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GAUTENG DEPARTMENT OF EDUCATION
SENIOR CERTIFICATE EXAMINATION
1
DANCE HG
(First Paper)
POSSIBLE ANSWERS / MOONTLIKE ANTWOORDE
OCTOBER/ OKTOBER / NOVEMBER 2005
609-1/1 K
Q 1 ATTENDANCE OF A DANCE WORK; DANCE COMPANIES [14]
1.1 Critical review: Local/international work on stage/ circuit/video for Film Finesse
Credit for writing style: summary of info in a block, then review in full sentences
(8)
Open choice; must be 2004/2005 dance production
+1
Subsections
1.1.1 Title of dance work Kopano 1
1.1.2 Company, main artists South African Ballet Theatre / Burnise Sylvius,
Admill Kuyler 1
1.1.3 Date (month, year), venue April 2003 (0,5) Civic Theatre Johannesburg (0,5)
1
1.1.4 Choreographer(s) Kaloyan Boyadjiev 1
1.1.5 Set/costume designer(s) Kaloyan Boyadjiev made by Glyn Barry 1
1.1.6 Composer(s)/Performer(s) Mozart: Piano sonatas K545 and K333, 2 nd
EXAMPLE:
movements Miriam Makena: Hauteng with African
drumming 1
1.1.7 Brief description of content of plot The choreographer writes about the work:
“I grew up in Europe and was educated and trained within a European cultural milieu,
and later lived in South African for several years, so the opposites of diverse cultures
intrigue me. In this piece I attempt to explore ways in which my native European
background and adopted African experience can be melted in music and dance that
unites the splendours of both worlds. It is said that successful compromise is when
both sides feel they have surrendered something. I have not sought to compromise but
to celebrate in such a way that both sides feel they have gained something.”
1
1.1.8 Choreographic style Classical Ballet 1
1.2 State function for international celebrities: An international OR SA company. 6
Credit for a formal letter (Writing style) to organisers to name the company
1.2.1 EXAMPLE:
SABT Name: South African Ballet Theatre 1
Artistic management: Any ONE of the following: 0.5
CEO: Dirk Badenhorst;
Rehearsal Director: Angela Malan;
General Manager: Fiona Budd;
Ballet Masters: Iain MacDonald and Kimbrian Bergh;
Ballet Mistress: Karen Beukes;
Teachers: Natasha Ireland, Christian Tatchev, Angela Malan, Karen Beukes, Iain
MacDonald;
Pianists: Charl du Plessis, Ferdi Geyer;
Administration: Dirk Badenhorst, Leon Bezuidenhout, Fiona Budd, Mandy-Lee
Harrison, Jonathan Hurwitz;
Wardrobe Mistress: Anna Matea
+1

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Lead dancers: Any ONE of the following: 0.5
Kimbrian Bergh, Karen Beukes, Anya Carstens, Iain MacDonald,
Angela Malan, Burnise Sylvius, Christian Tatchev, Andries Weidemann.
1.2.2 Brief history (Answers are open-ended; Other facts can also be relevant.)
The SABT was founded after the regional arts councils, PACT Ballet Company and The
State Theatre Ballet were phased out. The SABT, now located at the Nelson Mandela
Theatre (former Civic Theatre) in Johannesburg aims, amongst others, to build on the
foundations laid by generations of dancers and artists, to retain a high technical standard,
to build a wide repertoire, to work with local and international choreographers and to train
dancers. Since 1995, the SABT has run outreach programmes in Mamelodi, Alexandra
and Kahtlehong, sponsored by the Anglo American Chairman’s Fund, De Beers Fund
and Standard Bank. In 2002 the South African Ballet School was started. The school
teaches classical ballet according to the RAD method as well as contemporary dance
1
and offers body conditioning classes.
Choreographic style (Other facts can also be relevant.)
Ballet (also referred to as ‘classical dance’). Evidence of this style seen in the stance,
turn-out, placing (alignment, épaulement), balance, use of the head, legs, feet, arms and
body according to certain rules, the transference of weight, lifts, the five positions of the
feet, co-ordination in dance, the creation of an illusion of weightlessness and
effortlessness, the grooming of the dancers, the point-work, the tutus, etc.
