mndiocesandance.weebly.com · web viewfine line is a nine-minute dance film, which won the best...

HSC DanceCore Appreciation

Prescribed work:

‘Fine Line’ Sue Healey

HSC Course ContentIn core Appreciation in the HSC course, students have the

opportunity to study specific choreographers and prescribed works from the past 200 years. Students apply the knowledge,

skills and understanding gained from analysis, writing and criticism to the in-depth study of a prescribed choreographer and

their work.

HSC Course Areas of Study

Students learn about:

1. Skills of analysis• components

– movement– spatial elements– dynamic elements– aural elements– dancers– setting and environment

• organising the movement (form/structure)– motif– phrase– motif into phrase

• organising the dance– sequencing– transition– repetition– variation and contrast– formal structure– unity– appraisal and evaluation

• interpretation of the work– context– genre– subject matter – meaning– significance

• evaluation– concepts under which evaluation is made– general values of society– specific values in the context of the work– worth and merit– effectiveness/appropriateness of the work– effectiveness/appropriateness of the performance.

HSC Syllabus:Core Appreciation

2. Writing and criticism• reading and writing reviews – newspapers, magazines, journals• the role of the critic in dance• placing the criticism in context.

3. Prescribed choreographers and works• era/period in which they work• background/training• influences• choreographic style.

Introduction to Sue Healey’s “Fine Line”.A 9 minute film in the “Niche” Series.

The Niche series is devoted to the choreographed body and its intricate occupation of space. Fantasies on

habit, habitat and habitation, this work has traversed film, video, live performance, gallery installation and

international collaboration. Fine Line is a nine-minute dance film, which won the Best Dance Film Ausdance

(2003), ReelDance Australia New Zealand (2004), and Il Coreografo Elettronico, Napolizdanza, Italy

(2004).

Fine Line, for 5 dancers, explores the spaces we inhabit. The performance space becomes dissected with

white lines, creating geometric ‘houses’ that connect, entangle and ultimately collapse. Intimate

relationships are framed and mapped by lines, highlighting the precariousness of our relationship to the

world and to each other. This dance explores the subtle intricacies of our relationship to the space around

us.

Fine Line is the culminating work of the Niche series. To understand the film, it is imperative that Fine Line

Terrain is viewed and considered. This was the full length live performance which Fine Line was distilled

from.

Fine Line: FilmDuration: 9 mins

Performers: Shona Erskine, Lisa Griffiths, Nalina Wait, Nelson Reguera Perez, Victor Bramich

Director of Photography: Mark Pugh

Music: Darrin Verhagen

Editor: Sam James

Design: Sue Healey

Sue Healey says “As with my work in live performance, I am always seeking novel ways to question,

unravel and expose meaning. I make films where movement is the primary language”. Fine Line is a visual

representation – it has a 3D set with 4D performers. There is a stark background with white lines in space.

Characteristics of Sue Healey:-

First female choreographer for HSC Study.

First dance film.

First independent Artist.

Pioneering film maker.

Strongly grounded in academic field.

Fine Line Introduction

“Fine line”What does it mean?

Fine: Very thin or narrow. Of something abstract subtle and therefore perceived only with difficulty

and care.

Line: - A long narrow mark or band.

- A direct course

- A contour or outline considered as a feature of design or composition

- (On a map or graph) a curve connecting all points having a specified common property.

- A notional limit or boundary.

- A connected series of people following one another in time

- A series of related things.

Fine line below the line

Line up walk the line

In line line of enquiry

Along the line bring into line

Drop a line fall into line

Hold the line get a line

On the line keep in line

Out of line over the line

Toe the line hard line

Off line

Distinguishing characteristics of Fine Line:

- Relationships

- Pedestrian

- Conformity

- Shots

- Angles

- String: Drawings in Space.

- 3D Maps.

- Psycho Geography – Physical and Emotional Space.

- Sculpting of the Space

- Connects and entangles: How is the choreography framed through the string?

- Collaboration – light, sound, design.

Fine Line: Space- Multiple viewpoints.

- Pathways.

- Line of sight.

- Spatial planes – fine line.

Horizontal Line:

A Line is a dot that went out for a walk – it cannot fall over – it is restful – at peace.

Vertical line :

Perpendicular to Horizon.

Height: Lack of Movement.

House: from cellar to attic

Ceiling: thoughts, dreams.

Earth to heaven

Dignity

String house

Multiple and intersecting lines: Healey: Looking at

corners and right angles. Architectural idea of a

corner – could hide or expose you.

Movement Activity: With masking tape, create 2 lines on the floor (they can go in any direction you like). Define your

space with 8 counts of movement. After you have done this join with a partner and do each of your

movement sequences in the same space. How do you react, what do you feel?

Fine Line - Visual Representation After you have viewed the film Fine Line;

1. Draw 2 lines to describe the work – What do you see?

2. Now, Draw 4 lines, thinking about how you would describe the work as a whole?

Fine Line: In practise

Initial Impact

What You Liked

What You Disliked

How It Made You Feel

What You Remember

The mood

Fine Line: First Impressions

There are SIX essential components of analysis. These components can be remembered by using the acronym ‘MADDSS’.

Movement:How the body moves as a whole or in parts. Includes actions, gestures and stillness. The body in motion. Eg – Jumps, turns,

lifts, falls, balances

Aural elements:Anything that can be heard. Reference to time. Eg – Music, body percussion, words, voice, breath, silence, tempo, accent,

time signature

Skills of analysis:Components

M – MovementA – Aural elementsD - DancersD – Dynamic elementsS – Spatial elementsS – Setting and environment

Dancers:Who is performing? Eg – Number, sex,

race, characters, relationships, technical ability, body type

Spatial Elements:How the space is used Eg – shape, size, level, direction, geometry, dimension, floor pattern, spatial pathways,

relationships

Setting and Environment:Where it takes place and what is in the space. Visual elements / theatrical elements / elements of production Eg –

costume, sets, props, lighting, curtains

Dynamic Elements:The force and weight applied to a movement.

Release of energy. Eg – tension, force, rhythm, staccato, swing, sustained

In the table below, list the movements that you see in the work “Fine Line”

Section Movements

Components: Movement

Movement

- Movement derived from composition tasks

- Healey’s early work studies the intricacies rather than grand movement. Began experimenting

with light and film.

- Healey explored the Geometry of lines by using “House of Lines” (light, and string). Lines are

projected and create geometries.

- Sue became interested in the angles of the body, and making angles and corners with the

body.

- Sue choreographs using the TECHNIQUE OF VARIATION. Lisa breaks at joints and finds

angles. Breaks from straight lines.

- Sue is really interested in joints in this series. LINES, VERY ANGULAR MOVEMENT AND

BREAKING LINES. Phrases came from attention to specific detail (NICHES) OF LINES, and

the SMALL bits of the body. * IT BECAME HER MOTIF.

- The line of the body, line in relation to spatial planes, line of site to the audience, line in

pathway etc.

- Shifts occurr by moving rectangle of white strings, therefore moving space for dancers to use.

- Sue likes to play with going in and out of unison.

- Slow motion- device used to see more movement and in a particular way.

- On film you can CONTROL what the audience sees. In live performances, you can’t. Camera

is an extra tool. Sue is very focused on the subtleties of movement.

- Sense of glitch in slow motion is important. Some movement doesn’t flow due to this.

(intentional). Through editing, you can cut out and join up frames and movement. Sense of

timing is shifted.

- Lots of pedestrian movement – walking, shaking hands, waving, typewriter etc

- Stories of everyday life - meeting people, going to the dentist etc

- cause and effect. If one body moves, all have to shift, responses to other peoples movement

- DUET: The lines that entangle and connect us together. Lines are draped over dancers. Their

world disintegrates.

- String houses - geometry of line - movement and light

- Making angles with the body, also explored through the angles of the space – phrase

performed in the corners

- Close ups on body parts: foot, back, legs, face etc

- Pedestrian movement very obvious- can draw meaning from it- chaos, loss of control

- Following line, crossing line, falling over line

- Just exploring each others bodies- body shapes and niches of body. Exploring the body-

regardless of gender.

- Manipulating each other’s body parts- intricate parts, changes and breaks lines.

- Moments of stillness

- Wrapping

- Linear to start- exploring lines

- Add multiple bodies- movement shifts to wrapping (accumulation).

- Sliding and rubbing of body parts.

- Stillness perhaps to emphasise shapes or lines,

- Flexion.

- Very ‘contemporary’ weight transferring, off centre.

- Gestures.

- Stillness is peace- then the chaos.

- Weight baring.

- Not a lot of technical skill.

- Very parallel. Still very technical- strong lines.

- Very athletic dancers.

- Not many jumps.

- Co-ordination needed for intricacies.

Attempt Question 1

Allow about 30 minutes for Question 1

In your answers you will be assessed on how well you: Demonstrate dance knowledge and understanding relevant to the question Communicate ideas and information using relevant examples and terminology Present a logical and cohesive response

Question 1 (10 marks)

Using appropriate dance terminology, describe 4 featured movements in the work “Fine Line”, and explain how these relate to the intent of the work.

Time allocated:

Verb:

Definition of verb:

Sentence starters for

verb:

Syllabus point:

In the table below, list the dynamics that you see in the work “Fine Line”

Section Dynamics

Dynamic Elements

Dynamic Elements

- Sue uses base phrases. Uses weight to isolate angles etc.

- Use of vibratory dynamic – fidgeting, shaking in frustration

- Shaking - too many people in space and feeling crowded and anxious

Babies without human contact - detrimental to development. Basic human need.

- Even see Shona typing her PHD at some point. Then Shona shakes. Space being completely

crowded. Space is charged/alive as other dancers watch Shona.

- Slow, sustained gestures contrasted with staccato gestures

- Stillness used frequently

- Phrases are driven by the application of weight and force

- Dynamics linked to use of space.

- Falling- tension even in string- use this to create new space.

- Lots of use of force.

- Robotic at some point.

- Dynamics are manipulated through camera angles, editing, slow motion, etc.

- Accents are enhanced by accompaniment.

- Link to the accumulation idea- builds up.

- Contrast and variation in dynamics. Contrast links to order and chaos.

Using appropriate dance terminology, describe 2 movement phrases that are driven by dynamics

in the work “Fine Line”.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Use the table below to list the dancers/characters in each section of “Fine Line”

Section Dancers

Dancers

Dancers

- Dancer / choreographer relationship is very important

- The work is an accumulation of dancers (solo, duo then group), and an accumulation of

subtleties. Also evident in dynamic and aural elements. They interact with the lines as the work

progresses.

- Healey works with the same dancers, developing a strong bond and understanding

- 2 males, 3 females. Red male, green female.

- All wear red.

- Colours work as a contrast to black backdrop, and white strings.

- Roles and relationships- they do play a part in each other’s stories- nurturing.

- They do come back to each other- need for interaction. Different personalities.

- Indirect interpretation- not a narrative or specific storyline or characters- but still open to

interpretation.

- Shona - first girl - red head - works very closely with her

- When Shona enters, this explores how 2 people can fit together.

- Slow motion before Victor enters is important.

- Melina arrives. Lots of pedestrian movement.

- Make in red - naughty, causing mischief. Ballet dancer

- Malcom’s character always want to disrupt and disturb space.

Performers –

- Victor Bramich

- Shona Erskine

- Lisa Griffiths

- Nelson Reguera Perez,

- Nalina Wait

- All Australian performers. (Shona Erskine also producer)

- It is a work for 5 dancers produced by Sue Healey Company – She is not linked to a major

dance company but works as an independent artist.

Fine Line Dancers

Victor Bramich born in Lae, Papua New Guinea , is a descendant of the Ramoinya

people.Since graduating from The Queensland University of Technology in 1989 he

has worked with many of Australia's leading choreographers and companies;

Bangarra Dance Theatre, ADT, Chunky Move, Leigh Warren and dancers, Meryl

Tankard's ADT, Chrissie Parrott Collective, and Queensland Ballet.Victor joined Sue

Healey Company for Fine Line Terrain and Fine Line.

