2025 AQA A-Level DANCE 7237/W
Component 2 Critical engagement
Question paper and Marking scheme Merged
A-level
DANCE
Component 2 Critical engagement
Tuesday 20 May 2025 Morning Time allowed: 2 hours 30 minutes
Materials
For this paper you must have:
• an AQA 12-page answer book.
Instructions
• Use black ink or black ball-point pen.
• Write the information required on the front of your answer book. The Paper Reference is 7237/W.
• Do all rough work in the answer book. Cross through any work you do not want to be marked.
• In Section A, answer all questions.
• In Section B, answer two questions.
Either Questions 0 7 and 0 8 or Questions 0 9 and 1 0
or Questions 1 1 and 1 2 or Questions 1 3 and 1 4 .
Information
• The marks for questions are shown in brackets.
• The maximum mark for this paper is 100.
• You should use examples wherever appropriate to support your explanations or argument.
Advice
You are advised to read through the questions carefully.
, 2
Section A
Answer all questions in this section.
Compulsory: The set work Rooster (Christopher Bruce, 1991) within the context of the
Rambert Dance Company (formerly Ballet Rambert) 1966–2002
0 1 Describe two examples of interaction between dancers in the final dance Sympathy for
the Devil.
[4 marks]
0 2 Explain how the choreographic use of space in the second dance Lady Jane reflects
features of the relationships between the dancers.
[5 marks]
0 3 Explain how the use of the aural setting in the third dance Not Fade Away enhances the
choreography.
[5 marks]
0 4 Explain how the movement content of the male dancer in the fifth dance Paint It Black
communicates his mood.
[5 marks]
0 5 Discuss the similarities and/or differences between the choice of costumes in Rooster
and the choice of costumes in one work by a named practitioner from the Rambert
Dance Company (formerly Ballet Rambert) 1966–2002.
[6 marks]
0 6 Examine the stylistic features of the Rambert Dance Company (formerly Ballet Rambert)
during the period 1966 to 2002.
[25 marks]
IB/G/Jun25/7237/W
, 3
Section B
Answer two questions.
Select one of the options below and answer both questions.
Option 1: The set work Giselle (Jean Coralli and Jules Perrot, 1841) within the context of the
Romantic Ballet period
0 7 Analyse the role of the Wilis within the choreography of the ballet Giselle. You should
provide clear examples from the ballet Giselle to support your answer.
[25 marks]
0 8 Discuss the influences on the choreographic approach of the practitioners you have
studied from the Romantic Ballet period.
Jean Coralli and Jules Perrot can be included in your choice of practitioners.
[25 marks]
Option 2: The set work Appalachian Spring (Martha Graham, 1944) within the context of the
origins of American modern dance 1900–1945
0 9 Analyse the role of the Pioneer Woman within the choreography of Appalachian Spring.
You should provide clear examples from Appalachian Spring to support your answer.
[25 marks]
1 0 Discuss the influences on the choreographic approach of the practitioners you have
studied from American modern dance during the period 1900 to 1945.
Martha Graham can be included in your choice of practitioners.
[25 marks]
Section B continues on the next page
Turn over ►
IB/G/Jun25/7237/W
Component 2 Critical engagement
Question paper and Marking scheme Merged
A-level
DANCE
Component 2 Critical engagement
Tuesday 20 May 2025 Morning Time allowed: 2 hours 30 minutes
Materials
For this paper you must have:
• an AQA 12-page answer book.
Instructions
• Use black ink or black ball-point pen.
• Write the information required on the front of your answer book. The Paper Reference is 7237/W.
• Do all rough work in the answer book. Cross through any work you do not want to be marked.
• In Section A, answer all questions.
• In Section B, answer two questions.
Either Questions 0 7 and 0 8 or Questions 0 9 and 1 0
or Questions 1 1 and 1 2 or Questions 1 3 and 1 4 .
Information
• The marks for questions are shown in brackets.
• The maximum mark for this paper is 100.
• You should use examples wherever appropriate to support your explanations or argument.
Advice
You are advised to read through the questions carefully.
, 2
Section A
Answer all questions in this section.
Compulsory: The set work Rooster (Christopher Bruce, 1991) within the context of the
Rambert Dance Company (formerly Ballet Rambert) 1966–2002
0 1 Describe two examples of interaction between dancers in the final dance Sympathy for
the Devil.
[4 marks]
0 2 Explain how the choreographic use of space in the second dance Lady Jane reflects
features of the relationships between the dancers.
[5 marks]
0 3 Explain how the use of the aural setting in the third dance Not Fade Away enhances the
choreography.
[5 marks]
0 4 Explain how the movement content of the male dancer in the fifth dance Paint It Black
communicates his mood.
[5 marks]
0 5 Discuss the similarities and/or differences between the choice of costumes in Rooster
and the choice of costumes in one work by a named practitioner from the Rambert
Dance Company (formerly Ballet Rambert) 1966–2002.
[6 marks]
0 6 Examine the stylistic features of the Rambert Dance Company (formerly Ballet Rambert)
during the period 1966 to 2002.
[25 marks]
IB/G/Jun25/7237/W
, 3
Section B
Answer two questions.
Select one of the options below and answer both questions.
Option 1: The set work Giselle (Jean Coralli and Jules Perrot, 1841) within the context of the
Romantic Ballet period
0 7 Analyse the role of the Wilis within the choreography of the ballet Giselle. You should
provide clear examples from the ballet Giselle to support your answer.
[25 marks]
0 8 Discuss the influences on the choreographic approach of the practitioners you have
studied from the Romantic Ballet period.
Jean Coralli and Jules Perrot can be included in your choice of practitioners.
[25 marks]
Option 2: The set work Appalachian Spring (Martha Graham, 1944) within the context of the
origins of American modern dance 1900–1945
0 9 Analyse the role of the Pioneer Woman within the choreography of Appalachian Spring.
You should provide clear examples from Appalachian Spring to support your answer.
[25 marks]
1 0 Discuss the influences on the choreographic approach of the practitioners you have
studied from American modern dance during the period 1900 to 1945.
Martha Graham can be included in your choice of practitioners.
[25 marks]
Section B continues on the next page
Turn over ►
IB/G/Jun25/7237/W
