Gormley, Anish Kapoor, and composers, eg Nitin Sawhney, Szymon Brzoska. The choreography can show a response to social, political and historical issues using an eclectic range of styles and aural setting. Shobana Jeyasingh explores multicultural issues linked to personal identity, relationships and the power of heritage in her choreography. Her style is founded on her background of Bharatanatyam, a traditional Indian dance form. Matthew Bourne uses choreographed body language and a variety of dance and movement styles to tell stories, supported by the design and music. Jasmin Vardimon explores observations of human behaviour in her work. Her theatrical style of choreography and direction combines physical theatre, inventive characterization, technology, text and dance. Akram Khan’s training in Kathak and contemporary dance is evident in his work. However, he constantly explores other styles of movement, dance, accompaniment and design through working with collaborators from a range of backgrounds. Hofesh Schechter’s musical background is reflected in his involvement in the musical compositions for his dances. The soundscapes provide powerful backgrounds for his contemporary style of movement and interest in aspects of contemporary life. Sidi Larbi Cherkaoui’s background in a range of styles, including yoga and jazz, is combined with an interest in movement explored from a starting point of theatre. You must know and understand the following about the area of study: • The stylistic features of The Independent contemporary dance scene in Britain 2000-current and how these relate to the genre • The choreographic approach (the particular technique, movement style and choreographic style) of a minimum of two practitioners from the list above showing the range within the genre, including:

The influences affecting the development of the named practitioners technique and style At least two works from each of the selected named practitioners, including the following features of each work: Significance of character of each dance The subject matter (eg theme or topic) and its treatment The form of the dance (eg phrases, sections) The constituent features of the dance and their relevance in embodying the subject matter The importance of the practitioners work in the development of the genre in relation to Rambert Dance Company

The relationship between the development of the genre and its context, ie. the position of the genre within history, culture and society The genres capacity to reflect and challenge society Terminology specific to the genre

The Independent Contemporary Dance Scene in Britain 2000-current

Stylistic Features of the Independent Contemporary Dance Scene in Britain 2000-current and how they relate to the genre

The relationship between the development of the genre and its context, ie. the position of the genre within

history, culture and society

The genres capacity to reflect and challenge society

Terminology specific to the genre

Named Practitioners:

Shobana Jeyasingh (born 1957)

Matthew Bourne (born 1960)

Jasmin Vardimin (born 1971)

Akram Khan (born 1974)

Hofesh Schechter (born 1975)

Sidi Larbi Cherkaoui (born 1976) Required to look at whole picture plus 2 named and 2 works for each:

Practitioner: Shobana Jeyasingh (born 1957) The Independent contemporary dance scene in Britain 2000-current:

Choreographic Approach (particular technique, movement style and choreographic style)

Her background:

The influences affecting the development of his technique and style?

The Importance of her works in the development of the genre in relation to the independent contemporary dance scene?

What was going on in history, culture and society at the time?

Practitioner: Matthew Bourne (born 1971) The Independent contemporary dance scene in Britain 2000-current:

Choreographic Approach (particular technique, movement style and choreographic style)

His background:

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to the independent contemporary dance scene?

What was going on in history, culture and society at the time?

Nutcracker ( 2000 ) https://www.youtube.com/watch?v=1jIeSq2FFhs

Car Man ( ) https://www.youtube.com/watch?v=G4PnQADUN6M

Context/Historical Background: Significance of character: Subject matter (e.g. theme or topic) and its treatment Form (e.g. phrases, sections) Choreographic Intention: Constituent Features(their relevance in embodying the subject matter): Movement Components (ASD): Dancers (music, gender, role, physique) Aural Setting (music, sound, spoken word, the audible aspect of dance, silence) Physical setting (costume, properties, set, lighting design, performance environment, film

How did these works reflect and challenge society and the dance world?

Practitioner: Jasmin Vardimin (born 1971) The Independent contemporary dance scene in Britain 2000-current:

Choreographic Approach (particular technique, movement style and choreographic style)

His background:

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to the independent contemporary dance scene?

What was going on in history, culture and society at the time?

Practitioner: Akram Khan (born 1974) The Independent contemporary dance scene in Britain 2000-current:

Choreographic Approach (particular technique, movement style and choreographic style)

His background:

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to the independent contemporary dance scene?

What was going on in history, culture and society at the time?

Rush (2000) https://vimeo.com/23261563

Zero Degrees ( ) / Desh (2011) https://www.youtube.com/watch?v=MWLyiYIwo5E

Context/Historical Background: Significance of character: Subject matter (eg theme or topic) and its treatment Form (eg phrases, sections) Choreographic Intention: Constituent Features(their relevance in embodying the subject matter): Movement Components (ASD): Dancers (music, gender, role, physique) Aural Setting (music, sound, spoken word, the audible aspect of dance, silence) Physical setting (costume, properties, set, lighting design, performance environment, film

How did these works reflect and challenge society and the dance world?

Practitioner: Hofesh Shechter (born 1975) The Independent contemporary dance scene in Britain 2000-current:

Choreographic Approach (particular technique, movement style and choreographic style)

His background:

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to the independent contemporary dance scene?

What was going on in history, culture and society at the time?

Practitioner: Sidi Larbi Cherkaoui (born 1976) The Independent contemporary dance scene in Britain 2000-current:

Choreographic Approach (particular technique, movement style and choreographic style)

His background:

The influences affecting the development of his technique and style?

The Importance of his works in the development of the genre in relation to the independent contemporary dance scene?

What was going on in history, culture and society at the time?

Potential Exam Questions that they could ask you!

Explain how the techniques used by the two practitioners you have studied have impacted on the development of Independent Contemporary Dance Scene in Britain from 2000-preset day.

Discuss how the works you have studied reflect cultural diversity and embrace cultural similarities

and differences, a key feature of the Independent Contemporary Dance Scene in Britain from 2000 to present day. You should refer to examples from the works of at least two practitioners to show how

cultural diversity is communicated.

Discuss the importance of collaboration across art forms to the development of the Independent Contemporary Dance Scene in Britain from 2000 to present day. You should refer to examples from

the works of at least two practitioners.