1
1.2.3 Repertoire (Other productions can be mentioned.) Titles of TWO works, e.g. 2003:
Papillon, Hamlet; 2004: Kopano, Who Cares, Schlager
2
Q2 DANCE VOCATIONS [10]
Copy and complete table. Job related to each area (5) + Responsibilities of each (5)
Open-ended answers. Possible answers + mark allocation:
Areas of employment A job related to each Responsibilities
Entertainment Industry Producer/Director (1) To audition dancers and produce/direct a dance
show (1)
Journalism Reporter (1) To attend productions and report objectively (1)
Dance Education Dance Teacher (1) To facilitate and assess learning experiences (1)
Dance Administration Administrator (1) To capture and update data regularly and correctly
(1)
Dance Therapy Physiotherapist (1) To treat dance injuries without causing more
damage (1)
Q3 DANCE IN PERSONAL LIFE AND THE COMMUNITY [14]
3.1 ONE social issue: HIV/Aids / Drug prevention/ Crime prevention.
Is it necessary for dancers to be involved? Substantiate in a short paragraph.
Open-ended answers; learners’ own account. Possible mark allocation:
A professional, convincing writing style is required.
(3)
Issues such as HIV/Aids, drug abuse, crime, rape, hijacking, armed robbery, etc. can also affect
dancers. (1)
Dancers must be involved in social issues – it is a social responsibility (1). Dancers can get involved in
- making people aware of the origin and impact of these abuses on individuals and families by
spreading information through shows, brochures, etc. (1)
- informing an audience about leading a healthy life style to prevent HIV/Aids, drug abuse, etc (1)
- planning projects to keep street children (potential criminals) off the street (1)
- organizing on-going activities in creative movement, regular dance performances, etc. (1)
- turning potential criminals into creative individuals leading who lead a healthy life-style (1)
- developing entrepreneurial skills in the community by which an income could be generated
- promoting healing in the community (1)

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3.2 What is creative movement? Why is it of value in schools? (5)
Dance Creative Movement provides learners with the opportunity to:
•
•
•
•
•
•
•
•
•
•
Develop an understanding and appreciation of dance
Experience dance as a cultural art form in its own right
Develop movement as a means of communication
Gain an understanding and tolerance of cultural diversity through experiencing the
dance forms of many different cultures.
Increase listening skills, concentration, co-ordination and focus
Encourages the maintenance of a healthy body and mind and the development of
gross and fine motor activities
Stimulate creative potential and imagination
Become proficient in problem solving, decision making and negotiating skills,
through group and social interaction
Promote an awareness of all related aspects of dance, e.g. composing, performing,
appreciating, teaching, researching or documenting...
Use the creative movement teaching methodology in other areas of the curriculum
such as in mathematics and language. Learn through doing,
not just watching,
saying and hearing.
3.3 Produce and direct a dance show in community. List steps to plan this.
Open-ended answers; learners’ own account. Possible mark allocation:
Facts relating to the following can be considered; other relevant aspects could also be
correct:
Organizing committee/Venue/Date (1)
Budget/Funding(1)
Planning/Liaison (1)
Programme/Auditions (1)
Costumes/Décor/ Lighting/Music (1)
Marketing/Advertising (1)
Stage/Foyer/Refreshments management (1)
(6)
Q4 DANCE STYLE / FIELD OF DANCE Market your favourite dance form/field [14]
E.g. - African Dance - Dance Composition (Choreography)
Choose - Ballet - Folk Dance (Character National)
- Jazz
- Latin American
Dancing
ONE of: - Ballroom Dancing - Greek Dance (Ginner method) - Spanish Dance
- Contemporary
dance
Indian Dance (North OR South) - Tap Dance
• ARTICLE for school yearbook + Eye-catching HEADING for the article
Eye-catching (creative) heading (0.5) Writing style, e.g. intro; body; conclusion (0.5)
(1)
• History, background or origin of dance form/field (introduction). Open-ended, e.g.
Example:
Ballet (or Classical Dance):
Ballet or classical dance is one of the oldest styles of dance (a dancing statue was found in
Egyptian times).
King Louis XIV was one of the first ballet dancers; high-heeled shoes; Marie Taglione: pointe
shoes, tutu, etc.
Through the years an extensive repertoire has been created, including story ballets and
abstract ballets.
A variety of music can be used to accompany ballets, including folk, medieval, classical,
romantic, jazz, etc.

