AQA A LEVEL DANCE Component 2 Critical engagement MAY 2024 MERGED WITH
MARK SCHEME
A-level
DANCE
Component 2 Critical engagement
Tuesday 21 May 2024 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.
IB/G/Jun24/G4004/E5 7237/W
, 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 . 1 Describe the group position at the end of the second dance Lady Jane.
[2 marks]
0 1 . 2 Describe the transition from the group position at the end of the second dance Lady
Jane into the third dance Not Fade Away.
[2 marks]
0 2 Explain how the choreographic use of the dancers in the first dance Little Red
Rooster communicates the themes of this dance.
[5 marks]
0 3 Explain how the use of costume in the sixth dance Ruby Tuesday enhances the
choreographic presentation.
[5 marks]
0 4 Explain how motif and motif development are used in the final dance Sympathy for
the Devil.
[5 marks]
0 5 Discuss the similarities and/or differences between the aural setting of Rooster and
the aural setting of one other work by Christopher Bruce.
[6 marks]
0 6 Discuss how the use of collaboration has contributed to the development of the
repertoire of the Rambert Dance Company (formerly Ballet Rambert) during the
period 1966 to 2002.
[25 marks]
IB/G/Jun24/7237/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 use of the set and properties (props) in the ballet Giselle. You should
provide clear examples from the ballet Giselle to support your answer.
[25 marks]
0 8 Discuss the movement styles of the practitioners you have studied from the Romantic
Ballet period. You should provide examples from the works of the practitioners to
support your answer.
Jean Coralli and/or 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 use of the set and costume in Appalachian Spring. You should provide clear
examples from Appalachian Spring to support your answer.
[25 marks]
1 0 Discuss the movement styles of the practitioners you have studied from American
modern dance during the period 1900 to 1945. You should provide examples from the
works of the practitioners to support your answer.
Martha Graham can be included in your choice of practitioners.
[25 marks]
Section B continues on the next page
Turn over ►
IB/G/Jun24/7237/W
MARK SCHEME
A-level
DANCE
Component 2 Critical engagement
Tuesday 21 May 2024 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.
IB/G/Jun24/G4004/E5 7237/W
, 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 . 1 Describe the group position at the end of the second dance Lady Jane.
[2 marks]
0 1 . 2 Describe the transition from the group position at the end of the second dance Lady
Jane into the third dance Not Fade Away.
[2 marks]
0 2 Explain how the choreographic use of the dancers in the first dance Little Red
Rooster communicates the themes of this dance.
[5 marks]
0 3 Explain how the use of costume in the sixth dance Ruby Tuesday enhances the
choreographic presentation.
[5 marks]
0 4 Explain how motif and motif development are used in the final dance Sympathy for
the Devil.
[5 marks]
0 5 Discuss the similarities and/or differences between the aural setting of Rooster and
the aural setting of one other work by Christopher Bruce.
[6 marks]
0 6 Discuss how the use of collaboration has contributed to the development of the
repertoire of the Rambert Dance Company (formerly Ballet Rambert) during the
period 1966 to 2002.
[25 marks]
IB/G/Jun24/7237/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 use of the set and properties (props) in the ballet Giselle. You should
provide clear examples from the ballet Giselle to support your answer.
[25 marks]
0 8 Discuss the movement styles of the practitioners you have studied from the Romantic
Ballet period. You should provide examples from the works of the practitioners to
support your answer.
Jean Coralli and/or 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 use of the set and costume in Appalachian Spring. You should provide clear
examples from Appalachian Spring to support your answer.
[25 marks]
1 0 Discuss the movement styles of the practitioners you have studied from American
modern dance during the period 1900 to 1945. You should provide examples from the
works of the practitioners to support your answer.
Martha Graham can be included in your choice of practitioners.
[25 marks]
Section B continues on the next page
Turn over ►
IB/G/Jun24/7237/W