Shona Erskine graduated from the Victorian College of

the Arts School of Dance with a Bachelor of Dance

in 1994. She went on to gain a Bachelor of Arts (First Class Honours)

Psychology at Deakin University in 2000, and a MPsych/PhD

(Industrial/Organisational Psychology) from the University of Melbourne in 2007.

Her PhD comprised a case study of an effective contemporary

dance education program and its participating youth. Shona has taught dance

at Deakin University, the Victorian College of the Arts and the Western Australian

Academy of Performing Arts. She has also been involved in a number of dance related research projects at

Edith Cowan University, Australian Dance Theatre, and Flinders University.

Lisa Griffiths graduated from the Queensland University of Technology and

the Centre of Performing Arts with a degree in dance. She joined Gideon

Obarzanek's Chunky Move for three years, touring nationally and

internationally and in 2002 was commissioned to make a short dance work

"Turbo-Prop Hostess", for Dance Tracks at the Studio, Sydney Opera

House. Lisa then joined Tasdance, working with choreographers Natalie

Weir, Phillip Adams, Tanja Liedtke and Sue Healey.

Nalina Wait is a dance artist working as a performer,

choreographer, filmmaker, teacher and junior academic. She has

worked extensively with Sue Healey (2003- present) performing in

all of the Niche, In Time and The Curiosities series: Fine Line, Fine

Line Terrain, Three Times (2004), The Broken Heart (2004), Once In

a Blue Moon (2005), Inevitable Scenarios (2006), The

Curiosities (2009), The Bed, the Chair, the Door and the Stairs

(2009), Alma and Ena (2010) and Variant.

Nalina was a founding member of Sydney Performance Group (2006-2011) working with Belgium

choreographer Hans Van Den Broeck. Her own choreography usually involves extensive collaboration with

sound artists and includes dance film Sole (2003). Nalina graduated from WAAPA and UNSW with 1st Class

Honours and is a current PhD candidate at UNSW where she lectures in the dance major.

http://www.google.com.au/url?sa=i&rct=j&q=victor+bramich+dancer&source=images&cd=&cad=rja&uact=8&docid=Tk7-uKYmmhuNyM&tbnid=9pwU-yFH1mkUSM:&ved=0CAUQjRw&url=http://bangarra.com.au/performance/walkabout&ei=zWbgU4ftF4rc8AXO1YCIAw&bvm=bv.72197243,d.dGc&psig=AFQjCNHlWkQEgjRxO5dWjbt9Nq2sJA302Q&ust=1407301705020426

http://www.google.com.au/url?sa=i&rct=j&q=nalina%20wait%20dancer&source=images&cd=&cad=rja&uact=8&docid=Kc9P8o9Soy5LQM&tbnid=_k5nmgYZwNVeGM:&ved=0CAUQjRw&url=https://www.bundanon.com.au/content/nalina-wait&ei=SGvgU5_yDMWD8gXHl4DwAg&bvm=bv.72197243,d.dGc&psig=AFQjCNFUC4qsPvsgOpWCnWAWZ_kQDwpu6w&ust=1407302728701506

How has Healey used her dancers to communicate the intent of the work? Make reference to

gender, amount of dancers in the space, and their relationships.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Comment of the use of Spatial Elements in the work ‘Fine Line’.

Element of Space How has this been used in Fine Line?

Level

Direction

Pathways

Floor Pattern

Relationship between Dancers

Shapes

Shapes

Spatial Elements

‘Fine Line’ explores the disintegration of space where lines bend, break, entangle and collapse. - Can you find movement examples of these shapes in the work? - Draw and describe these movement examples in the box below.

Personal Space

The image across demonstrates how individuals respond when their personal space is invaded.

Write a list of words in the box below that describes how you feel when your personal space is invaded:

Can you see any of these ideas explored in the work?

How has Sue Healey explored this idea through the use of spatial elements in ‘Fine line’?

Providing movement examples from the work, comment on how the dancers explore each other’s personal space, i.e finding a niche.

Use this image as a starting point.

Relationships

Describe the changing relationship between the dancers when space is created or challenged?Comment on the use of particular body parts being explored.

Levels

Low and medium levels are explored in ‘Fine Line’, however high levels are rarely used. Why do you think this is?

Provide movement examples of a low and medium level used in the work and describe how this links to the intent.

Direction

This work is not performed in a typical performance space with a clear front of stage; however the camera allows us to view the dancers from front, side and aerial view.

Discuss how Sue Healey has utilised camera angles to

highlight directional changes in the movement.

Size

In this work Sue Healey explores the use of intricate gestures to large elongated shapes to help enhance her intent.

Provide movement examples from the work to support this statement.

Floor Pattern

Watch ‘Fine Line’ between the time of 5:15 - 5:30

Describe how the floor pattern travelled by the dancers has been inspired by the white strings used to outline the space.

How does this reflect the intent of the work?

Can you find other examples of this in the work?

Attempt Question 1




Describe how Sue Healey uses movement to explore relationships in Fine Line.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question 1




The subject matter of the work is reinforced by the choreographer’s use of space.

Explain this statement in response to Sue Healey’s Fine Line.Time

allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

MusicComplete the table below on the aural elements of ‘Fine line’

Music Use in Fine Line

Is it Light or Soft?

Tempo?

Timing?

Aural Elements

Style/ Genre?

Instruments?

Are there silences?

What is the mood? Does it change?

Lyrics?

How do the dancers use the music?

Random Noise?

Spoken word or singing?

Instrumental?

Music in ‘Fine Line’ was by Darrin Verhagen.

Darrin Verhagen is a freelance writer for dance, theatre and computer games. He has released a variety of albums that explore an electronic genre.

When creating the work, Healey added the music after composing the movement:

Why do you think she did this?

Do you think this has hindered or enhanced your interpretation of the work?

Why do you think Sue Healy has chosen to use this music and these sounds?

How does the choice of music enhance the intent of the work?

How does the music enhance the movement?

Time

1. Use of everyday sounds to show a daily routine2. Movement reflecting music 3. Use of Stillness4. Use of accents5. accumulation of tempo6. manipulation setting (strings) to produce sounds7. Music starts simple and becomes chaotic with layer

Find specific examples from the work to support these 7 statements and describe how they support the intent.

How time has been used in Fine Line Example from the work How does it support the intent?

Use of everyday sounds to show a

daily routine

Movement reflecting music

Use of Stillness

Use of accents

Accumulation of tempo

Manipulation setting (strings) to produce

sounds

Music starts simple and becomes chaotic

with layer

The work begins with white noise sounds and a drawn out electronic note, what significance does this have in setting up the theme of the work?

How has Sue Healy used these sounds when choreographing movement?

Attempt Question 1




The intent of the work Fine Line is enhanced by Healey’s use of the music to support the movement.

Using specific examples from the work discuss this statement.Time

allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question 1




Explain how Sue Healey uses aural elements to engage her audience in Fine Line.

In your response, provide specific movement examples from the work.Time

allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Dance Space and Lighting

Areas of the setting and environment Impact in Fine Line

Use of colour?

Simple of complex?

Setting and Environment

Does it represent something?

Do the dancers interact with it?

What can you see?

Mood?

Is it bright or dark?

Does it change? Is it noticeable?

What is hidden?

Use of spotlight?

Why has Healey chosen to use all of these things? What might they mean?

Staging

The dance is framed by the creation of a string house.The idea of the string house holds visual connotations:

- drawing in space, - dividing the space, - confinement.

Can you think of any other visual connotation the white stings create?

Use specific examples from the work to support your response.

Sue Healey examines the physical, mental and emotional space of an individual.

Observe the THREE diagrams below depicting different types of lines and possible associated meanings.

Horizontal Line

ExpanseHorizon

VisionRestCalm

Stable/ Secure

Vertical Line House: from cellar to attic Ceiling: thoughts and dreams Strong, Energy, Stability, Height

Corner

IsolatedSharpAwkwardLonelyContainedDefined

Using the three diagrams above and specific movement examples from the work, describe how Sue Healey has explored the ideas of order and balance contrasted with chaos.

The set becomes a prop and tool for creating further movement opportunities to enhance the intent of the work.

Discuss this statement using specific movement examples from Fine Line.

Lighting

A spotlight and blackouts are used to direct the viewers’ attention to specific body parts and areas of the house.

Discuss the effectiveness of these using specific examples from the work.

Key Terms

Motif: The central movement theme of a

dance, which is repeated, developed and

varied. A single movement or a short

movement phrase that is used as a

source or a spark for the development of

Organising the movement (form/structure)

MotifPhrase

Motif into phrase

movement and has the potential to be manipulated. The earliest stage of development of a theme

or composition. A movement starting point which gives the first element of form to the

dance/work.

Phrase: - A brief sequence of related movements that make up the smallest and simplest unit of

dance form.

Intent: What the choreographer intends to show to their audience. The purpose behind the

composition or performance of movement.

After viewing Fine Line so far, what do you believe is the intent of this work?

_____________________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

Organising the Dance:Motifs and Phrasing

Organising the Movement:Organising the movement is focused on

the development of phrases, which use

the motif as their driving force. The motif

is manipulated within the phrase to

produce a clear statement about the

intent. Phrases are distinct units of

movement, which address the intent and

develop the concept of the composition

Activity:

In pairs, manipulate the lines of the arms and legs of your partner. Explore moments of breaking

the lines at different points of the limbs. What did you see and notice as you were moving your

partner’s body through space?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

How is the similar to what you have seen in “Fine Line”?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Activity:Identify reoccurring movement motif(s) used in Fine line.______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Activity:Compare the use of the motif(s) identified above by individual dancers in the work.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Activity:View Fine line, while viewing, tick off each time you see a straight line or a broken line place an “x”

or a “✓” in the box.

Section Straight Line Broken Line

Section 1

(Pulling of the rope)

Section 2

(Female solo)

Section 3

(Introduction of second female

dancer)

Section 4

(Introduction of 3rd dancer

Male)

Section 5

(Male female duet)

Section 6

(All 5 dancers)

Section 7

(Single female with four

dancers around)

Section 8

(Four dancers resume 1 exits)

Section 9

(Solo male)

Section 10

(Female male duet)

Activity:View Fine Line and select a key phrase from each section in the work.

Key phrase selected from section

Section One

Section Two

Section Three

Section Four

Section Five

Section Six

Section Seven

Section Eight

Section Nine

Section Ten

Describe how the motif was manipulated to create these phrases.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Activity:Outline the way in which Healy communicates her intent through the use of motif(s)in Fine Line;

discuss the variations of the motif(s) and motifs into phrases. (Tick which section it is evident in)

Motif Section Variations and Motifs into phrases

Nurturing

1 2 3 4 5 6 7 8 9 10

Broken shapes

1 2 3 4 5 6 7 8 9 10

Scratch/rub

1 2 3 4 5 6 7 8 9 10

Literal movement

e.g. walking

1 2 3 4 5 6 7 8 9 10

Attempt Question 1




Describe how Sue Healy has organised the dance in Fine Line.

In your response, provide specific movement examples from the Work.

Time

allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question 1




Using movement examples, explain how Sue Healy uses motif(s) to establish her intent in Fine

Line

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Variation and Contrast

Variation and contrast is achieved in Healey’s

work Fine Line through the use of organic

versus rigid movement. There is a constant

crossing of lines and flowing lines throughout

the work. Healey aims to break the rules and a

sense of play is evident in the work.

There are SEVEN components to ‘organising the dance’. These can be remembered by using the acronym:

‘R U V ery FAST’

R – RepetitionU – UnityV – Variation and contrastF – Formal structureA – appraisal and evaluationS – SequencingT – Transition

Organising the dance

Healey has said that ‘Fine Line’ is a metaphor for chaos/order, strength/fragility and

particular/messy. Using the table below list movement examples that demonstrate this.

