These are new public formative cases, not secure exams. Keep each source unseen until its day. Read neutrally and offer speech, sign, AAC, pointing, broad secured tactile marks, an adult scribe or private answer without a content hint. Capture the first independent response and access support separately before teacher-key feedback. A paper score can show composition but cannot show a child's physical movement. A puppet-only audience is rehearsal. Actual sharing requires a willing real person who encountered the child's work. No child must perform, touch, make sound, supply a personal story or share publicly.
Day 15 · fresh Case I · the Peach Arch Card
Complete fictional source. “An invented maker named Remi makes a PEACH ARCH CARD with three broad boxes: OPEN ARCH | SPACE | UP LINE. Remi says, ‘I want the space to let another maker answer in a different way.’ A paper puppet beside the card has not moved, seen the work or replied. Nobody has performed the score.”
Questions — same target through any chosen response route:
- What are the three exact paper marks, and what does Remi say the SPACE is for?
- Make one different answer after Remi's SPACE. Identify the part you changed and what you want your answer to communicate.
- Does the paper puppet prove an audience saw this work? What would need to happen to record actual sharing with a willing person?
Teacher record: exact first response, access support and any content cue under PAPER COMPOSITION. A separate, actual child movement or willing human sharing event is recorded only if it truly occurs; otherwise PHYSICAL DANCE MOVEMENT NOT OBSERVED and NO ACTUAL AUDIENCE RESPONSE.
Day 20 · fresh Case J · the Cobalt Corner Sheet
Complete fictional source. “An invented maker named Rumi draws a COBALT CORNER SHEET: SMOOTH LINE → CORNER CHANGE → BLANK END. Rumi says, ‘I want a pause after the change so the next idea has room.’ A sentence printed under the drawing says, ‘This is only a paper score. No person has danced it or told us what they noticed.’”
Questions — same target through any chosen response route:
- Which mark is the change, and where does Rumi's stated intention put the PAUSE?
- Add PAUSE to the sheet, then name one other original change you could try to communicate a different idea. Say what you intend; do not claim a viewer reaction.
- Does this paper score prove a real performance or audience response? What separate source would show each if they happened?
Teacher record: exact first score/reason, access support and content cue under PAPER COMPOSITION. Any optional local actual movement, teacher demo or willing audience response has a separate date/source. If none occurred, write PHYSICAL DANCE MOVEMENT NOT OBSERVED, TEACHER DEMO NOT PERFORMED as applicable and NO ACTUAL AUDIENCE RESPONSE.