A-level Dance₇₂₃₇

The set works and areas of study provide an appropriate focus for students to critically engage with dance and understand the interrelationship between the creation, presentation and viewing/appreciation of dance.

This specification requires students 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.

One further set work and area of study must be selected from the four options in Optional set works and areas of study .

Critical engagement with areas of study must enable students 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 dance, offering a breadth of study. For the purposes of this specification, these genres are defined as follows.

• Modern dance : a form of theatrical dancing which began in the early 20^th century, originally in opposition to the formality of ballet. As the dance form has 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'école, 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 the isolation of body parts. Throughout the 20^th century a wide range of jazz dance styles has evolved, eg lyrical jazz dance and urban dance.

Students’ knowledge and understanding of areas of study 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:

3.3.2 Compulsory set work and area of study

Set work: Rooster (Christopher Bruce , 1991)

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 danceand the ir 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.

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

The 1960s 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 Rambert’s 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 London Contemporary Dance Theatre through the use of choreographers eg Robert North and Richard Alston. In the 1980s 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 continued its development with the inclusion of a range of techniques, new works, guest choreographers and a repertoire of neo-classical and modern works.

Named practitioners

• Glen Tetley (1926–2007)
• Robert North (born 1945)
• Richard Alston (born 1948)
• Siobhan Davies (born 1950)
• Ashley Page (born 1956)

Students 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 named practitioners from the list above showing the range within the genre, including:
  • the influences affecting the development of the named practitioner’s technique and style
  • at least two works from the two selected named practitioners , including t he following features of each work:
    • significance of the 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’ works 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 genre’s capacity to reflect and challenge society
• terminology specific to the genre

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.

3.3.3 Optional set works and areas of study

In addition to the compulsory set work and area of study, students must select one further set work and the corresponding area of study from the following four options.

For their selected set work students must know and understand:

• 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 the ir 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.

For the corresponding area of study students must know and understand:

• the stylistic features of the area of study and how these relate to the genre
• the choreographic approach (the particular technique, movement style and choreographic style) of a minimum of two named practitioners from the list below showing the range within the genre, including :
  • the influences affecting the development of the named practitioner’s technique and style
  • at least two works from the two selected named practitioners , including the following features of each work:
    • significance of the 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’ works in the development of the genre in relation to the area of study
• the relationship between the development of the genre and its context, ie the position of the genre within history, culture and society
• the genre’s capacity to reflect and challenge society
• terminology specific to the genre .

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 essay questions on the set work and the area of study in the written exam.

Optional set work 1: Giselle (Jean Coralli and Jules Perrot, 1841)

Optional Area of study 1: The romantic ballet period

Romanticism was a movement in the arts and literature which began in the late 18^th century and showed a rebellion against Classicism and its focus on form, balance and order. It emphasised creativity, emotion and subjectivity. Ballet was the last of the arts to be affected by this movement.

The romantic ballet developed in the 19^th century and was most popular in the 1830s and 1840s. The style reflected features of Romanticism, which included reference to the supernatural, exotic lands, reality and the desire to attain the unattainable. In order to convey these features, the romantic style of ballet displayed the following characteristics:

• the focus on the ballerina
• the contrast between reality and fantasy
• a sense of the supernatural and mystery conveyed through the illusion of weightlessness, gas lighting and the characteristic costume for the romantic ballerina
• folk or national dances from other lands showing local colour.

During the romantic period musical leitmotifs relating to the principal characters were incorporated into ballet scores.

Filippo Taglioni, Jules Perrot and August Bournonville led the development of the romantic ballet. However, Bournonville maintained the balance between the male and female dancer in his ballets with challenging choreography for both genders. Other romantic ballet choreographers gave more importance to the female dancer, which led to a decline in the status of ballet as an art form due to the imbalance regarding the sexes. The popularity of the romantic ballet decreased and became formulaic by 1870, with female dancers performing male roles and fewer opportunities for male dancers.

Named practitioners

• Filippo Taglioni (1777–1871)
• August Bournonville (1805–1879)
• Arthur Saint-Léon (1821–1870)

Optional set work 2: Appalachian Spring (Martha Graham, 1944)

Optional Area of study 2: The origins of American modern dance 1900–1945

At the beginning of the 20^th century America did not have a tradition of professional ballet and therefore innovators appeared who would contribute to the development of modern dance. There was more freedom in the costumes worn and the dances were performed barefoot to concert music. Female performers displaying strong, independent personalities emerged, such as Loie Fuller, who led the way in her use of modern stage lighting and Isadora Duncan who developed the use of natural movement.

