GCSE Dance AQA

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Content Overview

228 topics in 4 modules

☑️ Choreography 15 topics
- Choreography: Action Content
- Documenting the Choreography
- Choreography: Dynamic Content
- Manipulation of the Movement Components through the Use of a Variety of Choreographic Devices
- Choreography: Spatial Content
- Section of the Three Movement Components
- Choreography: Relationship Content
- Structuring of Movement Material through Sectional Use of Choreographic Structures
- Choreography: Choreographic Processes
- Use of Other Consistent Features
- Choreography: Structuring Devices and Form
- Choreography: Choreographic Devices
- Choreography: Aural Settings
- Choreography: Performance Environments
- Choreography: Communication of Choreographic Intent
☑️ Critical Engagement 9 topics
- Aural Setting
- Dancers
- Movement Components
- Physical Setting
- Set Work: Appalachian Spring (Martha Graham, 1944)
- Set Work: Giselle (Jean Coralli and Jules Perrot, 1841)
- Set Work: Rooster (Christopher Bruce, 1991)
- Set Work: Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952)
- Set Work: Sutra (Sidi Larbi Cherkaoui, 2008)
☑️ Dance Appreciation 186 topics
- Critical Appreciation of Own Work: Performance
- Self-critical appreciation: posture
- Critical Appreciation of Own Work: Choreography
- Self-critical appreciation: alignment
- Critical Appreciation of Professional Set Works
- Self-critical appreciation: balance
- Dance Appreciation: Features of Production
- Self-critical appreciation: coordination
- Dance Appreciation: Performance Environments
- Self-critical appreciation: control
- Dance Appreciation: Choreographic Approaches
- Self-critical appreciation: flexibility
- Dance Appreciation: Choreographic Content
- Self-critical appreciation: mobility
- Dance Appreciation: Choreographic Intent
- Self-critical appreciation: strength
- Self-critical appreciation: stamina
- Self-critical appreciation: extension
- Self-critical appreciation: isolation
- Self-critical appreciation: travel
- Self-critical appreciation: turn
- Self-critical appreciation: elevation
- Self-critical appreciation: gesture
- Self-critical appreciation: stillness
- Self-critical appreciation: floor work
- Self-critical appreciation: dynamics
- Self-critical appreciation: spatial awareness
- Self-critical appreciation: timing
- Self-critical appreciation: rhythm
- Self-critical appreciation: audience understanding
- Self-critical appreciation: mood
- Self-critical appreciation: meaning
- Self-critical appreciation: ideas
- Self-critical appreciation: themes
- Self-critical appreciation: style
- Self-critical appreciation: projection
- Self-critical appreciation: focus
- Self-critical appreciation: facial expression
- Self-critical appreciation: phrasing
- Self-critical appreciation: commitment, concentration, confidence
- Self-critical appreciation: safe working practices
- Self-critical appreciation: mental skills (practice, response to feedback etc)
- Self-critical appreciation: choreographic process
- Self-critical appreciation: structuring devies
- Self-critical appreciation: form
- Self-critical appreciation: choregraphic devices
- Self-critical appreciation: aural settings
- Self-critical appreciation: performance environment
- Artificial Things: Staging and set
- Artificial Things: Lighting
- Artificial Things: Properties
- Artificial Things: Costume
- Artificial Things: Dancers
- Artificial Things: Aural Settings
- Artificial Things: Dance for camera
- Artificial Things: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)
- Artificial Things: Choreographer's approach
- Artificial Things: Movement content (actions, dynamics, space, relationships)
- Artificial Things: Structuring Devices
- Artificial Things: Form
- Artificial Things: Choreographic devices
- Artificial Things: mood
- Artificial Things: meaning
- Artificial Things: ideas
- Artificial Things: themes
- Artificial Things: style
- Artificial Things: similarities with other dances
- Artificial Things: differences to other dances
- Artificial Things: audience understanding
- Artificial Things: purpose
- Artificial Things: environment in which the dance was created and performed
- A Linha Curva: Staging and set
- A Linha Curva: Lighting
- A Linha Curva: Properties
- A Linha Curva: Costume
- A Linha Curva: Dancers
- A Linha Curva: Aural Settings
- A Linha Curva: Dance for camera
- A Linha Curva: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)
- A Linha Curva: Choreographer's approach
- A Linha Curva: Movement content (actions, dynamics, space, relationships)
- A Linha Curva: Structuring Devices
- A Linha Curva: Form
- A Linha Curva: Choreographic devices
- A Linha Curva: mood
- A Linha Curva: meaning
- A Linha Curva: ideas
- A Linha Curva
- A Linha Curva: style
- A Linha Curva: similarities with other dances
- A Linha Curva: differences to other dances
- A Linha Curva: audience understanding
- A Linha Curva: purpose
- A Linha Curva: environment in which the dance was created and performed
- Infra: Staging and set
- Infra: Lighting
- Infra: Properties
- Infra: Costume
- Infra: Dancers
- Infra: Aural Settings
- Infra: Dance for camera
- Infra: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)
- Infra: Choreographer's approach
- Infra: Movement content (actions, dynamics, space, relationships)
- Infra: Structuring Devices
- Infra: Form
- Infra: Choreographic devices
- Infra: mood
- Infra: meaning
- Infra: ideas
- Infra: themes
- Infra: style
- Infra: similarities with other dances
- Infra: differences to other dances
- Infra: audience understanding
- Infra: purpose
- Infra: environment in which the dance was created and performed
- Shadows: Staging and set
- Shadows: Lighting
- Shadows: Properties
- Shadows: Costume
- Shadows: Dancers
- Shadows: Aural Settings
- Shadows: Dance for camera
- Shadows: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)
- Shadows: Choreographer's approach
- Shadows: Movement content (actions, dynamics, space, relationships)
- Shadows: Structuring Devices
- Shadows: Form
- Shadows: Choreographic devices
- Shadows: mood
- Shadows: meaning
- Shadows: ideas
- Shadows: themes
- Shadows: style
- Shadows: similarities with other dances
- Shadows: differences to other dances
- Shadows: audience understanding
- Shadows: purpose
- Shadows: environment in which the dance was created and performed
- Within Her Eyes: Staging and set
- Within Her Eyes: Lighting
- Within Her Eyes: Properties
- Within Her Eyes: Costume
- Within Her Eyes: Dancers
- Within Her Eyes: Aural Settings
- Within Her Eyes: Dance for camera
- Within Her Eyes: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)
- Within Her Eyes: Choreographer's approach
- Within Her Eyes: Movement content (actions, dynamics, space, relationships)
- Within Her Eyes: Structuring Devices
- Within Her Eyes: Form
- Within Her Eyes: Choreographic devices
- Within Her Eyes: mood
- Within Her Eyes: meaning
- Within Her Eyes: ideas
- Within Her Eyes: themes
- Within Her Eyes: style
- Within Her Eyes: similarities with other dances
- Within Her Eyes: differences to other dances
- Within Her Eyes: audience understanding
- Within Her Eyes: purpose
- Within Her Eyes: environment in which the dance was created and performed
- Emancipation of Expressionism: Staging and set
- Emancipation of Expressionism: Lighting
- Emancipation of Expressionism: Properties
- Emancipation of Expressionism: Costume
- Emancipation of Expressionism: Dancers
- Emancipation of Expressionism: Aural Settings
- Emancipation of Expressionism: Dance for camera
- Emancipation of Expressionism: Performance environment (proscenium arch, end stage, in-the-round, site sensitive)
- Emancipation of Expressionism: Choreographer's approach
- Emancipation of Expressionism: Movement content (actions, dynamics, space, relationships)
- Emancipation of Expressionism: Structuring Devices
- Emancipation of Expressionism: Form
- Emancipation of Expressionism: Choreographic devices
- Emancipation of Expressionism: mood
- Emancipation of Expressionism: meaning
- Emancipation of Expressionism: ideas
- Emancipation of Expressionism: themes
- Emancipation of Expressionism: style
- Emancipation of Expressionism: similarities with other dances
- Emancipation of Expressionism: differences to other dances
- Emancipation of Expressionism: audience understanding
- Emancipation of Expressionism: purpose
- Emancipation of Expressionism: environment in which the dance was created and performed
☑️ Performance 18 topics
- Documenting the Quartet Performance
- Performance: Physical Skills and Attributes
- Documenting the Solo Performance
- Performance: Technical Skills
- Performance: Expressive Skills
- Quartet: Interpretative/Performance Skills
- Performance: Mental Skills and Attributes
- Quartet: Physical/Technical SKills
- Performance: Safe Working Practices
- Quartet: Spatial Elements
- Safe Practice
- Solo Performance
- Duet/Trio Performance
- Solo: Dynamic Elements
- Documenting the Duet/Trio Performance
- Solo: Interpretative/Performance Skills
- Solo: Physical/Technical Skills
- Solo: Spatial Elements

