1) What is extension? a) This includes sharp, fast, slow, smooth qualities. b) This includes straightening arms/legs/toes. c) This includes looking up and out to the audience 2) What is focus? a) This includes looking up and out to the audience b) This is where the dancers don't fidget, talk or mess with clothing. c) This is where the dancers remember the dance without looking at anyone else. 3) What is movement memory? a) To be able hold an action without falling. b) This is where you are able to stop and start movement, hold a movement or change direction. c) This is when the dancers know the dance without looking at anyone else. 4) What are dynamics? a) This includes pathways, levels and formations. b) This includes slow, sharp, smooth qualities. c) This includes canon, unison and solo chorus. 5) What is control? a) To be able to stop and start movement, hold a movement or change direction. b) This includes energy, focus and communicating the dance idea. c) This is the range of movement at a joint. 6) What is concentration? a) To be able to perform without giggling, talking or playing with clothing. b) This includes the amount of power used to hold positions or perform difficult movements. c) This includes having lots of energy and being able to perform without tiring. 7) What is projection? a) This includes being able to use rhythm, dynamics and melody to perform to. b) To believe in yourself and your own ability. c) This includes energy, focus and the ability to communicate the dance idea. 8) What are facial expressions? a) To be able to perform alongside the other dancers with clear unison and canon. b) To use emotions to express the dance ideas. c) To be aware of the area around yourself and the other dancers. 9) What is musicality? a) To stand up tall, thinking about a straight line. b) To perform 100% without giving up. c) This includes being able to use the rhythm, dynamics to perform the dance. 10) What is timing? a) To perform alongside other dancers with clear unison and canon. b) To develop a motif by changing the order of the movements. c) By reversing the order of the motif.

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