,,
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• Principles which underpin the dance form (4)
1 Stance: Position taken; standing correctly
2 Turn-out: Rotary motion to view
3 Placing: Arranging things in their proper place to achieve an ordered balanced from
3.1 Alignment: Bringing into line, especially bringing three or more points into line
3.2 Epaulement: and/or legs, the extent of which must be finely judged, but which will
depend on the context.
4 Laws of balance: A counterpoise (or things) in order to maintain equilibrium. Conforms to
other basic rules, i.e.
5 The basic rules of classic technique: These include Rules of the Head, Legs, Arms and Body
6 Transference of weight: To convey or hand over one thing or person to another place or
person. These include:
6.1 The five positions of the feet
6.2 The five jumps; From: 2 feet to 2 feet; 2 feet to 1 foot; 1 foot to 2 feet; 1 foot to the
other; all on one leg
7 Co-ordination: To bring proper parts into proper relationship
The seven movements of dance: Plier (to bend). Étendre (to stretch), Relever (to rise). Sauler (to jump)
Élancer (to dart), Glisser (to glide), Tourner (to turn)
• Famous performer (career and achievements) – an open choice; check carefully if facts
are correct incorporate an Internet search to verify facts.) Example:
Any FOUR facts
listed below
(4)
Baryshnikov, Mikhail Nikolayevich Soviet-born dancer, noted for his technical prowess and engaging
stage personality. (1) Born in Riga (in present-day Latvia) in 1948 (1), Baryshnikov studied ballet since
age 15 in Riga and in Leningrad (1), joining the Kirov Ballet (now the Saint Petersburg Ballet) in 1967
(1). As a soloist and later as a principal dancer with the Kirov, he appeared in classical ballets setting
new standards for technical virtuosity. (1) He also created roles in newly choreographed ballets, (1)
including Vestris (1969), Hamlet (1970), AND The Creation of the World (1971). (1) Baryshnikov
defected to the West in 1974 while touring Canada with the Bolshoi Ballet. (1) He later danced primarily
with the American Ballet Theatre (1) (serving as its director from 1980 to 1989) (1) and the New York
City Ballet. (1) Baryshnikov performed in a broad array of works, from classical ballets to more modern
dance roles, (1) employing a range of styles for works by such choreographers as George Balanchine, a
Russian-born American, (1) American Twyla Tharp (1) and Jerome Robbins (1) e.g. Don Quixote (1),
Who cares (1), Apollo (1) etc.
In 1990, with American choreographer Mark Morris, Baryshnikov founded a modern dance company,
the White Oak Dance Project. (1) The group initially performed only works by Morris, but then
expanded its repertoire to include choreography by Robbins; Tharp; Merce Cunningham and Kevin
O’Day, from the United States; German-American Hanya Holm; and Joachim Schlömer, from Germany.
(1) As an actor, Baryshnikov has appeared in motion pictures such as The Turning Point (1978), for
which he was nominated for an Oscar (1) and White Nights (1985) (1), and in a play, Metamorphosis
(1989) (1), based on a story by Kafka. He is often chosen as host for documentaries, e.g. the ABC
television special, Baryshnikov on Broadway.
(1) In 2004 he starred in a number of episodes in the TV
series Sex and the City.
(1)
• Relevance of the dance form / field of dance today (conclusion)
Learners’ own account / Open-ended answers, e.g.
Diverse cultural groups enjoy Ballet - as performers on stage and/or as audience-goers.
It is an internationally recognized dance form and is used in the art and commercial world.
Ballet training in early life can later serve as a basis for any other dance style or field of dance.
Many choreographers combine ballet with dance forms such as tap, African, folk, jazz, etc. in
fusion works.
(2)

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Q5 CHOREOGRAPHERS Choose ONE from Guideline Document
[14]
To introduce ONE SA choreographer to the audience at the FNB Dance Umbrella.
OPEN CHOICE: Example and possible mark allocation. Choose ONE:
Cekwana, Cranko, Glasser, Gorden, Hawkins, Mantsoe, Matamela, Maqoma, Orlin, Paeper,
Pather, Semela, Staff
To be done as CUE CARDS (1 extra for intro and cue card style – if mark total allows.)