Order Chaos

Strength Fragility

Particular Messy

Variation of shapes can be seen throughout the Niche series. View Healey’s Niche series and list shapes that have been varied in each work.

Work Phrase

Healey plays with splicing phrases by using variation. Select four phrases that show variation.

1

2

3

4

Attempt Question 1




“…the choreography is a dynamic mix of natural and highly stylised movement, sharp and creamy phrasing, stillness and action...a memorable performance.” Jill Sykes (Sydney Morning Herald)

Discuss the above quote in relation to Healey’s work Fine Line and her use of variation and contrast in the organisation of the dance.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Formal Structure

Compositional structures are classical frameworks used to determine the overall structure of an

entire work. Some of the compositional structures that are used are based on formal structures

found in music and others are gleaned from art or literature.

Structure refers to the way the work is put together to create unity.

The formal structure of Healey’s work can be seen in two ways.

1. Accumulation: Solo, due, trio, quartet, disintegration

Explain how the work accumulates (e.g music, tempo, dancers, movement etc).

2. Episodic Narrative: a gradual unfolding of a story or idea.

Healey has said that throughout the piece there are anecdotal stories from the dancers that she

used as choreographic activities.

Give examples of how the work can be an episodic narrative.

Unity

The logical development of the dance ensures unification where each part is lined to the common

thread through the choreographers movement interpretation of the idea. If the constructional

elements of motifs, developments, variations, contrasts, climaxes or highlights and above all

transitions are successfully employed then the dance appears to have a logical development

which in turn produces unity.

This is the overall constructional element. The final shape that emerges when the dance is over is

realised though unity.

If all the parts fit into the jigsaw puzzle it finally produces a whole picture within its round or square

frame. The movement content with its inherent meaning and the way in which the constructional

elements have been employed form the pieces of the jigsaw and its overall shape or dance form

forms the frame.

Healey has said that interaction can be seen as a unifying element in Fine Line.

Describe phrases, movements or moments in the work where this is evident.

Identify other elements of the work which create unity (setting, costume, lighting etc) and explain their effect on the work

Attempt Question 1




“…the image and metaphor of a fine line, an abstract divider of extremes, upon which our lives often balance, is also a recurring theme…” Healey

Discuss this quote with reference to how unity is achieved in the work Fine LineTime

allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Appraisal and Evaluation

Appraisal means to evaluate, judge or critically analyse a performance.

WAYS OF APPRAISING:

Observing

Analysing

Experiencing

ASPECTS FOR APPRAISAL

Elements of composition and the way they are used

Creativity and innovation in presentation

Arrangement, or choreography of movement

Achievement of purpose

ESTABLISHING AND APPLYING CRITERIA

When appraising performances, sets of criteria need to be established. The criteria used must

take into account the activity itself, the components of the performance and the expertise

displayed.

Criteria which needs to be established include;

Intent of the work

Choreographic elements

Originality of the movement

Staging of the work

Visual appeal

Applying criteria could include;

Elements of composition and the way they are used

Choreography

Creativity and innovation

Choice of music

Presentation

Costume and make up

Technique of performers

Give your opinion of the work. What are your initial impressions of the work? Do you like it?

Fine Line is a dance film. Discuss why you think Healey made this choice.

Why do you think we are studying this work? What is the value of it?

What do you think are the defining points of the work? Why?

Sequencing

Healey’s choreographic process employs a collaborative and investigative approach that utilises

not only her dancers as performers, but also contributing choreographers. The five dancers were

given the assignment to examine and experience movement in response to a stimulus, that being

the exploration of space and time. Healey posed the investigation of how we deal with space? And

asked her dancers to recall personal stories which would act as the initiation when improvising and

composing the work. We view throughout Fine Line a narrative of relationships and solo

performances that couple pedestrian and intricately crafted movement into the form of short

episodic sequences.

… the choreography is a dynamic mix of natural and highly stylized movement, sharp and creamy

phrasing, stillness and action…a memorable performance. Jill Sykes (Sydney Morning Herald).

The choreography accumulates as the work progresses incorporating a more layered and textured

use of accompaniment, dancers, set and lighting design. Sequences within Fine Line tend to

utilise intricate movement and less exploration of grand movement, which justifies the pressures of

operating within a confined and framed niche that is the string houses. We view Lisa who opens

Fine Line and engages intently with the physical features of her surroundings creating angular and

linear shapes as she dissects the stage space. This later shifts to exploring the spaces of

connecting bodies through what resembles the notion of action versus reaction where one person

initiates a movement and another dancing body reacts.

Each sequence of movement can be largely determined due to editing techniques. The viewer’s

eye is exposed to a 3-Dimensional view of the work providing greater depth of each dance

sequence along with its entangling and intersecting space. We view contrasting choreographic

responses to how one another deal and react in varied spaces. The difference between comfort

and discomfort when people engage within your personal space leading to closed, defensive,

angular and asymmetrical body language. And others, open, playful, inquisitive and curious.

Workshop activity:

In pairs, generate a 16-count sequence of improvised movement that focuses on the notion

of action versus reaction. Person (A) generates a movement and (B) responds by creating

complementary or contrasting shapes with (A’s) initial movement. Attempt to incorporate

variation in your movement manipulating elements of space for example shape (angular, straight/linear), direction, level, dimension and planes. You may also generate contrast

and variation through exploration of Dynamics and Time.

The images below are still examples of action/ reaction sequences from the work Fine Line.

Describe the movement depicted in the

picture to the left:

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

Transition

Transitions from one section of movement to another are assisted by variation and change of the

accompaniment, dancer relationships and film editing techniques. The transitions give a warped

sense of perspective due to the light refracting and edited slow motion fade reinforcing the

advantages of dance film over live performance. The use of technology also allows for unrealistic

manipulation of the Elements of Time & Dynamics as Healey chose to prolong or fasten the

execution of linking movement. In addition to this, manipulation of camera angles and view points

allowed the audience to focus solely on the perspective desired by the choreographer and

eliminate the remainder of the performance space.

Below is an example of a transition between Section one of Fine Line into Section two. This

particular transition utilises editing techniques such as the composition and placement of dancers



___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________



___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

___________________________________

within the frame, close up view of performers, dissolve/ fade, soft focus in attempt to blur the

entrances and exits of performers on stage.

Discuss how the choreographer has effectively employed technology to assist with transitions within the work Fine Line in order to enhance the aesthetics and help communicate the intention of the work.______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Repetition

Repetition is evident throughout the entirety of Fine Line and features in an abstracted form

throughout Healey’s Niche Series (2002-2004). Not only is repetition evident in the form of

movement but also via technology such as lighting, film techniques and set design. The non-linear

narratives being explored throughout Fine Line is likened to a conversation between bodies where

each performer contributes a personal reaction to a given stimulus. Throughout the work we

witness similarities between stylistic movements such as the motif- straight linear lines followed by

breaking angular movement.

Discuss Healey’s use of repetition of spatial elements?

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

Describe how Healey has repeatedly layered technology and props when structuring the work?

And how were they continually manipulated and placed to communicate the choreographer’s

intent?

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

Intent – The purpose of the work. What the choreographer wants to convey

Context – The background of the work / choreographer. The era the choreographer grew up in,

the era the work was created and set in. The circumstances or facts that surround a situation or

event. Eg – political, social, historic

Genre – Bodies of Dance (Style in ) Eg - Modern (Graham, Humphrey), Ballet (Cecchetti), Jazz,

Folk, Tap (Dein Perry, Fred Aistaire).

Subject Matter – What the work is about. Themes

Meaning – What the work means

Interpretation of the work

Significance – What significance does it have? To the audience, to the choreographer, to the

dancers, to the time period

Interpretation of the work

Fine Lines is devoted to the choreographed body and its intricate occupation of space: a

navigation of fine lines and precarious terrain, in both live performance and digital media.

Through video to installation to live performance, it endeavours to question, unsettle and expose

basic assumptions of how we occupy space—for space, after all, is critical in our lives: it affects

the way we live, move and interact with each other. On an intimate scale, the space of our bodies

is our physical reality. On a global scale, the competition for space is the source of much conflict.

On a universal scale, space is a conundrum. How do we deal with the relative scales of immensity

and the microscopic to the atomic?

Subject Matter and MeaningFine Line- What does it mean? In the world today the concept of space varies. Confinement and restrictions exist both physically

and emotionally. Individuals are constantly confronted with chaos and order.

Activity- In small groups, students are to discuss and conduct internet research to formulate their

responses to the terms below.

Define the term ‘Fine’:

______________________________________________________________________________

______________________________________________________________________________

Define the term ‘Line’:

______________________________________________________________________________

______________________________________________________________________________

Define the term ‘Niche’:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

As the viewer, discuss how the terms ‘fine line’ and ‘niche’ can be interpreted?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

The image and metaphor of a fine line, an abstract divider of extremes, upon which our lives often

balance, is also a recurring theme: fine lines between connection and isolation, order and chaos,

fragility and strength.

The idea of a niche- In a biological sense, a niche is an environment that provides the appropriate

conditions for a species to survive and thrive. It also implies a small enclosed and intimate space.

The relationships between the performers and the space that they occupy are seen with intimate

closeness; the fine lines frame, connect, then entangle the dancers, the space disintegrates, the

lines collapse; the dancers disappear, but the space hums with what has gone before.

Practical Task: Lines

1. Individually students are to create a 16 count sequence of free movement.

2. Now, students are to teach their 16 count sequence to a partner.

3. Each student must now manipulate their partners sequence by performing movements with only

straight lines and 90 degree angles.

4. Each pair must now combine their manipulated sequences so that new shapes and movements

are created and contact between dancers is enforced.

Reflection:

All movement can be associated with a concept or intent. Explain how the intent of your initial

sequence could be contrasted/compared with the intent of the manipulated sequence.

Practical task: Niche

1. Students are to find individual space around the room and demonstrate a shape.

2. Find a partner and mould the 2 shapes together by making minimal changes to each shape.

3. Repeat step 2 with another pair, until the whole class makes one group.

Reflection:Describe how the moulding process made you feel. Compare how moulding with one person was

different to moulding with the whole group.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Practical Task: Order vs Chaos

1. Students are to improvise movement following a floor path mapped out by the teacher (sports

lines marked on a gymnasium floor is useful for this activity). Try and keep the boundaries of the

space confined for the activities to follow.

2. Students start at different points on the floor path and on the teachers command they begin to

travel with improvised locomotor movement along the designated lines.

3. The teacher then yells out ‘chaos’ and students continue to improvise using locomotor

movement in any direction and path.

4. To maintain order the teacher yells out ‘lines’ and students must continue with movement along

the designated floor path.

Reflection:Explain how the control and restriction (step 2) of space influenced your movement choices.

Discuss how this compared to step 3, when you were required to move in any direction.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Discuss how this activity relates to Fine Line. (Consider the concept of chaos vs order – how is

this relevant to society today?)

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Context

It is important for us to understand the socio/cultural context of any work that we study in Dance.

Read the following information about the historical, socio and cultural context and consider how

this may have influenced or had an impact on Sue Healey when creating ‘Fine Line’.

Socio-Cultural-ContextResearch Task: What else was happening in Australia and the dance community at this time?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

There was a significant growth in multi-disciplinary arts, using technology in works and dance

films. Outline how this growth influenced the development of Fine Line.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

1999 – First Dance on Film Award at Australian Dance Awards

2000 – First RealDance Festival. Dance Stage 6 syllabus Published. Significant growth in the Arts

working across disciplines, integrated technology & cultural influence. Threat of the “Millennium

Bug”. Sydney Olympic Games. S.A. Scientists clone a sheep.

2001 – Australian centenary of Federation. Twin towers event (9/11). First Australian to walk in

space.

2002 – Sydney Dance Company were performing Eclipse, Bangarra Dance Theatre performing

Walkabout. Other dance continues to be underfunded in NSW – besides the main companies.

Chunky Move performing Wanted: Ballet for a Contemporary Democracy. ADT performing The

Age of Unbeauty. Lucy Guerin Inc. is established.

