Assessment Without Levels at Key Stage 3 - One Dance UK€¦ · 5 ASSESSMENT WITHOUT LEVELS AT KEY...

Assessment Without Levels at Key Stage 3Working Model Produced by Harris Academy in partnership with AQA

Authors Carla Price and Liz Dale

Reproduced with kind permission of the authors by One Dance UK

4ASSESSMENT WITHOUT LEVELS AT KEY STAGE 33 ASSESSMENT WITHOUT LEVELS AT KEY STAGE 3

What is Assessment Without Levels?

Why were levels were removed?

Attainment targets and levels were introduced with the national curriculum in 1988. When the new national curriculum was published in 2014, new forms of assessment were developed to align with its content and principles. From September 2015, national curriculum levels are no longer to be used for statutory assessments.

Despite attainment targets and levels being intended only for use in statutory national assessments, too frequently levels also came to be used for in-school assessment between key stages in order to monitor whether pupils are on track to achieve expected levels at the end of key stages. This distorted the purpose of in-school assessment, particularly day-to- day formative assessment. The Commission believes that this has had a profoundly negative impact on teaching, therefore the removal of levels materialised.

The Commission on Assessment Without Levels1 was set up by the Department for Education to provide advice and support to schools in developing new approaches to their own in-school assessment. The Commission has not sought to prescribe any specific model of assessment, but to highlight the principles which should underpin any approach. This resource outlined one approach to Assessment Without Levels, based on these principles.

1. McIntosh, J. (2015) Final report of the Commission on Assessment without Levels. Available at: https://www.gov.uk/government/publications/commission-on-assessment-without-levels-final-report (Accessed: 7 December 2016)


The Harris Academy Approach

With Assessment Without Levels, there needs to be a balance between fulfilling the requirement to track and monitor students in a quantitative way but also focus on the qualitative feedback given to students to help them improve. Our aim was to create an assessment framework to use predominately with KS3, that would facilitate students onto the examination assessment criteria at KS4.

The starting point for this framework was the Subject Content Guidance for Dance published by the Department for Education (DfE) in 2015. Using this, we mapped out the performance, choreography and dance appreciation content from year 7 up to GCSE (Years 10/11).

The assessment framework itself contains three separate sections: performance, choreography and dance appreciation. The content runs horizontally across each spreadsheet but the language descriptors remain the same. There is also a percentage range assigned to each grade. At this stage this is a best guess fit, however after the first awarding on the new GCSE this can be adapted in line with the relevant boundaries.

Our Process for Developing this Assessment Framework

Using this in practice, it has been the subject content and student friendly descriptors that have proved to be most successful with students. As a teacher the percentage and grade have been more useful to the requirements of monitoring and tracking. This goes some way to fulfilling that balance between both requirements, as mentioned earlier.

The mark book included is an example of how, as a teacher, I have used the percentage. The students and I are clear on what is being assessed under performance, choreography and dance appreciation. Each percentage is then averaged and makes up the overall grade using the same weightings as the new GCSE, 30%/30%/40%, this percentage is then rounded up and given as a grade.

The framework is still a work in progress and we are constantly adapting resources and ways to use this with students. However it has proved a very useful tool and more importantly stimulated rich discussions with students about how to improve their work.

Carla Price Head of Dance Harris Boys’ Academy, East Dulwich

The percentages provide a guide only and should not be taken as fully indicative of a pupils likely future grade.

Reviewed the Subject Content Guid-ance for the PE National Curriculum, looking at what to study each year

Created an Example Mark Book with matching Scheme of Work to test how it worked

Made refinements and put into action for KS3 pupil assessment in Dance

Created a Dance Assessment Map which aligned to subject content. Mapped two versions for teachers to use to map coverage in KS3 and/or KS4

Assessment Framework created. Used percentages alongside words


Harris Federation KS3 Dance Subject Guidance and Assessment FrameworkThis document has used the Department for Education subject content for GCSE Dance alongside KS3 National Curriculum Guidance from PE for dance, to map appropriate assessment objectives and content for the delivery of Dance at KS3.