5.1 Name of Dance Career (3)
EXAMPLE: Robyn ORLIN
± 25 years’ experience: Dancer, performer, choreographer, producer, teacher, artist
Training and degrees in Arts Education:
1991-93 Master in Fine Arts – Chicago
1985: Laban School, University of London
1975- 79: London School of Contemporary Dance
1965- 72: RAD (London) Grades and Diplomas
5.2 Achievements and Awards (4)
2002: Laurence Olivier Award (London): Most Outstanding Achievement in Dance for daddy
2000: Jan Faber Award (Paris) for Most Subversive Choreography for daddy (see full title below)
1996: Special Award: Contribution to Contemporary Dance in SA
1985- 1998: Five FNB Vita Choreography Awards
5.3 Choreographic style and THREE examples of dance works (4)
Choreographic style (1):
ONE fact, e.g. post-modernism; contemporary dance; integration of multi-media, etc.
Three works (3):
2001: we must eat our suckers with the wrappers on (FNB Dance Umbrella; 2003 to France and
Germany)
1998: the future may be bright but it’s not necessarily orange (2002: Montpellier Dance Festival,
France)
1998: daddy I’ve seen this piece six times before and I still don’t know why they’re hurting each
other (SA, France, The Netherlands, Norway, Greece, Sweden)
1997: ubu and the truth commission (multi-media production with Kentridge and handsprung
puppets)
1995: naked on a goat (Market Theatre Jhb, Poland, Switzerland, Germany)
1993: upsy-daisy (solo; Blue Rider Theatre, Chicago, Art Institute of Chicago)
5.4 Additional interests and current involvement (3)
Related Experience (± 1 or 2)
- Choreographic workshops nationally and internationally (Japan, Greece, Paris)
- Teacher at NSA (1998-2001), PACT Dance Co (1988-89), Market Theatre Laboratory
(1996-2003)
Inaugurated dance departments: Funda Art Centre, Soweto; FUBA (Federated Union of Black
Artists)
Guest choreographer: France, Holland, Germany
Current involvement (± 1 or 2)
2004: the babysitting series...part 2 (Jhb Art Gallery, FNB Dance Umbrella). Originated in 2000:
babysitting caspar
in collaboration with guards: Der Alten Nationalgalerie, Berlin, funded by the
Hauptstadtkulturfonds. An on-going project; will happen over next few years in museums around
the world to culminate in a final presentation, still undecided.

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Q6 DANCE WORKS Compare TWO works with bird images Examples
[14]
Swan Lake (1877) The title refers to swans (birds) (1) The title means “The Birds” (1)
Choreographers: Petipa: Acts 1,3, Ivanov: Acts 2,4 (0,5) Choreographer: Vincent Sekwati Mantsoe (0,5)
Characters Odette (the Swan Princess, Siegfried (prince), Characters: 5 dancers (from not
Rothbart (magician) Odile (his daughter) (0,5)
identified by name; they remain anonymous “birds”
(0,5)
Music: Peter llyich Tchaikovsky (0,5) Music: Gabrielle Roth (0,5)
Storyline/Plot (± 2) Swans feature prominently. The historical background of (± 2)
Prologue Odette and friends gather flowers in the Vincent Mantsoe was one of the first students of
forest.
the groundbreaking Moving Into Dance’s
Rothbart, the evil sorcerer, transforms them into Teachers’ Training Course in 1992. Students
swans.
were required to choreograph solos at the end of
Act1 Prince Siegfried is celebrating with his friends. each year and Vincent decided to choreograph
His mother (Queen) gives him a silver crossbow. an untitled solo which generated a lot of interest.
She reminds him that he must soon choose a bride. Vincent’s solo included elements of “bird-like”
Siegfried sees a flock of swans; he goes to hunt movements. Two years later (1994) he
them.
choreographed the actual solo. The work was
Act 2 Prince Siegfried with swans at the lake nominated for the FNB Choreography Award. In
As he watches, they regain their human form. 1996 it was extended to a group piece and won
Odette tells Siegfried of the spell: They are maidens two 1
only at midnight. Only the love of a man can free
them. The prince falls in love with Odette and vows
he will release her from the magician’s spell.
Rothbart, watching from the shadows, is determined
to force the Prince to break his vow.
Act 3 The court celebrates Siegfried’s coming of age
No specific bird images in this act, except when
Odile appears (disguised as Odette) wearing black.
Odette appears (in white) as an image in a window.
Act 4 At the lake
The swan maidens’ hope of being free of the
magician’s spell is destroyed by Siegfried’s betrayal
of Odette. Odette appears (in white) as an image in
a window. Siegfried begs Odette’s forgiveness and
vows his love. The sorcerer conjures up a storm.