2003 – Sue Healey is awarded the 3rd Dance on Film award for Fine Line at the Australian Dance

Awards. Sudan Husain captured ending the “war on terror”. The War in Iraq is an unspoken

influence in Healey’s work - tension, uneasiness etc.

______________________________________________________________________________

Create a timeline based on socio-historic events that occurred in both Australia and Worldwide during 1998-2003.

Australia Worldwide

Attempt Question 1




With reference to the context of the work ‘Fine Line’, explain how significant events may have influenced the development of the work.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Genre

A DANCE FILM

A dance film is a film in which dance is a central theme of the story. In such films, the creation of

choreography typically exists only in film or video. At its best, dance films use filming and editing

techniques to create twists in the plotline, multiple layers of reality, and emotional or psychological

depth.

Dance film is also known as the cinematic interpretation of existing dance works, originally created

for live performance. When existing dance works are modified for the purposes of filming this can

http://en.wikipedia.org/wiki/Dance

http://en.wikipedia.org/wiki/Cinematography

http://en.wikipedia.org/wiki/Choreography

http://en.wiktionary.org/wiki/story

http://en.wikipedia.org/wiki/Dance

http://en.wikipedia.org/wiki/Film

involve a wide variety of film techniques. Depending on the amount of choreographic and/or

presentational adjustment an original work is subjected to, the filmed version may be considered

as Dance for Camera.

Discuss how a dance film is different from a recording of a live performance?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Significance

To be significant; is to stand out, to be important, to be noteworthy, to pay attention to, to be

noticed, to raise discussion, to be memorable. In Fine Line, how is this work significant:

To the audience:

To the dancers:

To the choreographer:

To the time period?

Reading and writing reviews

Writing and Criticism

- Reading and writing reviews – newspapers, magazines, journals- The role of the critic in dance

- Placing the criticism in context

http://en.wikipedia.org/wiki/Film_technique

Review A dance review will contain many features of other dance texts. A reviewer of dance, or a

dance critic gives a personal opinion about a work being performed publicly.

In this text you will describe the significant features of the work. You may write about the

context of the work, perhaps referencing other works by the choreographer. You will also

give a personal response and make a judgment about the value of the work.

The suggested structure and components of an effective dance review is as follows:

TITLE OF WORK/CONTEXT:

INITIAL IMPRESSIONS

SIGNIFICANT FEATURES

ABOUT THE CHOREOGRAPHER

YOUR EVALUATION

SAMPLE DANCE REVIEW

ArticleAnnotations of review

sturcutre and components

Sydney Dance Company

Synergy

Sydney

February

Pushing the boundaries is a trademark of Murphy’s work. In this work

Murphy creates a synergy of dance and music in an industrial space

that is transformed by light and sound into a series of evocative

landscapes.

This performance presents several separate works. In each work

Murphy deals with different “narratives” which are sometimes exotic,

sometimes mysterious, sometimes even humorous. The whole work is a

series of contrasts, from the unconventional pas de deux between the

human percussion instrument and his player, to the monotone

“Lemurian dances” that plays off partner, small and large group

formations against the vivid black and white stripes of the stage floor.

Contrasts are enhanced by functional lighting that divides up the space,

elaborate costuming which is at times used as a prop, and

choreography that uses the total performance space, including the

“backstage” areas and the air space above the floor.

Murphy, well known for his collaborations with musicians in past works

(remember Icehouse in “Boxes”?) teams up with Sydney-based

percussion group Synergy, whose name also provides the title for the

performance.

The synergy of the work is not just between the music and the dance—it

envelopes and includes the audience through the collision of the

senses.

BibliographyWauchop, D. (2004). Dancing in space. Sydney: A.H. Design and Publishing .

How to write a dance review

#Describe what you saw.

Name the dance, the dancers, the choreographer, the time and place of performance, the

name of the music and the composers of the music.

Comment on the individual dancer's performances and the ensemble work.

Describe the people and what they are doing - verbs are the language of dance.

Discuss how the dance fits (complements or counterpoints or contradicts) the music.

Comment on theatrical elements of the dance - costumes, props, lighting, scenery.

#Analyse the dance performance. (by Brian McCormick 10, 17, 2006 exploredance.com)

How is the dance organized? (ABA/Theme & Variation, Motif & Development?)

Is there a story or narrative, or is it abstract?

How do the performers relate to each other?

Are there characters?

Talk about the style or kind of dance it is. (Is it Jazz, Ballet, Modern, Tap, Ballroom, Ethnic,

Hip-Hop, Folk, Performance Art, Fusion?)

How did the movement relate to the musical score?

How are rhythm, speed, and phrasing used? Are they constant or changing?

How is the space used? Do the dancers stay upright, go to the floor, or upside down? What is

the focal point and does it change? What about the direction the dance moves in?

What shapes do the dancers and choreography make (round-linear-soft-hard-symmetrical-

undefined)?

What is the energy of the movement (lyrical-aggressive-weighted-light-heavy-sharp-gentle-

lush)?

Take note of continuities, such as repetition, and of connections between the formal elements

and the subject matter

#Give your reactions to the piece.

Did the performers look like they were enjoying themselves?

Did they look like they knew the dance moves?

Were they in time with the music and in time with each other?

Did they have an exciting entrance or opening and a satisfying ending or exit?

Did they put sufficient effort into the performance?

Were their facial expressions and focus good?

What did the dance make you think?

#Judge the dance performance.

State one good thing about the piece overall.

Form an opinion based on what was learned in the previous stages of the critique.

What impression did the dance make on you?

Were you moved by this work or the performance?

How did it make you feel?

Did the piece work or not?

Tell us how they could improve for their next performance.

https://gsa-dance.wikispaces.com/How+to+write+a+dance+revie

Fine Line Reviews

DANCE REVIEW - RealTime issue #62 Aug-Sept 2004

Dancing the labyrinth

Richard James Allen: Sue Healey, Fine Line Terrain

Victor Bramich, Lisa Griffiths, Shona

Erskine,

Nalina Wait, Fine Line Terrain

photo Alejandro Rolandi

The 6 works of Sue Healey's Niche series cover live performance, installation and dance film, and

include an international commission in Japan (RT 61, p48). It would be interesting to experience all

of these works in a single location within a unified time span, to see how the different textures of

sound, movement, light and space resonate with and against each other. Fine Line Terrain is

described as "the major live work in the Niche series", but it is essentially a non-linear collection of

fragments, of stops and starts, as though the installation aspect of Niche had seeped into the live

durational work.

The atmosphere of Fine Line Terrain is charged, tense, but inconclusive. There are moments of

beauty and moments of banality. Dancers come together and come apart. The lighting by Joseph

Mercurio frames their movements in boxes. The film and video projections by Louise Curham pick

up the theme in Michael Pearce and Healey's linear set design. The soundtrack by Darrin

Verhagen veers from what sounds like static played backward to gently rolling, sad songs. Dancers

develop strange relationships with the walls that enclose them. The soundtrack's collage turns

international when the clipped counting of numbers gives way to some German text and then some

floating, perhaps resonant, perhaps pretentious lines like "the dangerous sea", and then something

about "indifference", "satisfaction". Dancers entangle themselves in each other and turn upside

down. They play with and get caught up in the detachable white lines that frame the otherwise dark

blank set. There's a charming duet, a searing solo, a sudden building momentum in a trio, a silent

line of 4 bodies in space with someone looking on from the darkness...Some of these events

happen again in a different order but one gets the impression the order doesn't really matter.

What carries us through all this is the presence of the dancers. Nelson Reguera Perez has

outstanding moments of breathtaking, fully coordinated, leaping physical grace. There is a wicked

smile of delight as Nalina Wait disappears into the darkness with 2 men. Jacob Lehrer is a quiet

but thoughtful presence. Shona Erskine is playful and expansive. But above all Lisa Griffiths is

outstanding in this work - a lovely dancer with whom one feels fully present at all times. She brings

luminous beauty and complete humanity to the tangle of lyricism and awkwardness, darkness and

confusion, the pockets of levity and unspoken desire, the expected and the unexpected.

Fine Line Terrain is undoubtedly a mature work, and perhaps viewing the whole of the Niche series

would shed light on its interesting but inconclusive gestures. On their own, the lines in Sue

Healey's Fine Line Terrain are fractured. It's as if we are in a labyrinth but Ariadne's thread has

long since been cut into many pieces. There is nowhere to go. There is no chance of finding the

centre or the exit. And so—dance.

Fine Line Terrain, choreographer Sue Healey, composer Darrin Verhagen, film projections Louise

Curham, lighting Joseph Mercurio; The Studio, Sydney Opera House, June 29-July 3

RealTime issue #62 Aug-Sept 2004 pg. Onl

© Richard James Allen; for permission to reproduce apply to [email protected]

AUSDANCE ARTICLE ON FINE LINES The Niche Series

AUSDANCE - by Shirley McKechnie originally published on 13 March 2005 in Conceiving

connections—further choreographic research

The Niche Series is a body of work created by choreographer Sue Healey during 2002 – 2003. It

demonstrates how one choreographer meets the challenges posed by new technologies and

conflicting demands.

http://ausdance.org.au/publications/details/conceiving-connections-further-choreographic-research

http://ausdance.org.au/publications/details/conceiving-connections-further-choreographic-research

http://ausdance.org.au/contributors/details/shirley-mckechnie

mailto:[email protected]

In a time of shrinking funds for the arts many eminent dance artists are seeking ways to extend the

life of dance works through the use of video and film. The ever-evolving technologies which can

enhance a dance production or aid in the conceptualisation of a new work have contributed much

to this development. The Conceiving Connections research project has now conducted interviews

with seven Australian artists who have made significant contributions to these new directions.

Recordings of the interviews are held by the Oral History Department of the National Library of

Australia (See publications, McKechnie, 'Oral history series'). Information regarding content and

access can be found on the NLA website.

Individuals interviewed in 2003 include choreographers Sue Healey, Michelle Heaven, Chrissie

Parrott, Hellen Sky, Anna Smith and media artists Margie Medlin and John McCormick.

Sue Healey, choreographer and film maker provdes the following information regarding the

evolution of six works which began with the short film Niche in 2002 and were subsequently

developed in several media and shown in different venues over the next eighteen months. Her

notes provide an example of one artist's response to the challenges now facing many in the world

of dance. Two short films and an excerpt from Fine Line Terrain were part of the forum "Unspoken

Knowledges" An Umbrella Event of the 2003 Melbourne Festival.

1. Notes by Sue Healey—June 2003The Niche series is devoted to the choreographed body and its intricate occupation of space: from

geographical exploration of the imagination, to fantasies on habit, habitat and habitation. It has

traversed film, live performance, installation and international collaboration.

6 works have been created in this series during 2002/2003. With each work shaping its own place

and context - but all sharing the 'potency of the experience of space'.

Niche the film

Niche live solo

Niche/salon installation

Niche/Japan, an international collaboration with dancers from The Aichi Arts Centre

Fine Line Terrain a major company work in Australia

Fine Line a film

The Niche series has been developed over several years, in association with lead performer

Shona Erskine and Victor Bramich, Lisa Griffiths, Nelson Reguera Perez, Nalina Wait and dancers

from The Aichi Arts Centre in Nagoya, Japan. It has received additional funds from NSW Ministry

for the Arts, The Aichi Arts Centre, The Myer Foundation, Australia Council and sponsorship from

UNSW (and The Conceiving Connections Research Project).

The effect of the work is cumulative. It elucidates the evolution of a simple choreographic idea into

a complex array of forms. It is a reflection on the hybridisation of film, dance and architecture. The

Niche series has been an extensive journey, a moving geography, a mapping of the ways of being

in touch with each other and the environment.