Lesson delivery at KS3 should prepare students for the requirements of GCSE, for students to engage as performers through the:

application of knowledge, skills and understanding of performing

development of physical, technical, mental and expressive skills

communication of choreographic intention and artistry

Lesson delivery at KS3 should prepare students for the requirements of GCSE, for students to engage as choreographers through the:

creative and imaginative response to a range of stimuli

use of imagination, problem solving, creativity and the synthesis of ideas

application of knowledge, skills and understanding of choreographic forms and devices

communication of ideas, feelings, emotions, meanings and moods

Lesson delivery at KS3 should prepare students for the requirements of GCSE, for students to appreciate dance through the:

articulation of knowledge and critical reflection to inform artistic practice

critical appreciation of dance in its physical, artistic, aesthetic and cultural contexts

GCSE specifications in dance must enable students to engage as performers

critical analysis, interpretation, evaluation, and appreciation of professional dance works

Lesson delivery at KS3 should prepare students for the requirements of GCSE, for students and provide opportunities for students to:

participate in and appreciate dance from more than one style

critically appreciate at least two professional works by at least two choreographers

work collaboratively with others

develop knowledge, skills and understanding of health, well-being and safe and professional practice relevant to dance

improve own work through analysis, critical self-reflection and evaluation

Assessment Objectives (GCSE)

AO1:Perform dance, reflecting choreographic intention through physical, technical and expressive skills.

AO2:Create dance, including movement, material and selected aural setting, to communicate choreographic intention.

AO3:Demonstrate knowledge and understanding of choreographic processes and performing skills.

AO4:Critically appreciate own works and professional works, through making analytical, interpretative and evaluative judgements.

Below is the Statement from the PE National Curriculum for reference. The DFE subject content for GCSE addresses the following requirements and so provides us with a framework to build from KS3 up and also addresses National Curriculum Requirements

National Curriculum KS3 Dance (PE)

Key Stage 3 Pupils should build on and embed the physical development and skills learned in Key Stages 1 and 2, become more competent, confident and expert in their techniques, and apply them across different sports and physical activities. They should understand what makes a performance effective and how to apply these principles to their own and others’ work. They should develop the confidence and interest to get involved in exercise, sports and activities out of school and in later life, and understand and apply the long-term health benefits of physical activity.

Pupils should:

develop their technique and improve their performance

perform dances using advanced dance techniques within a range of dance styles and forms

analyse their performances compared to previous ones and demonstrate improvement to achieve their personal best


Dance Subject Content

Performance Choreography Dance Appreciation

Physical skills and attributes (What) including actions, posture, balance, coordination, control, strength, stamina, isolation

Technical skills (How) accuracy of action, timing, dynamic, rhythmic and spatial content, the reproduction of movement in a stylistically accurate way (professional works) physical relationship to other dancers

Mental skills and attributes commitment, concentration, confidence, movement memory, mental rehearsal, rehearsal discipline, planning of rehearsal, response to feedback, capacity to improve

Expressive skills including projection, use of focus, spatial awareness, phrasing, facial expression, interpretation and communication of mood and/or meaning and/or intention, sensitivity to other dancers

Safe working practices including safe execution, appropriate dancewear, effective warming up and cooling down

Have knowledge and understanding of:

the elements of dance: action, dynamics, space, relationships

Choreographic processes: including research, selection, development, structuring, refining

Choreographic devices: including motif and development, repetition, contrast, transitions, climax, manipulation of number, unison, canon

Structuring devices: including binary, ternary , narrative,

Dance for different performance environments: including proscenium/end stage, site-sensitive, in-the-round, different stimuli and aural settings

Through the application of knowledge, skills and understanding demonstrate the ability to

respond creatively to a stimulus or stimulirefine ideasgenerate, select, develop and structure movement materialselect and use appropriate aural settingscommunicate choreographic intentionbe wholly responsible for the creation of a complete dance which includes movement material and an aural setting

Students should be able to:

use appropriate dance terminologyappreciate different features of styles of dancecommunicate in written contexts about performing skillsappreciate own dances through describing, analysing, evaluating and reflectingappreciate professional works through describing, analysing, evaluating and reflecting

Physical skills and attributes (What) actions, balance, coordination, control, strength, isolation

Technical skills (How) accuracy of action, timing, dynamic, rhythmic and spatial content, physical relationship to other dancers

Mental skills and attributes commitment, concentration, confidence, rehearsal discipline, response to feedback, capacity to improve (what do I need in order t get better)

Expressive skills, use of focus, spatial awareness, facial expression, interpretation and communication of mood and/or meaning

Safe working practices including safe execution, appropriate dancewear, effective warming up and cooling down, nutrition and hydration



Choreographic processes: research, selection, development structuring,

Choreographic devices: motif and development, repetition complementary , contrast, transitions, manipulation of number, unison, canon