Siegfried fights him, tears off a wing and breaks the
sorcerer’s spell. Odette resumes her human form
and is united with Siegfried in eternal happiness.
st prizes in Angola and France:
1 st prize in Luanda (Angola) at the 1 st
Dance Encounters of Contemporary African
Dance and
1 st prize in Seine-Saint-Denis (France) at
the 5 th Gule Matari (1994)
Moving Into Dance –
Gula Matari
•
•
International Choreography
Competition
Influences (± 2): According to Mantsoe: “The
‘Spirits’ or ‘Ancestors’ are an important part of
his creative process. He performs a ritual at
least twice a year for two reasons:
1. to be reminded of important rules from the
Ancestors
2. to ask respectfully for permission to ‘borrow’
some of the traditional movements, i.e. the
sacred ones which may not be performed in
public
Mantsoe thus re-connects with his roots: He
tries to share his childhood experiences of his
interaction with Nature, the fables told by his
grandmother and the rituals of his mother and
aunt who are sangomas (traditional healers).
The work was influenced by Mantsoe’s love of
nature and its inhabitants, in this case, birds –
how they move, the sounds they make and how
they relate to each other.
Costumes (± 1) Costumes in Acts 2 and 4 imitate
swans: Swans maidens: white tutus, feathers on
heads. Odette wears white (good); Odile (Act 3)
wears black (evil).
Rothbart (evil magician) has wings.
Set design (± 1) When the swan maidens are
prominent, the décor depicts a forest by a lake (Acts
2 and 4)
Costumes (± 1) Initially a T-shirt; later all
dancers wear feathers. Designer: Vincent
Sekwati Mantsoe
Set design (± 1) No specific décor is used. The
vast stage is left to the imagination of the
audience.

Choreographic style (± 1) The movements of
Odette and the swan maidens imitate the
movements of swans - bent floor position with
crossed arms, fluttering arms. The large group of
swans ( corps de ballet)
move perfectly together.
Rothbart’s movements are big and intimidating –
his big wings (attached to his arms) flutter
ferociously.
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Q7 MUSIC THEORY [12]
Q8 RUDIMENTS OF MUSIC
Choreographic style (± 1) Mantsoe changes each
dancer into a bird-being. Prominent movements:
Arm movements imitate the motion of how birds
fly; Back contractions; Head movements – chirpy
and abrupt; Disjointed and staccato gestures;
Stillness; Simplicity. Group formation resembles
larger bird species.
7.1 Andante = At a walking pace. (1)
7.2 4/4 time signature = Four crotchets in a bar OR Simple quadruple time (1)
7.3 Espress. Espressivo (0.5) Expressively (0.5) (1)
Dim. Diminuendo (0.5) Getting gradually softer (0.5) (1)
7.4 Play the bar one octave higher. (1)
7.5 Minim (1), Dotted semiquaver (1), Demisemiquaver (1) (3)
7.6 Quaver rest (1), Crotchet rest (1), Minim rest (1), Semibreve rest (1)
(NB: Rest symbols must coincide with answers.
Match the information in Column B with that in Column A.
Write the correct alphabet letter next to each number. Example 8.13 C
COLUMN A COLUMN B
8.1 Chordophone G (Violin)
8.2 Trombone K/E (Brass) OR (Aerophone)
8.3 Forte
F (Loud)
8.4 Oboe E (Aerophone)
8.5 Beat D (Pulse)
8.6 Melody and accompaniment M (Homophonic)
8.7 Polyphonic I (Two melodies)
8.8 Marimba O (Idiophone)
8.9 Gradually softer N (Decrescendo)
8.10 Two-part form L (AB)
8.11 High pitch A (Soprano)
8.12 ABACA B (Rondo Form)
[12]
Q9 MUSIC STYLES Choose TWO music styles
(African, Impressionism, Jazz, Nationalism, Romanticism)
[12]
9.1 TWO Characteristics of each style (melody, rhythm, dynamics, tone colour,
harmony)
9.2 TWO musicians (performers/composers) from each style period
(4)

9.3 TWO works from each style period
Example of a possible answer (NB: Other answers may also be correct. Check
carefully.)
IMPRESSIONISM JAZZ
9.1 Rhythm: Avoidance of a recurring strong
pulse which coincides with bar lines;
flexible rhythm reflects the characteristic
unaccented quality of French Language
Tone colour: e.g. in Debussy’s music:
Unusual registers for instruments
Strings and brasses often muted
Tremolos on strings and harp
Tone colour used to create atmosphere
9.2 Any TWO of the following: Debussy, Ravel,
Respighi, Delius, Satie, Monet, Renoir,
Mallarmé, Verlaine, etc.
