# Teacher key and next moves · after first child responses

These are **worked examples**, not the only creative responses. Keep this file out of the first-response view. This public practice is not a secure exam, a physical-skill assessment or a C-standard judgment. Accept point, AAC, drawn, tactile, marker and child-directed scribe responses with equivalent child ownership. Document adult help separately.

## Check A · G worked response

The given cards are **H–N–N**. Fact: both counts 2 and 3 are N, so the score does **not** yet point to F. The stated purpose is near picture **then** far window. A one-card revision is **1 H, 2 N, 3 F**: change count **3** from N to F. The paper visitor *might* notice near then far because the final marker is F. Their actual reaction is unknown. A large tabletop marker, raised cards or a child's drawing can show this; do not infer how the child would physically dance it. If a child proposes another one-card change, ask whether N still appears before F; credit a defensible arrangement if it truly meets the purpose.

**Next move:** If the child changes two places, lay original and revised rows side by side and mark one difference. If the child says a visitor *did* look far, point to the absence of a visitor response and model “might”. If count order is lost, rebuild three numbered slots without supplying the destination. If the child chooses no share, keep the planned score and offer a later chosen audience.

## Check B · H worked response

Given **H–F–H / H–F–H**, the two parts repeat; counts **2 and 5 are both F**. To show far and then left, preserve counts 1–3 and change count **5** to L: **H–F–H / H–L–H**. This is now a contrast of directions with **six** counts. A paper visitor might notice two panels because the marker points F at 2 and L at 5, but no visitor was observed. If the child shares a card with a willing adult, record what was shared and how they chose to share; if they rehearse with a puppet or pass, record that separately and leave audience-sharing evidence open. A paper demonstration does not prove balance, coordination or expressive physical dance performance.

**Next move:** If only five cards appear, count each three-card part again. If the child calls the revision “same”, compare F at 2 with L at 5. If their left cue appears before far, ask which part the designer wanted first. If an adult physically moved cards without child direction, collect new child-controlled evidence rather than crediting the adult choice.

## Daily feedback at a glance

| Day | Look for | If it is missing |
| --- | --- | --- |
| 1 | Child-selected middle side | Offer H/L/R cards and ask which picture. |
| 2 | Count-3 return versus hold | Place HOLD under the third slot. |
| 3 | Near/far at count 2 | Reset table orientation and name N/F. |
| 4 | Same places, distinct timing mark | Compare long arrow with early dot. |
| 5 | G three cards, one change and far-after-near purpose | Use G worked response only after first choice. |
| 6 | Two matching three-card parts | Lay parts in two rows; count six. |
| 7 | Count-5 contrast or repeat choice | Compare the two middle cards. |
| 8 | Visible approach or pointing relation | Use star and mover tokens rather than bodies. |
| 9 | Child-owned idea and chosen audience/source question | Separate MY IDEA from REAL WORK boxes. |
| 10 | H six cards, changed second part and reason | Use H worked response after first choice. |

**Assessor limit:** The original card room is partial evidence for playing with, making and sharing ideas. Real authorised arts works, community context and educator-observed physical opportunities remain necessary for a broader Foundation Dance judgment. Do not convert route choice into an ability label.