Structuring devices: beginning, middle, end, narrative,

Dance for different performance environments: including proscenium/end stage, in-the- round, different stimuli


respond to a stimulus or stimulirefine and ideasgenerate, select, develop movement materialcommunicate meaning


appreciate own dances through describing, evaluating and reflectingappreciate professional works through describing, evaluating and reflectinguse appropriate dance terminologycommunicate about performing skills

Physical skills and attributes (What) actions, balance, coordination, control,isolation

Technical skills (How) accuracy of action, timing, dynamic, spatial content, physical relationship to other dancers

Mental skills and attributes commitment, concentration, rehearsal discipline, response to feedback,

Expressive skills use of focus, spatial awareness, facial expression, interpretation and communication of mood

Safe working practices including safe execution, appropriate dancewear, effective warming up and cooling down



Choreographic devices: repetition, transitions, manipulation of number, unison, canon

Structuring devices: beginning, middle and end different starting points


respond to a stimulus or stimulirefine ideasCommunicate moodgenerate movement material


appreciate own dances through describing, evaluating and reflectingappreciate professional works through describing, evaluating and reflecting

KS3 subject content guidanceYe

ar

Gro

up

YEA

R 9

YEA

R 8

YEA

R 7


AIM

S O

UTC

OM

ESEX

PEC

TATI

ON

S

Dance Unit KS3

This unit aims to engage students through the use of Mission Impossible as a stimulus. Students will focus on content from the three strands: Performance - characterisation; Composition - unison, canon, formations and transitions; Appreciation - self and peer assessment. This unit aims to develop learner’s understanding of how to create dances, including how to create movement which communicates a dance idea, through the use of fundamental choreographic devices. By learning a set technical phrase, students will develop technical skills and understand the importance of characterisation through performance. There is also an emphasis on team working skills.

ALL students will be able to: Create a dance which includes the set technical phrase performed with control in unison and using formations. Create own movement material which communicates the stimulus which has been developed using canon and stillness. Use of transitions linking at least 3 escape routes smoothly. A performance which demonstrates sound performance skills and moments of characterisation.

MOST students will be able to: Create a dance which includes the set technical phrase performed with control and some fluency, in unison and using formations. Own original movement material which communicates the stimulus which has been developed creatively using canon and stillness. Use of creative transitions linking all escapes routes smoothly. A performance which demonstrates good performance skills and characterisation.

SOME students will have progressed further and: Create a dance which includes the set technical phrase performed with control and fluency, in unison and using a range of formations. Own original and creative movement material which communicates the stimulus which has been developed creatively using canon and stillness. Use of creative transitions linking the escapes routes smoothly. An engaging performance which demonstrates excellent performance skills and convincing characterisation throughout.

Be able to perform a set technical phrase with fluency and controlUnderstand what characterisation is and show this in performanceTo be able to demonstrate unison and use of formationsBe able to create an entrance that relates to the stimulus/dance ideaTo demonstrate the use of transitions in their workTo interpret and perform appropriate movement ideasTo create your own Mission Impossible phraseBe able demonstrate the use of canon in their workHave created an appropriate ending positionTo understand what level they are working at and how to improveTo use rehearsal to improve assessment workTo be able to give and receive peer feedbackUnderstand the formal requirements and expectation of a Dance AssessmentDemonstrate performance skills which communicate the dance idea

Assessment Objective link GCSE (AO)

AO1: Perform dance, reflecting choreographic intention through physical, technical and expressive skills. AO2: Create dance, including movement material and aural setting, to communicate choreographic intention. AO3: Demonstrate knowledge and understanding of choreographic processes and performing skills. AO4: Critically appreciate own works and professional works, through making

analytical, interpretative and evaluative judgements.