Q10 COMPOSERS Choose ONE composer.
(Adam, Tchaikovsky, Naidoo, Satie, Stravinsky, Roth)
Write brief notes for a website: Career, Music style, Repertoire for dance
e.g. TCHAIKOVSKY (1840 - 1893) Example and possible mark allocation:
8
Rhythm: In ragtime the left hand keeps the
constant two-beats-in-a-bar while the right
hand plays off- beats and syncopations.
Tone colour: Unique to each jazz style, e.g.
Ragtime: piano; Dixieland: 5-8 players,
namely
• Front line (trumpet/cornet, clarinet,
trombone);
• Chordal line (piano/banjo/guitar);
•
Drums and a low instrument
(tuba/bass)
Any TWO of the following: Joplin,
Armstrong, Smith, Brubeck, Ellington,
Davis, Monk, Fitzgerald, etc.
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9.3 Any TWO works, e.g. Clair de lune Any TWO works, e.g. Unsquare dance (4)
L’aprés-midi di’un faune La Mer Hotter than that Lost your head blues
Career (± 4)
Age 21: Began studying music St Petersburg Conservatory; Progressed rapidly. Harmony professor
Moscow Conservatory.
Age 30: Many works: an opera, a tone poem, a symphony and an orchestral work Romeo and Juliet.
1877: Acquired benefactress Nadezhda von Meck, She gave annuity. He quit position and only
composed. They never met. After 14 years she stopped support. He was hurt. Tchaikovsky
conducted his works and gained respect throughout Europe.
1891: To New York to participate in inauguration of Carnegie Hall – 4 concerts. Also 2 concerts of his
music in Baltimore and Philadelphia. 1893: Conducted premiere of Symphony No 6, Pathétique. Nine
days later he died aged 53.
Music style (± 5)
Melody Lyrical melodies; Signature tunes refer to characters, e.g. Swan Lake (Odette, Siegfried,
Rothbart).
Regular 4- and 8- bar phrases as well as long, irregular phrases; Repeated melodies -
easily sung
Tone colour Large orchestras; Striking contrasts; Strings prominent in melodic lines; Woodwind and
brass alternate; Special tone colour effects to create images, e.g. the various dances in
The Nutcracker (celesta: Dance of Sugar Plum Fairy; piccolo: Chinese dance;
woodwinds: Arabian dance; flutes: Dance of reed pipes, etc.)
Dynamics Extremes and sharp contrasts of dynamics; Soft, lyrical passages, full of passion;
Sometimes outcries with louder dynamics and fuller orchestration.
Pulse, Rhythm, Tempo Great variety of metres and rhythmic patterns; Metres sometimes changed
within movements; Sharp contrasts in tempo occur.
Tonality Harmony: Major and minor tonality, often alternating; Chromatic notes extensively; Mild
dissonances.
(2)
(2)
(4)

Contribution to dance repertoire (± 3) Romantic ballets: The Nutcracker, Swan Lake,
Sleeping Beauty.
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Texture Mostly homophonic textures; Sparse textures, e.g. romantic passages ( pas de deux)
-
solo instruments. Dense textures and vast orchestration in dramatic scenes.
Q11 DANCE TYPES Choose THREE
[12]
Barcarole, Bolero, Cha-cha, Charleston, Flamenco, Foxtrot, Galop, Habañera, Kwela,
Mambo, Mazurka, Mbaqanga, Minuet, Polka, Polonaise, Ragtime, Rumba, Samba,
Tango, Tarantella, Waltz
11.1 Write next to each dance: Tempo, Time signature, Country of origin
An open choice, e.g.
Dance type Tempo Time signature Country of origin
Ragtime Moderate 2
4
America (3)
Waltz Moderate/Fast 3
4
Austria (3)
Tango Moderate 4
4
Argentina (3)
11.2 Choose ONE of the above. Exercise in a dance class. Open-ended answers. (3)
Example: TANGO
•
•
•
To reinforce the count of four beats in a bar (simple quadruple): strong-weak-medium-weak
To inculcate the subdivision of four beats in a bar according to the typical tango rhythm
To interpret the dramatic-sensual style correctly when performing the Latin-American dance