Official June 2024 AQA A-LEVEL DANCE 7237/W Component 2 Critical engagement Merged Question Paper + Mark Scheme Ace your Mocks!!! IB/G/Jun24/G4004/E5 7237/W 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. A-level DANCE Component 2 Critical engagement 2 IB/G/Jun24/7237/W 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] 3 IB/G/Jun24/7237/W Turn over ► 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]