Performance Content Focus, Energy, Accuracy, Control, Timing

Choreography Content Formation, Canon, Unison, Numerical Variation, Transitions

Appreciation Content Knowledge and skills of performing skills and safe practice

Stretch and Challenge Activities: Extended tasks and questions in the homework booklet. Challenge given by teacher feeding in more difficult movement content and choreographic tasks

Support activities for SEN/EAL/Behaviour: Teacher to personalise these in response to class profile and needs

Resources: Music, KS3 Assessment Sheet, Homework Booklets

Dance Vocabulary: Characterisation, unison, formation, entrance, canon, transition, motif, communication, performance skills, rehearsal, feedback, evaluate, numerical variation

Every Child Matters: Be Healthy – Stay Safe – Enjoy & Achieve – Make a Positive Contribution – Economic Wellbeing

Risk Assessment: Studio clear of any hazards, Students warmed up and cooled down, Contact work taught safely

Literacy Development: Key Dance vocabulary ICT Opportunities: use of video camera, Use of videos for recap and evaluation purposes

Cross Curricular Links: Drama, Maths SMSC: Working together as a team, process of making a dance work from start to finish

Numeracy Development: Numerical variation

Links to Professional Dance World: Assessment – performance is set up with lighting and a small invited audience to equip students with an understanding of professional performance requirements

Homework: Booklet given with dance appreciation questions

Personal, Learning, Thinking Skills:

Self Managers: Working through task list management roles in lessons

Independent Thinkers: Students encouraged to problem solve

Team Workers: Collaboration on group tasks

Effective Participants: Playing their part and contributing and/or carrying out practical ideas and tasks

Reflective Thinkers: Evaluation and reflection- peer and self-assessment

Creative Thinkers: Creative practical response to the task

Teacher Q&A Verbal formative Summative Identification of strengths/weaknesses

Student Self assessment Paired observation Group discussion Targets for future work

Topic: Mission Impossible Duration: 6 weeks


Assessment Framework PerformancePe

rfor

min

g in

D

ance

s ContentPhysical Skills: actions, posture, alignment, balance, coordination, control, flexibility, mobility, strength, stamina, extension, isolation

Technical Skills: accurate action, timing, dynamic rhythmic and spatial content, stylistically accurate reproduction of movement, correct spatial relationship to others in a dance

Expressive Skills: projection, use of focus, spatial awareness, musicality, phrasing, facial expression

Mental Skills and Attributes: commitment, concentration, confidence, ability to remember dances, rehearsal discipline, response to feedback, capacity to improve

Safe Working Practice: effective warm-up and cool-down, nutrition/hydration, safe execution, appropriate dancewear

Communication of mood and meaning

9 - 90-100%all/exemplary/outstanding/consistent

I am able to perform dances using all these skills in an exemplary manner




I have an outstanding understanding of safe working practices in dance and am able to apply them consistently when performing in dances

I am able to perform in dances and communicate mood and meaning in an exemplary manner

8 - 85-89% 7 - 80-85%

majority/proficient

I am able to perform in dances using the majority of these skills in an proficient manner




I have a proficient understanding of safe practices in dance and am able to apply the majority of these when performing in dances

I am able to perform in dances and communicate mood and meaning in a proficient manner

6 - 70-79% most/good/effective

I am able to perform in dances using most of these skills in an effective manner




I have a good understanding of safe practices in dance and am able to apply these most of the time when performing in dances

I am able to perform in dances and communicate mood and meaning in an effective manner

5 - 50-69% some/soundI am able to perform in dances using some of these skills in a sound manner

I am able to perform in dances using some of these skills in a sound manner



I have a sound understanding of safe practices in dance and am able to apply these some of the time when performing in dances

I am able to perform in dances and communicate mood and meaning in a sound manner

4 - 40-49% 3 - 25-39% some/ limited

I am able to perform in dances using some of these skills in a limited way




I have a limited understanding of safe practices in dance and am able to apply these some of the time when performing in dances

I am able to perform in dances and communicate mood and meaning in a limited manner

2 - 15-24% 1 - 1-14% (0 - 1-6% 1 - 7-15%)

few/very limitedI am able to perform in dances using a few of these skills in a very limited way

I am able to perform in dances using a few of these skills in a very limited way



I have a very limited understanding of safe practices in dance and am able to apply these on a few occasions when performing in dances

I am able to perform in dances and communicate mood and meaning in a very limited manner


Assessment FrameworkC

hore

ogra

phin

g Da

nces

Content

Choreographic Devices: motif and development, repetition, contrast, transitions, highlights, climax, manipulation of number, unison and canon

Choreographic Processes: research, selection, development, structuring, refining

Structuring Devices and form: binary, ternary, rondo, narrative, episodic

Dance for different Performance Environments: proscenium/end stage, Site-sensitive, in-the-round, dance for camera

Different Stimuli and their effect on choreographic intentions and outcomes: visual, auditory, kinesthetic, tactile, ideational stimuli

Selection of Spatial and Relationship Design: pathways, changes in level, size of movement, air patterns, directions, contact (group), formations(group)

Selection and use of Aural Setting: establishing mood/atmosphere, creating contrast/ variety, demonstrating sensitivity/musicality, supporting theme/idea of choreography

Communication of choreographic intention


I am able to choreograph dances using all of these devices to produce an outstanding outcome

I am able to choreograph dances using all of these processes to produce an outstanding outcome.