The work is accessible to a broad audience while being choreographically rigorous and

challenging. The main live component of the series - Fine Line Terrain -was created with a

development grant from the Australia Council. This full length work was performed in early March

2003 in a season at Bangarra Theatre, Sydney. This short season of 3 performances, gained

excellent feedback:

...there was so much substance in Sue Healey's Fine Line Terrain that it could have been

overwhelming had it not been for the quality and character of the dancing and the clarity of

presentation....the choreography is a dynamic mix of natural and highly stylised movement, sharp

and creamy phrasing, stillness and action...a memorable performance. Jill Sykes (Sydney Morning

Herald)

Fine Line Terrain is the result of research undertaken in The Niche series and illustrates the

significant success of a long and systematic development period. With only a small creative

development grant, I was able to create and complete this work and it is now ready for international

touring. In essence, the many years of research from the Niche series has enabled me to create

this work cost-effectively. It could not have been made without the consolidation of several years of

intense research through the series.

On a personal artistic level, the development of my choreographic ideas through this series has

been immensely rewarding. Each part has allowed a deeper and more complex investigation of the

ongoing theme of the inhabitation of space. I have never before experienced such a fluid creative

process and I believe that Fine Line Terrain has achieved a level of intricacy and sophistication

that has been my objective for many years. I was able to give employment opportunities and

professional development for 5 dancers and 4 artistic collaborators, further deepening my working

relationship with composer Darrin Verhagen, film-maker Louise Curham, lighting designer Joseph

Mercurio and dancer Shona Erskine. The project also enabled me new collaborations with artists I

have long admired - Michael Pearce and the 4 other dancers Victor, Lisa, Nelson and Nalina.

Audiences for this series have been diverse and numerous

The film NICHE has been screened in Italy, Holland, United Kingdom, Japan, NZ, Spain and

Monaco and numerous Australian festivals, winning Highly Commended Reeldance 2002,

nominated for Best danec film Ausdance awards 2002 and was one of five finalists in the

prestigious IMZ competition in Monaco 2002.

Niche-solo was shown to an invited audience at the Figtree theatre, UNSW, July 2002.

Niche-salon was performed at Antistatic Festival The Performance Space, Sydney and was

described by Erin Brannigan in Realtime as a 'delicately and finely honed work evoking magical

transformations of proto-cinematic effects.' October 2002

Niche-Japan enjoyed a sell-out season at The Aichi Arts Centre, Nagoya Japan with a company of

12 Japanese dancers and Shona Erskine, December 2002. It also was performed in Togo-town

and Toyohashi as a 'work in progress'.

Fine Line Terrain was performed in Sydney in a short season with a capacity crowd in the

Bangarra theatre. Excerpts from Fine Line Terrain have also been shown in Bodyworks at

Dancehouse March 2003.

The film, Fine Line, winner of the Australian Dance Awards 'Best Dance Film' in 2003, is the last

component of the NICHE series. It completes the process from film/solo, to live solo, to installation,

to live company work, to filmed company work. The filming was completed in June 2003 and was

shown with live excerpts from Fine Line Terrain as part of the Unspoken Knowledges forum in

Melbourne, October 2003. The full length work toured to the Auckland Dance Festival in November

2003 and has a formal season at the Sydney Opera House in 2004.

REVIEW A written broadcast critical evaluation of a performance

The role of the critic in dance

CRITIC A writer/journalist who provides the public with a written broadcast opinion of performances.

Critics and performers have not infrequently found themselves in conflict.

The critic has several tasks:

To understand exactly what is being presented, including the intentions of the

choreographer/dancers

To analyse the production

To evaluate the presentation- worth and merit

Criticism can be divided into descriptive and prescriptive. Descriptive, the critic describes carefully and

accurately what occurs. Prescriptive, the critic undertakes to advise not what happens so much as what

should happen in the production.

Audiences must realise that critics, too, have their limitations and prejudices and that ultimately each

individual spectator must arrive at their own judgement regarding the Dance event.

The Role of the Dance Critic

On Dance Critics, Marcia B. Siegel, Edwin Denby and Arlene Croce

By Julie Van Camp

Dance critics provide uniquely valuable documentation of the history of this elusive art form, a service no

less important since the advent of videotape, film, and notations. But criticism is not a neutral description of

events.

Critics make choices about which works to describe and discuss and the properties on which they focus.

Thus the weight given to their assessments must take into account the situation and perspective of the

writer.

Dance criticism plays a special role in recording an event now past and in offering and justifying critical

assessments. Criticism also provides an historical and social context both of the art form and of the

particular work in relation to the broader cultural context.

Dance criticism is often enjoyed by the reader who never has and never will personally experience the work

Dance criticism could not exist without dances and performances of dance upon which to comment. Yet

dance criticism stands as a valuable creation, an object of study, in and of itself.

Placing the criticism in context

Critics make choices about which works to describe and discuss and the properties on which they focus.

Thus the weight given to their assessments must take into account the situation and perspective of the

writer.

Postmodern philosophers and literary theorists in the past two decades have sensitised us to the

complications in the search for historical and critical accuracy. Can dance criticism ever "objectively"

describe the work? Is there one "correct" description and interpretation of a work? If not, are there limits on

the range of acceptable interpretations? Does description necessarily reflect the theoretical, cultural, and

personal biases of the critic?

Criticism also provides an historical and social context both of the art form and of the particular work in

relation to the broader cultural context as well as to the choreographer’s earlier works.

Writing a Critical Review

The advice in this brochure is a general guide only. We strongly recommend that you also follow your

assignment instructions and seek clarification from your lecturer/tutor if needed.

Purpose of a critical review

The critical review is a writing task that asks you to summarise and evaluate a text. The critical review can

be of a book, a chapter, or a journal article. Writing the critical review usually requires you to read the

selected text in detail and to also read other related texts so that you can present a fair and reasonable

evaluation of the selected text.

What is meant by critical?

At university, to be critical does not mean to criticise in a negative manner. Rather it requires you to

question the information and opinions in a text and present your evaluation or judgement of the text. To do

this well, you should attempt to understand the topic from different perspectives (i.e. read related texts) and

in relation to the theories, approaches and frameworks in your course.

What is meant by evaluation or judgement?

Here you decide the strengths and weaknesses of a text. This is usually based on specific criteria.

Evaluating requires an understanding of not just the content of the text, but also an understanding of a

text’s purpose, the intended audience and why it is structured the way it is.

What is meant by analysis?

Analysing requires separating the content and concepts of a text into their main components and then

understanding how these interrelate, connect and possibly influence each other.

Structure of a Critical Review

Critical reviews, both short (one page) and long (four pages), usually have a similar structure. Check your

assignment instructions for formatting and structural specifications. Headings are usually optional for longer

reviews and can be helpful for the reader.

IntroductionThe length of an introduction is usually one paragraph for a journal article review and two or three

paragraphs for a longer book review. Include a few opening sentences that announce the author(s) and the

title, and briefly explain the topic of the text. Present the aim of the text and summarise the main finding or

key argument. Conclude the introduction with a brief statement of your evaluation of the text. This can be a

positive or negative evaluation or, as is usually the case, a mixed response.

SummaryPresent a summary of the key points along with a limited number of examples. You can also briefly explain

the author’s purpose/intentions throughout the text and you may briefly describe how the text is organised.

The summary should only make up about a third of the critical review.

CritiqueThe critique should be a balanced discussion and evaluation of the strengths, weakness and notable

features of the text. Remember to base your discussion on specific criteria. Good reviews also include

other sources to support your evaluation (remember to reference).

You can choose how to sequence your critique. Here are some examples to get you started:

Most important to least important conclusions you make about the text.

If your critique is more positive than negative, then present the negative points first and the positive last.

If your critique is more negative than positive, then present the positive points first and the negative last.

If there are both strengths and weakness for each criterion you use, you need to decide overall what

your judgement is. For example, you may want to comment on a key idea in the text and have both

positive and negative comments. You could begin by stating what is good about the idea and then

concede and explain how it is limited in some way. While this example shows a mixed evaluation,

overall you are probably being more negative than positive.

In long reviews, you can address each criteria you choose in a paragraph, including both negative and

positive points. For very short critical reviews (one page or less) where your comments will be briefer,

include a paragraph of positive aspects and another of negative.

You can also include recommendations for how the text can be improved in terms of ideas, research

approach; theories or frameworks used can also be included in the critique section.

ConclusionThis is usually a very short paragraph.

Restate your overall opinion of the text.

https://student.unsw.edu.au/structure-critical-review



Briefly present recommendations.

If necessary some further qualification or explanation of your judgement can be included. This can help

your critique sound fair and reasonable.

The University of NSW - https://student.unsw.edu.au/structure-critical-review

Activity:Read the review of Sue Healey’s Niche Series published by AUSDANCE on the previous pages.


Write a review of Fine Line, considering the role of the critic in dance and placing the criticism in context.

Era/period in which they work

It is important for us to understand the socio/cultural context of

any work that we study in Dance. Read the following

information about the historical, socio and cultural context and

consider how this may have influenced or had an impact on

Sue Healey when creating ‘Fine Line’.

Socio-Cultural-ContextWhat else was happening in Australia and the dance community at this time?

There was a significant growth in multi-disciplinary arts, using technology in works and dance

films.

1999 – First Dance on Film Award at Australian Dance Awards

2000 – First RealDance Festival. Dance Stage 6 syllabus Published. Significant growth in the Arts

working across disciplines, integrated technology & cultural influence. Threat of the “Millennium

Bug”. Sydney Olympic Games. S.A. Scientists clone a sheep.

2001 – Australian centenary of Federation. Twin towers event (9/11). First Australian to walk in

space.

2002 – Sydney Dance Company were performing Eclipse, Bangarra Dance Theatre performing

Walkabout. Other dance continues to be underfunded in NSW – besides the main companies.

Chunky Move performing Wanted: Ballet for a Contemporary Democracy. ADT performing The

Age of Unbeauty. Lucy Guerin Inc. is established.

2003 – Sue Healey is awarded the 3rd Dance on Film award for Fine Line at the Australian Dance

Awards. Sudan Husain captured ending the “war on terror”. War in Iraq an unspoken influence in

Healey’s work - tension, uneasiness etc.

______________________________________________________________________________

Prescribed choreographers and works

- Era/period in which they worked- Background/training

- Influences- Choreographic style

HOMEWORK TASK: Research other socio-historical events that happened in both Australia and

around the world at this time. How has technology developed and changed since this time period

to today?

______________________________________________________________________________

Brainstorm some other socio-historical events which

occurred during this time

Context

“As with my work in live performance, I am always seeking novel ways to question, unravel and expose meaning. I make films where movement is the primary language”

Sue Healey

Background and Training

Sue Healey places an equal emphasis on both her live performance and film as a way of

communicating meaning through movement. For Healey, Dance is an artform where movement is

the core. She identifies with the roles of choreographer, director, producer, dance educator,

dance-film maker and performer.

Her creative manifesto speaks to the production of a highly-detailed movement language.

Experimenting with form and perception, Healey creates dance for diverse spaces; theatres,

specific sites and the camera.

Her live works and films embody technical excellence and high production values, and employ the

finest of dancers.

Works have been described as masterful in their handling of organic human stories, space and

time through dance. Her films transcend the performance space, allowing a new focus and magic

to enter; time lingers, even reverses, details are enlarged for intricate scrutiny, elements are

introduced in an alchemic fashion, all using the genius of cinematography and an acute

awareness of movement.

Sue Healey has established a reputation as a key figure in the development of choreography and

has worked to build strong ties into the artistic and academic communities in Australia and the

Asia Pacific. As her artistic statement reads:

I create dance that acknowledges the potency of the human body to take us into the realm of the

extraordinary. I believe dance to be vital human research and as a means to communicate across

cultural boundaries. I am committed to creating a theatrical language that illuminates and

transforms, revealing subtle layers of movement and perception.

Most recently she performed in Sydney as part of a wider showcase (2014) after a 15 year break.

She strongly identifies to place and is based in Sydney. She has strong ties to Japan and has

been commissioned to perform several works there (including Niche Japan).