GCSE Dance AQA Revision Content

Take a look at the written content available for this course. Practice-question availability may vary.

GCSE Dance AQA - Choreography - Choreography: Action Content Content Preview

Choreography

Revision ContentExam Question

Choreography: Action Content

Choreography is the craft of designing sequences of movements in dance, where a movement is defined as any change in place, posture, or position.
The action content of a dance refers to what is actually happening in the dance. This includes the movements, gestures, facial expressions, and body positions made by dancers.
There are two general categories of movement actions, locomotor (moving in a space) and non-locomotor (staying in one place).
The locomotor movements could include jumping, running, walking, and sliding. Non-locomotor movements could encompass twisting, turning, bending, and tilting.
Choreographers also use a variety of dance elements, such as beat, flow, rhythm, speed, and shape, to enhance the action content.
When creating a choreography, consider where each movement will take place, what sequence the movements will follow, who the dancers will be, and how the dancers will interact with each other.
Action content should have a clear intention or emotion backing it. For example, a dancer might make a large, energetic movement to express joy or a small, hesitant movement to show fear.
In choreography, it's significant to use repetition and variation. Repeating certain movements reinforces the theme of the dance, while variations keep the audience interested.
Transitions in dance are as important as the actions themselves. Effective transitions can make the dance appear seamless and fluid.
Action content in choreography should be appropriate to the theme or story being told in the dance. Every movement should contribute to the overall impression of the dance.
The choreographer may choose some movement motifs that are repeated throughout the dance. This is a powerful tool in storytelling and can create a memorable image for the audience.
Good choreography has a balance of unity and contrast. Unity gives the dance cohesiveness, while contrast provides interest and excitement.
Dance improvisation- creating spontaneous, on-the-spot dance movements - can be a useful tool in developing action content. This can lead to unique and organic dance phrases.

Remember, choreography is a form of artistic expression and therefore, there is plenty of room for creativity and individuality. The key is to master the basic principles of action content and then experiment with your own ideas. Happy dancing!

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