I am able to choreograph dances using structure and form to produce an outstanding outcome

I am able to choreograph dances for all different performance environments

I am able to choreograph dances using all different stimuli to produce an outstanding outcome

I am able to choreograph dances using all aspects of space and relationships to produce an outstanding outcome.

I am able to choreograph dances that uses all elements of aural setting

I am able to choreograph dances that communicate mood and meaning in an exemplary manner

8 - 85-89% 7 - 80-85%

majority/proficient

I am able to choreograph dances using the majority of these devices to produce a proficient outcome.


I am able to choreograph dances using structure and form to produce a proficient outcome.

I am able to choreograph dances for the majority different performance environments

I am able to choreograph dances using the majority of different stimuli to produce a proficient outcome

I am able to choreograph dances using the majority of space and relationships to produce a proficient outcome

I am able to choreograph dances that uses the majority of elements of aural setting

I am able to choreograph dances that communicate mood and meaning in a proficient manner


I am able to choreograph dances using most of these devices to produce an effective outcome

I am able to choreograph dances using most of these processes to produce an effective outcome

I am able to choreograph dances using structure and form to produce an effective outcome

I am able to choreograph dances for most of the different performance environments

I am able to choreograph dances using most of the different stimuli to produce an effective outcome

I am able to choreograph dances using most of space and relationships to produce an effective outcome

I am able to choreograph dances that uses most elements of aural setting

I am able to choreograph dances that communicate mood and meaning in an effective manner

5 - 50-69% some/sound

I am able to choreograph dances using some of these devices to produce a sound outcome

I am able to choreograph dances using some of these processes to produce a sound outcome

I am able to choreograph dances using structure and form to produce a sound outcome

I am able to choreograph dances for some of the different performance environments

I am able to choreograph dances using some different stimuli to produce a sound outcome

I am able to choreograph dances using some use of space and relationships to produce a sound outcome.

I am able to choreograph dances that uses some elements of aural setting

I am able to choreograph dances that communicate mood and meaning in a sound manner

4 - 40-49% 3 - 25-39% some/limited

I am able to choreograph dances using some of these devices to produce an outcome that is limited

I am able to choreograph dances using some of these processes to produce an outcome that is limited

I am able to choreograph dances using structure and form to produce an outcome that is limited

I am able to choreograph dances for a limited amount of different performance environments

I am able to choreograph dances using some different stimuli to produce an outcome that is limited

I am able to choreograph dances using some use of space and relationships to produce an outcome that is limited

I am able to choreograph dances that uses limited elements of aural setting

I am able to choreograph dances in dances that communicate mood and meaning in a limited manner

2 - 15-24% 1 - 1-14% (0 - 1-6% 1 - 7-15%)

few/very limited

I am able to choreograph dances using a few of these devices to produce an outcome that is very limited

I am able to choreograph dances using a few of these processes to produce an outcome that is very limited

I am able to choreograph dances using structure and form to produce an outcome that is very limited

I am able to choreograph dances for a limited amount of different performance environment

I am able to choreograph dances using a few different stimuli to produce an outcome that is very limited

I am able to choreograph dances using a few space and relationships aspects to produce an outcome that is very limited

I am able to choreograph dances that uses very limited elements of aural setting

I am able to choreograph dances in dances that communicate mood and meaning in a very limited manner

Choreography


Assessment FrameworkA

ppre

ciat

ing

Dan

ces Content

Use of appropriate dance terminology and/or subject specific language

Appreciation of different dance styles and approaches to choreography and production

Communicate in written contexts about choreography

Communicate in written contexts about performing skills

Critically appreciate own dances through describing, analysing, interpreting, evaluating and reflecting

Critically appreciate professional works through describing, analysing, interpreting, evaluating and reflecting

Appreciate the contributions of choreography, performance, and features of production to professional works including staging, lighting, properties, costume, dance for camera and aural settings

Appreciate the relationships between choreography, performance and features of production including staging, lighting, properties, costume, dance for camera and aural settings and the ways in which these can be used together to enhance audience understanding of mood, meaning and choreographic intention