It is important to note that Fine Line was produced by Sue Healey Company, but not

performed by a Company, as such. Sue Healey works as an INDEPENDENT ARTIST.

Brief Biography

Sue Healey was born in New Zealand in 1962. Her mother was a dancer with the Royal ballet in

1950s, but her career fell short when she gave birth to Sue Healey. In these times, it was expected

that once a female dancer had a child, their career as a dancer was over. In defiance of her

mother’s career, Healey was driven to pursue to be an artist. Not for her, but because of her, and

also for her era.

Sue Healey felt isolated living in New Zealand in the 1960s and 1970s. A company called ‘Limbs’

travelled to NZ which inspired Healey. In NZ at this time, you couldn’t learn contemporary dance.

Early Years Sue Healey began a science degree at Auckland University while completing RAD advanced

ballet. – You can see evidence of her understanding and fascination into science through her

detailed examination of the body, joints, how we move etc.

1981- Moved to Melbourne

Healey went to VCA (Victorian College of the Arts) in Melbourne in 1981, which held great

importance and significance in shaping Healey’s career. Healey felt that from day 1 her life was

changed. Healey was highly influenced by her teachers and her training at VCA, particularly by

Nanette Hassall. Healey was also influenced by Ann Williams from Stuttgart ballet- Sue’s balletic

influence. As well as Lucette Aldous. Healey had wonderful classical influences and training.

1970s the government created the Australian Council for the Arts, which brought in an influx of

funding for the arts, therefore the arts scene in Australia began to flourish. There were a lot of

choreographic workshops being held for dancers and choreographers at this time, and many small

dance companies were created. It was in these workshops that Sue Healey did a lot of body

contact improvisation, which is a large part of her choreographic process today. Sue Healey also

considers her influences to include Bodenwieser, particularly the fluidity of the Bodenwieser style,

the fall/rise, ease/efficiency of movement; dynamic play & athleticism.

1984- Sue Healey graduated from the Victorian College of the Arts, Melbourne with a BA (Dance

Performance, 1984).

1983-1988 – Founding member of DanceWorks Company, Melbourne

Sue Healey was a founding member of Danceworks Company, Melbourne with Artistic Director

Nanette Hassall in 1983 and performed and choreographed for the company, nationally and

internationally from 1983-1988.This post-modern company also wanted to train choreographers. It

was seen as very-before-its-time.

1989-1991 – Living in New York.

Sue Healey took study leave and went to New York City and worked with choreographers such as

Steve Paxton, Trisha Brown Company, Zvi Gottheiner Company, Dana Reitz, Irene Hultman, and

Merce Cunningham Company.

1990’s – During the 1990s Sue Healey returned to Melbourne, Australia and began to make work

here, creating works for her own company.

She received multiple commissions from Danceworks, The One Extra Co., Dance North,

Tasdance, Vic Arts Dance Company, Limbs Dance Company (New Zealand), Downstage Theatre

Company (New Zealand), Playbox Theatre Company, Melbourne Symphony Orchestra, Victorian

Arts Centre and the Aichi Arts Centre, Nagoya, Japan.

1993-95 – Healey was Artistic Director of the Canberra company Vis-à-Vis Dance Canberra

(formerly Meryl Tankard Company and Human Veins) creating 7 seasons of new work.

1996 – Formed the Sue Healey Dance Company. An extraordinary move in this time period.

1999 – Moved to Sydney. Studied in Dance-Film and Video Production

Sue moved to Sydney in 1999 and was awarded a Choreographic Fellowship from the Australia

Council for the years 1999/2000. During this time Healey undertook study in dance-film and video

production, and began the Niche series 2002-03.

Healey was frustrated with the transient nature of dance, and lack of documentation of dance.

Dance was either live, or on bad quality film. It often wasn’t important to keep film records.

Sue Healey began working with film maker Louise Curham, almost like an apprentice at first.

Neither of them like working with narrative.

2000 – Master degree – Choreography (first class honours, 2000), Melbourne University

2002-2003 – Began the Niche Series

Associate artists Shona Erskine, Lisa Griffiths and Nalina Wait have been integral to Healey's work

since 2002.

2004

In Time series 2004-07 - 6 works created.

Current work is - the new series The Curiosities.

Sue is a Visiting Fellow at University of New South Wales, 2008-10 and is the Robert Helpmann

Scholarship winner 2009 (Arts NSW)

Healey also shows many academic achievements sprinkled throughout her career. (more detail on

her website)

Roles in Education and Research

Senior Lecturer in Dance, Victoria College , Rusden 1990-92

Sessional Lecturer in composition and contemporary technique, Victorian College of the

Arts, 1985-96

Guest lecturer: UNITEC, Auckland.

NZ School of Dance, New Zealand.

Beijing Academy of Dance, China.

Many secondary school workshops given since 1985 to the present, while on tour with

various companies around Australia, New Zealand, China and Japan.

Mentoring workshop for NZ professional choreographers 1994

Since 2001, Sue has had a role as Research Associate in the ground-breaking research

projects Unspoken Knowledges and Conceiving Connections, led by Professor Shirley

McKechnie and a team of researchers, funded by the Australian Research Council.

She was a key speaker in the Unspoken Knowledges forum, Melbourne Festival in 2003.

Sue created a documentary, about the Quantum Leap Youth Company, as part of

Conceiving Connections research project.

Sue is involved as a Research Associate in The Dancing Brain research project led by

Professor Kate Stevens, MARCS, University of Western

Sydney. Sue's new film 13 and 32 , was commissioned by this project and is being used as

a visual stimulus for experiments in memory and

perception by a team of psychologists

Sue was a member of the Dance Board of the Australia Council from 1999-2001.

Sue currently resides in Sydney where she is a regular teacher at the School of Media, Film

and Performance, UNSW.

___________________________________________________________________Homework Task:

Visit Sue Healey’s website: http://www.suehealey.com.au/ and search the internet for more information about Sue Healey. You may wish to visit some of the following websites:

http://www.suehealey.com.au/

Fine Line Weblinks:* www.suehealey.com.au * http://ausdance.org.au/articles/details/the-niche-series * http://www.realtimearts.net/article/issue61/7474 * http://www.realtimearts.net/realtimedance/12_choreographers/sue_healey/fine_line_and_fine_line_terrain_2004* http://www.smh.com.au/articles/2004/07/01/1088488087778.html * http://www.artfilms.com.au/Detail.aspx?ItemID=4543 * http://trove.nla.gov.au/people/677082?c=people * http://scanlines.net/person/sue-healey

Can you find any other information about Sue Healey’s background? Highlight some key points that you may find and share with your class next lesson.

Remember, website are often updated. Be sure to check Sue Healey’s website for more information at different times.

______________________________________________________________________________

Chronology of Work

2002 – 2003 = Niche Series. Seven works in this series including Fine Line.

2005 – 2007 = In Time Series. Six works in this series.

2008 – 2012 = The Curiosities Series. Five works in series.

2013 – 2014 = On View: Portraits of Australian Dance Artists. This will become a series. It

Currently consists of video portraits and live performance. She is interested in the idea of “seeing

and being seen”. “Seeing” is the responsibility of the audience/viewer, “being seen” is the

responsibility of the dancer. It demonstrates her deliberate attempt to slow down time and examine

space.

All series feature dance films, live performances and international collaborations & more recently

gallery instillations.

The Niche Series

It is important to note that the Niche Series was not pre-conceived, it was a series that evolved and accumulated.

http://scanlines.net/person/sue-healey

http://trove.nla.gov.au/people/677082?c=people

http://www.artfilms.com.au/Detail.aspx?ItemID=4543

http://www.smh.com.au/articles/2004/07/01/1088488087778.html

http://www.realtimearts.net/article/issue61/7474

http://ausdance.org.au/articles/details/the-niche-series

http://www.suehealey.com.au/

Niche: Film – March 2002. Filmed as a conduit for the series.

It sets up the whole series in its investigation of space both

choreographically and videography. It introduces the “string

house”

Niche Solo – April 2002.

Niche Salon – August 2002. Worked with film projectors.

Dancers had lights projected on to them.

Niche Japan – December 2002. Healey works in Japan

frequently. This work was commissioned. It shifted the work

from 1 body to 12. Alters the investigation of space from

solitude to interaction. She posed the same questions to her Japanese dancers as her Australian

performers but their reactions were very different discovering new concepts of on space.

Fine Line Terrain – February 2003. 60 minute performance that premiered at Bangarra theatre.

This is a very deep space, roughly 30 mtrs deep, changing the investigation on space again.

Fine Line: Film – June 2003. The culminating work of the series.

This series came about after Healey became frustrated with the longevity of dance works. She

wanted to record them and have the available to the world. Healey used her grant to buy a camera

and editing software. The idea for Fine Line came from her and Erskine working in a studio with a

camera. Film began and ended the series like book ends. It informs how space is treated and

analysed.

TOURS AND COMMISIONS

International Festival of Arts and Media, Yokohama, Japan

As You Take Time excerpts tour to Melbourne (Time. Transcendence. Performance Symposium)

2009

Curios - Critical Path, 4 screen installation

Not Entirely Human ll - Victorian College of the Arts commision

Reading the Body - Reeldance commission to be screened at MOVES 09, Manchester UK and Cinedans, Amsterdam 2010. Not Entirely Human - commissioned work for graduating students at WAAPA, Perth.

Inevitable Scenarios toured Arthouse, North Mebourne Town Hall, Melbourne

Fine Line Terrain toured Canberra and Auckland, New Zealand.

Asialink, Tokyo project: Will Time Tell?

New Zealand School of Dance, New Zealand, Commissioned work

Aichi Arts Centre, Nagoya, Japan. Commissions:

Niche/Japan En : Site specific work, Japan En : Performed Melbourne International Festival Kan : site specific work

Glasgow, Scotland, New Moves Festival

Tour Suite Slip'd New York, Boston, New Zealand

Downstage Theatre Company, New Zealand. Commission W Sonata with Mike Nock

UNITEC, New Zealand

Kidnapped, Limbs Dance Company, New Zealand

China Project, Beijing (Don Asker)

2008

2006

2005

2003

200219981998 1997

2000

1998

1996

1992, 96, 98

1992

1990

Niche Series- 2002 to 2004

Fantasies on habit, habitat and habitation, this six-part collection of works navigates the spaces of

live performance and digital media.

Choreographed by Healey in collaboration with performers.

Niche : Film

Niche : Solo

Niche/Salon

Niche/Japan

Fine Line Terrain

Fine Line : Film

Niche : FilmDuration : 10 mins

Finalist IMZ Monaco and Cinedans Holland, 2003.

Highly Commended at the 2002 Reeldance Awards, Australia

A dance-film that inhabits an intimate place – the edge, surface and the space in between.

Performers: Shona Erskine

Director of Photography: Mark Pugh

Music: Darrin Verhagen

Editor: Sam James

Niche : Solo Duration : 20 mins

Live solo for performer Shona Erskine

Niche/SalonDuration : 10 mins loop

Gallery installation for solo dancer and 8mm projected film (collaboration with Louise Curham)

Performed at Antistatic Festival, Performance Space, Sydney 2003

Niche/Japan

Duration : 45mins

Commission from Aichi Arts Centre, Nagoya, Japan – for 12 Japanese dancers and Shona

Erskine.

Fine Line Terrain : Live performance Duration : 60min

Fine Line Terrain, for 5 dancers, explores the spaces we inhabit. The performance space

becomes dissected with white lines, creating geometric ‘houses ’ that connect, entangle and

ultimately collapse. Intimate relationships are framed and mapped by lines, highlighting the

precariousness of our relationship to the world and to each other. This is dance that explores the

subtle intricacies of our relationship to the space around us.

Fine Line Terrain was performed in the Spotlight program of APAM in Adelaide 2004 and

represented at APAP in New York 2004.

Sydney Opera House presented this work in a sell-out season JUNE 2004.

Fine Line Terrain was nominated for Outstanding Achievement in Choreography and Outstanding

Achievement for performance by a company in 2004, Ausdance Awards.