Ruth St Denis was interested in an eclectic range of styles and the Delsarte system, which was concerned with the relationship between movement and expression. Her partnership with Ted Shawn led to the creation of a dance company and the Denishawn school. Among the students of the school were Martha Graham, Doris Humphrey and Charles Weidman.

American modern dance developed as a means of showing individualism and, in contrast to ballet, stressed angular asymmetries combined with aggressive and earthy qualities. In the early development of modern dance the importance of music and art was minimised. During the 1930s a new generation of dancers began to concern themselves with psychological and social issues in their choreography.

Modern dance developed independently in America and Germany. Mary Wigman toured America in the 1930s and later sent Hanya Holm to America to open a branch of the Wigman school.

After leaving Denishawn, Martha Graham began her own choreographic development, encouraged by Louis Horst. Her technique was based on the act of breathing and the principles of contraction and release.

Following her years with Denishawn, Doris Humphrey established her own group with Charles Weidman. She based her technique on the principles of fall and recovery.

The development of modern dance was helped by the support of American universities, eg Bennington, which helped to accelerate the acceptance of modern dance as a distinct art form.

Named practitioners

• Loie Fuller (1862–1928)
• Isadora Duncan (1877–1927)
• Ruth St Denis (1879–1968)
• Doris Humphrey (1895–1958)

Optional set work 3: Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952)

Optional Area of study 3: American jazz dance 1940–1975

In the early 1900s the jazz dancing performed by African-American artists showed links to the dances of minstrelsy and ragtime using new syncopated rhythms. From the 1930s through to the 1960s the style became a more theatre-based form of dance, requiring trained dancers. Choreography involving jazz dance was created by practitioners from the ballet and modern dance world. These included Jack Cole, George Balanchine, Agnes de Mille, Michael Kidd, Katherine Dunham, Jerome Robbins, Bob Fosse, Stanley Donen and Gene Kelly.

Jack Cole was an important figure in the development of jazz dance technique and its theatrical form. He inspired many practitioners, including Matt Mattox, Jerome Robbins and Bob Fosse.

Katherine Dunham founded the anthropological dance movement and introduced African and Caribbean rituals into American choreography.

Matt Mattox performed on Broadway and in many Hollywood musicals. His teaching of jazz was significant in the training of future generations of dancers.

Gene Kelly’s physique and personality, combined with his training in acrobatics and athletics, contributed to the popularity of his dancing style with the public. He was very interested in the use of the camera for dance sequences. His collaboration with Stanley Donen produced exciting choreography and developments in the filming and locations used for dance.

Jerome Robbins’ style of social dance combined with classical ballet allowed him to create choreography conveying characterisation, rhythmic complexity and dynamic variation. He followed Agnes de Mille’s lead in making dance of equal importance to drama and music in the development of the storyline.

Different choreographers developed their own stylisation of jazz danceeg Bob Fosse. His early influences contributed to the creation of his distinctive style featuring angled lines, inverted limbs and a hunched over posture.

Named practitioners

• Agnes de Mille (1905–1993)
• Jack Cole (1911–1974)
• Jerome Robbins (1918–1998)
• Bob Fosse (1927–1987)

Optional set work 4: Sutra (Sidi Larbi Cherkaoui, 2008)

Optional Area of study 4: 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 international 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 Brzóska. 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 the music.

Jasmin Vardimon explores her observations of human behaviour in her work. Her theatrical style of choreography and direction combines physical theatre, inventive characterisation, 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 Shechter’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.

Named practitioners

• Shobana Jeyasingh (born 1957)
• Matthew Bourne (born 1960)
• Jasmin Vardimon (born 1971)
• Akram Khan (born 1974)
• Hofesh Shechter (born 1975)

3.3.4 Changes to set works and areas of study

We do not expect to change set works/areas of study within the lifetime of the specification. However, set works/areas of study will be reviewed each year and we will give at least nine months’ notice of any changes prior to first teaching of a two-year course. Notice of any change will be communicated via our exam bulletins at aqa.org.uk/dance

3.3.5 AQA dance glossary

Please refer to the AQA GCSE Dance glossary for meanings of the terms used in this specification at aqa.org.uk/dance