I am able to use dance vocabulary consistently to produce an exemplary response

I am able to appreciate all different dance styles and approaches to choreography to produce an exemplary response

I am able to communicate through writing about choreography to produce an exemplary response

I am able to communicate through writing about performing skills to produce an exemplary response

I am able to appreciate own dances using all of the skills to produce an exemplary response

I am able to appreciate professional works using all of the skills to produce an exemplary response

I am able to appreciate all of the contributions of choreography and production to professional works to produce an exemplary response

I am able to appreciate the majority of the different relationships between choreography, performance and production to enhance audience understanding of mood/meaning and choreographic intention to produce a proficient response

8 - 85-89% 7 - 80-85%

majority/proficient

I am able to use dance vocabulary the majority of the time to produce a proficient response

I am able to appreciate the majority of different dance styles and approaches to choreography to produce a proficient response

I am able to communicate through writing about choreography to produce an proficient response

I am able to communicate through writing about performing skills to produce a proficient response

I am able to appreciate own dances using the majority of the skills to produce a proficient response

I am able to appreciate professional works using the majority of the skills to produce a proficient response

I am able to appreciate the majority of the contributions of choreography and production to professional works to produce a proficient response

I am able to appreciate the majority of the different relationships between choreography, performance and production to enhance audience understanding of mood/meaning and choreographic intention to produce a proficient response


I am able to use dance vocabulary most of the time to produce a good response

I am able to appreciate most dance styles and approaches to choreography to produce a good response

I am able to communicate through writing about choreography to produce an good response

I am able to communicate through writing about performing skills to produce a good response

I am able to appreciate own dances using most of the skills to produce a good response

I am able to appreciate professional works using most of the skills to produce a good response

I am able to appreciate most of the contributions of choreography and production to professional works to produce a good response

I am able to appreciate most of the different relationships between choreography, performance and production to enhance audience understanding of mood/meaning and choreographic intention to produce a good response

5 - 50-69% some/sound

I am able to use some dance vocabulary to produce a sound response

I am able to appreciate some dance styles and approaches to choreography to produce a sound response

I am able to communicate through writing about choreography to produce an sound response

I am able to communicate through writing about performing skills to produce a sound response

I am able to appreciate own dances using some of the skills to produce a sound response

I am able to appreciate professional works using some of the skills to produce a sound response

I am able to appreciate some of the contributions of choreography and production to professional works to produce a sound response

I am able to appreciate some of the different relationships between choreography, performance and production to enhance audience understanding of mood/meaning and choreographic intention to produce a sound response

4 - 40-49% 3 - 25-39% some/limited

I am able to use some dance vocabulary to produce a limited response

I am able to appreciate some dance styles and approaches to choreography to produce a limited response

I am able to communicate through writing about choreography to produce a limited response

I am able to communicate through writing about performing skills to produce a limited response

I am able to appreciate own dances using some of the skills to produce a limited response

I am able to appreciate professional works using some of the skills to produce a limited response

I am able to appreciate some of the contributions of choreography and production to professional works to produce a limited response

I am able to appreciate some of the different relationships between choreography, performance and production to enhance audience understanding of mood/meaning and choreographic intention to produce a limited response

2 - 15-24% 1 - 1-14% (0 - 1-6% 1 - 7-15%)

few/very limited

I am able to use dance vocabulary on a few occasions to produce a very limited response

I am able to appreciate a few dance styles and approaches to choreography to produce a very limited response

I am able to communicate through writing about choreography to produce a very limited response

I am able to communicate through writing about performing skills to produce a very limited response

I am able to appreciate own dances using a few of the skills to produce a very limited response

I am able to appreciate professional works using a few of the skills to produce a very limited response

I am able to appreciate a few of the contributions of choreography and production to professional works to produce a very limited response

I am able to appreciate a few of the different relationships between choreography, performance and production to enhance audience understanding of mood/meaning and choreographic intention to produce a very limited response

Appreciation


Performance Choreography Dance Appreciation

ContentPhysical Skills: actions, posture, alignment, balance, coordination, control, flexibility, mobility, strength, stamina, extension, isolation

Technical Skills: accurate action, timing, dynamic rhythmic and spatial content, stylistically accurate reproduction of movement, correct alignment

Choreographic Devices: repetition, contrast, transitions, highlights, climax, manipulation of number, unison and canon

Choreographic Processes: research, selection, development, structuring, refining

Use of appropriate dance terminology and/or subject specific language

Critically appreciate own dances through describing, analysing, interpreting, evaluating and reflecting

All/Exemplary/outstanding/consistent



I am able to choreograph dances using all of these devices to produce an outstanding outcome

I am able to choreograph dances using all of these processes to produce an outstanding outcome.