Performers : Shona Erskine, Lisa Griffiths, Nalina Wait Nelson Reguera Perez, Victor Bramich,

Jacob Lehrer

Director of Photography : Mark

Pugh

Music : Darrin Verhagen

Lighting Design : Joseph

Mercurio

Design : Michael Pearce and

Sue Healey

Funded by The Australia Council

Fine Line : FilmDuration : 9 mins

Winner Il Coreografo Elettronico, Napolidanza, Italy 2004.

Winner Reeldance Australia/NZ 2004.

Winner Best dance film Ausdance 2003.

Performers : Shona Erskine, Lisa Griffiths, Nalina Wait, Nelson Reguera Perez, Victor Bramich

Director of Photography : Mark Pugh

Music : Darrin Verhagen

Editor : Sam James

Design : Sue Healey

Funded by the Conceiving Connections research projects available for purchase.

INTERVIEW WITH SUE HEALEY –

RealTime issue #61 June-July 2004 pg. 48

The fine lines of creationErin Brannigan: Sue Healey, Fine Line Terrain

Choreographer Sue Healey is a survivor in the Australian dance scene. Beginning her career with Dance

Works (1983-88), Healey led the Canberra-based company Vis-à-Vis from 1993-95. Since then she has

choreographed independently, creating works for a fluid company of dancers which has included Michelle

Heaven, Philip Adams, Jennifer Newman-Preston, Shona Erskine and Nalina Wait. She has been

commissioned by many Australian dance companies and has an ongoing relationship with the Aichi Arts

Centre in Japan. Healey has worked with filmmaker Louise Curham (RT58, p15) on several film and

installation projects since 1997 and has recently begun directing her own films, including the award-winning

Niche (2002) and Fine Line (2003).

Healey is currently a Research Associate with the Unspoken Knowledges Research project, led by

Professor Shirley McKechnie at the Victorian College of the Arts. Her recent Niche series has been part of

McKechnie’s project and consists of 5 works created between 2002 and 2004: the films mentioned above,

2 live works (Niche/Japan and Fine Line Terrain) and an installation (Niche/Salon). Healey’s finely crafted,

intricate choreographies are too rarely presented in Sydney and her upcoming season of Fine Line Terrain

at The Studio (Sydney Opera House) has been much anticipated since a showing of the work last year.

Since then, the piece has been performed in Auckland, Canberra, Melbourne and New York.

Healey talked to RealTime about the logic behind the Niche series, her interest in space and perception

and the challenges she faces as an independent choreographer working with an increasingly consistent

company of dancers.

The Niche series covers 5 works and has traversed a number of formats: film, video, installation and performance. Why a series and how is the variety of formats tied to your exploration?

Each work ‘found’ its own niche, so to speak. I started with a dance video focus—wanting to make dance

for that specific space rather than my usual method of choreographing the action before its translation into

video or film. As our focus was space, it made absolute sense to keep finding new spaces and contexts to

explore, manipulate and extend our material, including the screen space, a traditional proscenium space, a

white gallery, a new cultural context (Japan) and a ‘site specific’ (30 metre deep) space. I didn’t set out to

create a series—it evolved quite organically. I can look back and see that the driving force was a search to

place the ‘right’ work in the ‘right’ space.

You are particularly interested in movement and perception. How does this relate to your use of both live and screen formats?

I am not interested in dance as fashion or in movement that disengages perception. I believe that art can

make a difference to the way we live our lives. (Experiencing) dance, whether as observer or performer,

can enhance the way we perceive our reality as moving, sentient beings interacting on this fragile planet.

Perhaps it is even vital. I explore this in both live and screen formats. My current choreographic research is

devoted to the manipulation of time and space that video and film makes possible and which offers me a

range of new devices only dreamt of when creating live performance. However, I think I will always need to

have the visceral, the physical, the real, underpinning the work I create—to keep in touch with the tangible

physical drama that occurs as you choreograph. This is because I highly value the memories of performing

that I have in my own body.

You have a very strong group of dancers working with you now. How important is it for you to work in this way and what is the real economic viability of such relationships?

The dancers I work with are simply extraordinary. To say that they are fundamental to my process is an

understatement. It is a top priority for me to maintain the relationships I have with my dancers. Sustaining

employment opportunities for these dancers is the toughest aspect. I can only employ them for short

periods scattered throughout the year—I can’t offer them any financial security. What I can offer is a

creative framework that has an ongoing sense of development and support. This has been a successful

model for us over the last couple of years. For example, Shona Erskine worked on every stage of the Niche

series through an initial mentorship grant from the Australia Council. This sense of an ongoing partnership

is unusual and difficult to achieve outside of a company scenario.

The difficulty lies in timing grant applications and negotiating around dancers’ other contracts, juggling

dates, venues, budgets, schedules, in the hope that providence will bring everything together. Strangely

enough it mostly seems to work out. At times I do wonder, however, about the work I could be making if

things were different. I do have an occasional lusting for a company model that provides ongoing

administrative and production support. Having had that previously, I do think that I have found a unique

structure to create within. The success of the Niche series bears witness to this so I think I am on the right

path.

Fine Line Terrain, choreographer Sue Healey; dancers Victor Bramich, Shona Erskine, Lisa Griffiths,

Nelson Reguera Perez, Nalina Wait; lighting Joseph Mercurio, composer Darrin Verhagen; The Studio,

Sydney Opera House, June 29-July 3

RealTime issue #61 June-July 2004 pg. 48

Influences on the Niche seriesConsider the way in which installation artists such as James Turrell and Bruce Nauman have influenced

Healey’s perceptions and representations of space in the Niche series. Both artists create physical designs

using light and space.

Influences

‘I make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it…my

work is more about your seeing than it is about my seeing, although it is a product of my seeing’.

-James Turrell

Turrell is an American artist who works directly with light and space. He is more concerned with what the

audience sees as opposed to what he sees although he understands it is a product and development of

what he sees. Informed by his training in perceptual psychology and a childhood fascination with light,

Turrell began experimenting with light as a medium in southern California in the mid-1960's. Turrell’s

medium is pure light. Healey’s influence is seen in Turrell’s exploration of light in space. You can see the

reflection of the room and spaces in healeys work – corners, walls etc.

______________________________________________________________________________

TASK: Research James Turrell ‘s work ‘Beautiful People’ dwarfing of the human figure – dimensionality –

foreground and background. ‘Ronin’ – beautiful slither of white line – corner, room, ‘Afrum’

‘My work has no object, no image and no focus. With no object, no image and no focus, what are you

looking at? You are looking at you looking. What is important to me is to create an experience of wordless

thought.’

______________________________________________________________________________

In the late 1960s and the 1970s, when moving image was making its way into the gallery in a big

way as 16mm film started to be replaced by video, they often took a pretty descriptive approach to

titling work. Bruce Nauman’s film and video works of that period are simply made and descriptively

titled and driven by Nauman’s assertion that as an artist, everything he made in the studio must

surely be art.

‘If I was an artist and I was in the studio, then whatever I was doing in the studio must be art.’

– Bruce Nauman in conversation with Ian Wallace and Russell Keziere

Prado (White) 1967 Afrum I (White) 1967 Ronin 1968

Nauman is an American sculptor noted for his environments, films and video tapes. His works are

often concerned with the notion of hiddenness or inaccessibility. Nauman finds inspiration in the

activities, speech, and materials of everyday life.

For this film Nauman made a square on the floor of his

studio with scotch tape; each side of the square was

marked at the midpoint. Beginning at one of the corners

he moved methodically, to the rhythm of a metronome,

through the perimeter of the square, sometimes looking

inside and sometimes out. Each step he takes is the

equivalent of half the length of the side of the square.

This is one of the ‘studio films’ he made in the winter of

1967 and 1968. The taped floor marking out space and

moving through and around it is reflected in Healey’s work.

In this work, Nauman has presented us with the basic

tools used to make all sculpture: the hands. In the

1960s he made a number of wax casts of his body, all

of which were given 'play on word' titles, such as

'hand to mouth', which is literally a cast of his body

from hand to mouth. Yet the hands in this sculpture

are left to speak for themselves, without a title. The

gestures are open to interpretation; they could be

sign language for the deaf or even mildly obscene.

The use of string and detail is reflected in Healey’s work.

_____________________________________________________________________________________________________________________

TASK: Consider the influence of experimental film makers such as Merce Cunningham, Len Lye and Maya Deren, whom Healey considers pioneers in moving image and heroes of early dance film. ______________________________________________________________________________

Leonard Charles Huia "Len" Lye (5 July 1901 – 15 May 1980), was a Christchurch,

New Zealand-born artist known primarily for his experimental films and kinetic

sculpture. As a student, Lye became convinced that motion could be part of the

language of art, leading him to early (and now lost) experiments with kinetic

Dance or Exercise on the Perimeter of a Square, 1967-68

Untitled (Hand Circle)

http://www.google.com.au/url?sa=i&rct=j&q=Bruce%20Neuman&source=images&cd=&cad=rja&uact=8&docid=ZKRP8E_eI15G1M&tbnid=gCpHG49Hox_qaM:&ved=0CAUQjRw&url=http://imageobjecttext.com/category/ideas/&ei=_oLhU-WQOITl8AX974K4CQ&bvm=bv.72197243,d.dGc&psig=AFQjCNHq2Jy-cHtc_ODKfD0QjDlW8T8L3A&ust=1407374426558739

http://www.google.com.au/url?sa=i&rct=j&q=Bruce%20Neuman%20untitled%20hand%20circle&source=images&cd=&cad=rja&uact=8&docid=wEkyyqngul_gPM&tbnid=1qXpbS1Bv8-sRM:&ved=0CAUQjRw&url=http://artobserved.com/2009/09/go-see-venice-bruce-nauman-topological-gardens-at-the-venice-biennale-through-november-22-2009/&ei=ToThU_TaPMPf8AXi54CwDQ&psig=AFQjCNG2AIVbtfPVZIK-__HaFKKzU4L8pA&ust=1407374781652826

http://www.google.com.au/url?sa=i&source=images&cd=&cad=rja&uact=8&docid=1VZ6anXQF5jMdM&tbnid=C36Cvc8IawAsyM:&ved=0CAgQjRw&url=http://www.scoop.co.nz/stories/CU1312/S00122/len-lye-agiagia-opens.htm&ei=dYrhU4ngL43r8AWijYLoBQ&psig=AFQjCNF-9rnQvO5760J6R-tydHMTE0E52Q&ust=1407376373909697

sculpture, as well as a desire to make film. Lye was also one of the first Pākehā artists to appreciate the art

of Māori, Australian Aboriginal, Pacific Island and African cultures, and this had great influence on his work.

In the early 1920s Lye travelled widely in the South Pacific. Lye was also an important kinetic sculptor and

what he referred to as "Tangibles". He saw film and kinetic sculpture as aspects of the same "art of motion".

Although he did not become a household name, his work was familiar to many film-makers and kinetic

sculptors.

Maya Deren (April 29, 1917 – October 13, 1961) was one of the most important

American experimental filmmakers and entrepreneurial promoters of the avant-

garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film

theorist, poet, lecturer, writer and photographer. The function of film, Deren

believed, like most art forms, was to create an experience; each one of her films

would evoke new conclusions, lending her focus to be dynamic and always-

evolving. She combined her interests in dance, voodoo and subjective psychology

in a series of surreal, perceptual, black and white short films. Using editing, multiple exposures, jump

cutting, superimposition, slow-motion and other camera techniques to her fullest advantage, Deren creates

continued motion through discontinued space, while abandoning the established

notions of physical space and time, with the ability to turn her vision into a stream of

consciousness.

Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American

dancer and choreographer who was at the forefront of the American modern dance

for more than 50 years. He is also notable for his frequent collaborations with artists

of other disciplines, including artist Bruce Nauman. Works that he produced with

these artists had a profound impact on avant-garde art beyond the world of dance.