I am able to use dance vocabulary consistently to produce an exemplary response

I am able to appreciate own dances using all of the skills to produce an exemplary response

majority/proficient





I am able to use dance vocabulary the majority of the time to produce a proficient response

I am able to appreciate own dances using the majority of the skills to produce a proficient response

most/good/effectiveI am able to perform in dances using most of these skills in an effective manne


I am able to choreograph dances using most of these devices to produce an effective outcome

I am able to choreograph dances using most of these processes to produce an effective outcome

I am able to use dance vocabulary most of the time to produce a good response

I am able to appreciate own dances using most of the skills to produce a good response

some/soundI am able to perform in dances using some of these skills in a sound manne


I am able to choreograph dances using some of these devices to produce a sound outcome

I am able to choreograph dances using some of these processes to produce a sound outcome

I am able to use some dance vocabulary to produce a sound response

I am able to appreciate own dances using some of the skills to produce a sound response

some/limitedI am able to perform in dances using some of these skills in a limited way


I am able to choreograph dances using some of these devices to produce an outcome that is limited

I am able to choreograph dances using some of these processes to produce an outcome that is limited

I am able to use some dance vocabulary to produce a limited response

I am able to appreciate own dances using some of the skills to produce a limited response

few/very limited I am able to perform in dances using a few of these skills in a very limited way


I am able to choreograph dances using a few of these devices to produce an outcome that is very limited

I am able to choreograph dances using a few of these processes to produce an outcome that is very limited

I am able to use dance vocabulary on a few occasions to produce a very limited response

I am able to appreciate own dances using a few of the skills to produce a very limited response

Mission Impossible Assessment Criteria


Performing in Dance Choreographing Dance Appreciating Dances

Student Target

Phys

ical

Ski

lls

Tech

nica

l Ski

lls

Aver

age

%

Wei

ghte

d %

(30

%)

Cho

reog

raph

ic

Dev

ices

Stru

ctur

ing

Dev

ices

an

d fo

rm

Aver

age

%

Wei

ghte

d %

(30

%)

Use

of a

ppro

pria

te

danc

e te

rmin

olog

y

Com

mun

icat

e in

w

ritte

n co

ntex

ts a

bout

ch

oreo

grap

hy

Aver

age

%

Wei

ghte

d %

(40

%)

Ove

rall

%

Student A 5 50 52 51 15.3 50 52 51 15.3 51 51 51 20.4 51

Student B 7 51 56 53.5 16.05 55 54 54.5 16.35 52 53 52.5 21 53.4

Student C 6 52 51 51.5 15.45 50 50 50 15 52 52 52 20.8 51.25

Student D 5 50 53 51.5 15.45 50 50 50 15 52 51 51.5 20.6 51.05

Student E 4 53 51 52 15.6 50 52 51 15.3 53 50 51.5 20.6 51.5

Mission Impossible Example Workbook

The percentages provide a guide only and should not be taken as fully indicative of a pupils likely future grade. These examples show the likelihood of percentages and level predictions for a Year 9 class and percentages can be adapted to align with AQA’s new GCSE specification grade boundaries from August 2017.


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you’ll be adding your unique voice to the thousands already working for a stronger,

healthier and more creative role for dance in schools.

Our affordable membership brings:

Specialist information and adviceTargeted professional development programmes (some funded)Advocacy & support for dance teachingFree access to our specialist dance teaching resources for all Key StagesOne Dance UK magazine twice a yearFree posters for your classroom or studioNetworking events with colleaguesDiscounts on our conferencesDiscounts on publicationsDiscounted Public Liability Insurance

Your One Dance UK membership will help develop your teaching potential.

Call 020 7713 0730 www.onedanceuk.org

Thank you to Harris Federation and AQA for

enabling us to share their work for the benefit of other

teachers across the country.

Special thanks to Carla Price and Liz Dale the

authors of this work.

Thanks to Brian Slater for the photographs presented

through-out this publication and to the Harris

Academy and Ravensbourne School students who

enthusiastically took part in the Mission Impossible

session, to enable the photographs to be taken.

One Dance UK Company Registration no: 2931636 Charity Registration no: 801552

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