Cunningham collaborated with Nauman on his piece Tred in 1970 in the set design. Cunningham’s lifelong

passion for exploration and innovation has made him a leader in applying new technologies to the arts. He

began investigating dance on film in the 1970s, and since 1991 has choreographed using the computer

program DanceForms

Nanette Hassall has performed taught and choreographed in both Australia and

overseas.

Graduating from the Juillard School in New York she joined the Merce

Cunningham Dance Company touring extensively in the USA and Europe.

She performed, taught and choreographed for major companies in both Europe

and Australia before founding and directing Danceworks, a full-time professional dance company in

Melbourne between 1983 and 1990.

http://www.google.com.au/url?sa=i&rct=j&q=Maya+Deren&source=images&cd=&cad=rja&uact=8&docid=kPncH-XCH2y3SM&tbnid=UuO3PfTowJjQrM:&ved=0CAUQjRw&url=http://en.wikipedia.org/wiki/Maya_Deren&ei=5YvhU7yxKtje8AWJnICIBA&bvm=bv.72197243,d.dGc&psig=AFQjCNFg21aB8Fnx9LC0fabYjXEIG1F44w&ust=1407376736573010

http://www.google.com.au/url?sa=i&rct=j&q=Merce+cunningham&source=images&cd=&cad=rja&uact=8&docid=GQx0eXnq0eHEfM&tbnid=f5XHrKQOn2WCUM:&ved=0CAUQjRw&url=http://www.colum.edu/gallery3/index.php/dance/mercecunningham/Merce-Cunningham_-ph-48D351&ei=w43hU9a9Dda78gXr8ILICQ&bvm=bv.72197243,d.dGc&psig=AFQjCNG-dqr5Ao_bXOR2pWFQ6L3oCcOeNQ&ust=1407377190069816

Nanette has choreographed over forty works. She is currently the Head of the Dance Department at the

W.A. Academy of Performing Arts, a position she was appointed to in 1995.

Nanette has emphasised international performance and exchanges as head of the department, students

performing in Korea, Germany, Malaysia and Hong Kong amongst others.

As a dance advocate Nanette has been a member of the council for the Australia Council. She is currently

chair of the Committee for Creation and Presentation (World Dance Alliance Asia Pacific) and chair of the

Tertiary Dance Council of Australia. She was recognised nationally through an award for her Services to

Dance Education in 2002.

Fine Line- Sue Healey Sue Healey is interested in the DANCER as an entity, also in dance as an ARTFORM. WHAT is

dance, and WHY do we dance? Healey believes that Dance is a part of being human. She sees

herself as a DANCE ARTIST.

Choreographic Style

Healey is driven by SPACE- how we inhabit it, how it drives us. She finds that young dancers don’t

consider space as much.

Sue Healey believes that the role of the audience is “the act of seeing” and the role of the dancer

is “being seen”.

Sue Healey’s choreographic process is largely dependent on improvisational tasks given to her

dancers. She sets rules and boundaries, and then encourages her dancers to ‘play’ with and then

break these rules. She is largely influenced by her dancer’s experiences and stories, which often

becomes a stimulus for her choreographic ‘play’.

Healey choreographs using the TECHNIQUE OF VARIATION. Healey believes that the camera

allows her to see Volume and assist in exploring space in a more in-depth way.

Phrases of movement that are created are often ‘spliced’. E.g. Phrase A, phrase B, then cut and

splice. It becomes complex as it throws dancers body momentum and weight off. She likes to play

with going in and out of unison.

CHOREOGRAPHER’S VISION:Sue Healey sees the dancer as an artist, person, mover, entity. She sees dance as an artform to

champion, question the value of moving. Dance is an essential part of being human that we tend

to lose along the way.

• Fundamental drive in the work is:

SPACE: inhabit/psychology/physical

Does the space we live in determine who we are as people and as dancers?

How does this impact body thinkers/ dance makers?

What takes them to faraway places? Why dance?

Fine Line became ‘conceptual based’ rather than previous works that are ‘physically based’.

DISTINGUISHING CHARACTERISTICS OF HEALEY’S WORK Dynamics of her work are very organic, yet often rigid

Dance film – how is this different from a live performance?

Set is distinguishing – ‘String houses’ – design was fully realised in Fine Line Terrain. Visual

connotations of the string – drawing in space. 3D maps, psychogeography physical space and

emotional space. Structure of the string houses was solid until the dancers fell through the walls.

How is the choreography framed through the string construction

Collaboration – light, sign and design – camera and editing process.

Shona Erskin, a dancer in many of her works– PHD in psychology – how does she influence this

work? Emotional content of the work could be examined just as much through the emotions

Sculpting of the space – exploration of dimity

Paradoxes that exists in the work – on slide = separation and connection

The Camera – This series began and concluded with works for screen – book ends of the series

Experimentations can be seen as Healey’s outgrowth of the exploration of space - explore the

relationship of choreography and film.

Perception – moving images 4D shapes through time

Manipulation of time, scale, and light

Camera is a choreographic tool – use the computer and the camera as a site for making a work

Not interested in narrative but layers of meaning

______________________________________________________________________________

Task: Refer to your own composition lessons which explored how we relate to SPACE. Can you see the

links between these improvisational tasks and Healey’s works? Discuss the links between your own

improvisational experiences and the choreographic process of Sue Healey.

FINE LINE Impact of the Camera

For Sue Healey, Film became a device of HOW to see movement e.g. fall/balance of the line. There is a

sense of a glitch in the editing (not smooth). The editing was truly choreographic: time/ movement cut out,

use of repetition.

Slow motion is a device used to allow audience to see the movement more clearly. It gives the

director/choreographer more control and to capture and document the dance. Film can create a

claustrophobic feeling. The camera becomes voyeuristic, and is used to highlight space of a house.

Initially Sue Healey wanted the camera to circumnavigate around the dancers throughout the whole work.

However, on the day of filming, it became evident that this would not be possible due to problems with

tracking the camera.

Sue Healey works with a sound engineer to create the sound design after filming.

Attempt Question 1




Various camera angles have been used in Fine Line.

Describe how camera angles have allowed for Sue Healey to explore SPACE in a different way?

In your response, provide specific movement examples from the work.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Activity: Watch other works from Sue Healey’s Niche Series. Complete the table below on the

consistencies in her choreographic style.

Movement Fine Line examples How it is seen in her other works

Gestures

Stillness

Exploring Niches

Flexion

Angular movement – Lines

Stillness

Focus on Body parts

Manipulation of other dancers’ body parts

Weight transfer/off centre

Tension and Force

Strength vs lightness

Dynamic Qualities e.g. percussive, sustained, vibratory

Manipulation of own body parts

Manipulation of others’ body parts

______________________________________________________________________________Task: Visit Sue Healey’s website and click on the Dance Films tab. Select and view three of her

short films posted on her page. Write a discussion on links you see in her choreography, also

referring to Fine Line.

_____________________________________________________________________________

Practical Tasks

How can you examine line in your dance classroom?

– line of the body, line of sight, line in relation to place/spatial plane

Homework Tasks

Task 1: Read the chapter ‘Navigating Fine Lines’ written by Sue Healey from the book ‘Thinking in 4D’.

Write down the key notes from this chapter about Sue Healey’s influences and choreographic

process.

Task 2: Read the information in this chapter about each of the works in Healey’s Niche Series.

In detail, explain how the series evolved and accumulated. Explain why you think Sue Healey sees

‘Fine Line’ as the pivotal work in the series.

ComponentsMovement – How the body moves as a whole or in parts. Includes actions, gestures and stillness.

The body in motion.

Glossary of key words used in Appreciation

Eg – Jumps, turns, lifts, falls, balances

Spatial Elements – How the space is used

Eg – shape, size, level, direction, geometry, dimension, floor pattern, spatial pathways,

relationships

Dynamic Elements – The force and weight applied to a movement. Release of energy.

Eg – tension, force, rhythm, staccato, swing, sustained

Aural Elements – Anything that can be heard. Reference to time.

Eg – Music, body percussion, words, voice, breath, silence, tempo, accent, time signature

Dancers – Who is performing?

Eg – Number, sex, race, characters, relationships, technical ability, body type

Setting and Environment – Where it takes place and what is in the space. Visual elements /

theatrical elements / elements of production

Eg – costume, sets, props, lighting, curtains

Organising the Movement (form/structure)Motif – A reoccurring movement relating to the intent. Focal point of the work, a signature. Simple

movement pattern, should be able to be identified.

Phrase – A series of movements with a clear beginning, middle and end. It has structure

Eg – A paragraph within an essay

Motif into Phrase – An extension / development of the motif. The motif is manipulated to create a

series of movements relating to the intent. It has a clear beginning, middle and end.

Organising the DanceSequencing – The order in which phrases are put together

Internal structure – order of movement, phrases

External structure – how sections are put together

Formal Structure – AB, ABACAD, ABA, Narrative, Episodic etc

Transition – Movement that links phrases. Can also be music, linking other pieces of music

Repetition – Doing exactly the same thing over and over again

Eg – Restate, reinforce, re-echo, revise, recall, reiterate, reuse

Variation and Contrast Variation – Contents which have been established in the dance is used again in a different way

Contrast – Introduction of new material to compliment and be different to the original

Formal Structure – What holds the piece together, the framework.

Eg - AB, ABACAD, ABA, Narrative, Episodic etc

Unity – A combination of all elements, when the piece is coming together

Interpretation of the workIntent – The purpose of the work. What the choreographer wants to convey

Context – The background of the work / choreographer. The era the choreographer grew up in,

the era the work was created and set in. The circumstances or facts that surround a situation or

event.

Eg – political, social, historic

Genre – Bodies of Dance (Style in )

Eg - Modern (Graham, Humphrey), Ballet (Cecchetti), Jazz, Folk, Tap (Dein Perry, Fred Aistaire).

Subject Matter – What the work is about. Themes

Meaning – What the work means

Significance – What significance does it have? To the audience, to the choreographer, to the

dancers, to the time period

Syllabus outcomes, objectives, performance bands and examination questions have key

words that state what students are expected to be able to do. A glossary of key words has

been developed to help provide a common language and consistent meaning in the Higher

School Certificate documents. Using the glossary will help teachers and students

Glossary of key VERBS

understand what is expected in responses to examinations and assessment tasks.

Account Account for: state reasons for, report on. Give an account of: narrate a series of events or transactions

Analyse Identify components and the relationship between them; draw out and relate implications

Apply Use, utilise, employ in a particular situation

Appreciate Make a judgement about the value of

Assess Make a judgment of value, quality, outcomes, results or size

Clarify Make clear or plain

Classify Arrange or include in classes/categories

Compare Show how things are similar or different

Construct Make; build; put together items or arguments

Contrast Show how things are different or opposite

Critically(analysis/evaluate)

Add a degree or level of accuracy depth, knowledge and understanding, logic, questioning, reflection and quality to (analyse/evaluation)

Deduce Draw conclusions

Define State meaning and identify essential qualities

Demonstrate Show by example

Describe Provide characteristics and features

Discuss Identify issues and provide points for and/or against

Distinguish Recognise or note/indicate as being distinct or different from; to note differences between

Evaluate Make a judgement based on criteria; determine the value of

Examine Inquire into

Explain Relate cause and effect; make the relationships between things evident; provide why and/or how

Extract Choose relevant and/or appropriate details

Extrapolate Infer from what is known

Identify Recognise and name

Interpret Draw meaning from

Investigate Plan, inquire into and draw conclusions about

Justify Support an argument or conclusion

Outline Sketch in general terms; indicate the main features of

Predict Suggest what may happen based on available information

Propose Put forward (for example a point of view, idea, argument, suggestion) for consideration or action

Recall Present remembered ideas, facts or experiences

Recommend Provide reasons in favour

Recount Retell a series of events

Summarise Express, concisely, the relevant details

Synthesise Putting together various elements to make a whole

mndiocesandance.weebly.com · web viewfine line is a nine-minute dance film, which won the best...

Documents