# Complete original Dance sources, teacher-demo score and exact aid alternatives

## Prepare a safe, child-chosen making space

Read all source text aloud. Offer speech, sign, AAC, drawing, broad fixed cards, braille production, an adult scribe, a paper mover or optional safe movement. A child can make a Dance idea without using their body for the first response; mark the evidence type precisely. Before any actual physical exploration, a locally responsible educator checks floor, width, personal equipment boundary, individual access/range, stop cue, rest, supervision and warm-up/cool-down. No touch, peer contact, enforced copy, jump, floor roll, spin, balance trick, fast travel, loud sound or public solo. A child can stop or choose a smaller action without explaining. Never infer a diagnosis or feeling from the chosen route. Do not record or share child image/voice in this public pack.

No external dance, song, cultural gesture or motif is supplied. The educator may perform the original [demo score below](#original-subjectnest-teacher-demo-score) if locally safe and willing; that becomes an actual first-party school encounter **only when it happens** and is dated. A paper score or our generated cue is not a human performance. [AUTHENTIC-SOURCE-SLOT.md](AUTHENTIC-SOURCE-SLOT.md) explains the separate authorised real-work and community-context gate. Do not make claims about a community or maker from a fictional card.

## Optional locally approved Dance enactment

Where the school approves physical activity and the individual chooses it, the educator offers a comfortable stationary starting place, a short warm-up within the child's chosen range, the paper score, a clear stop cue and rest. Demonstrate **one small opening action → a comfortable still or slow wait → a changed answer action → stop**; the child may invent a different movement phrase. For Week 4, offer **one continuous small path → a direction or quality change → a comfortable pause**. A chosen hand, arm, finger, head, gaze or whole-body action can be considered without prescribing a posture, body part, direction, speed or unsupported mobility task. Provide seated/standing/stationary or assisted access only as locally suitable; never move the child's body for them. The child can instead direct an adult or paper mover and still develop an original composition. Record *which* action was actually observed, support used, date and adaptation only in the school's private record; if none occurred, write **PHYSICAL DANCE MOVEMENT NOT OBSERVED**. A paper-only response should never be marked as failed simply because optional physical movement was declined.

## Complete original teaching sources

**Source A · an invitation on paper.** “In an invented Paper Room, maker Ada places a broad OPEN shape in the first box, a WAIT space in the second, and a small TURN shape in the third. Ada says, ‘This is my invitation for another maker to answer in their own way.’ The boxes are a paper score. Nobody has moved or watched it yet.” OPEN, WAIT and TURN are choices about an idea, not prescribed body positions.

**Source B · an answer may differ.** “In the same fictional room, maker Bo sees Ada's paper invitation. Bo chooses a curved paper line as an answer instead of copying Ada's TURN. Ada's line and Bo's line can sit side by side. The story says nothing about a real person's permission, body, feelings or response.” An answer can be a changed quality, direction or pause, not an exact copy.

**Source C · consent to share.** “A puppet asks, ‘May I show my paper movement idea to you?’ Another puppet says, ‘Not now.’ The first puppet says, ‘Okay. I can keep it private or ask a different willing audience later.’ No one has to explain a no. A paper puppet is only rehearsal, not a real audience.” A child's own sharing choice controls any real audience invitation.

**Source D · a new flow phrase.** “An invented score has three large marks: **SMOOTH LINE → CHANGE DIRECTION → PAUSE**. The paper mover traces a gentle line, turns onto another broad line and stops. A maker says, ‘I want someone to notice the change.’ There is no instruction to roll or slide a body, and the score cannot tell how anyone moved.” The flow idea can be communicated through a safe chosen gesture, object direction or explanation.

**Source E · two possible meanings.** “Maker Imani puts a PAUSE after a smooth line and says, ‘I meant the pause to give space for the next idea.’ A different invented maker puts the pause first and says, ‘I wanted to begin quietly.’ These are their stated intentions, not proof that every audience member noticed the same thing.” A child's own stated intention may differ.

**Source F · an audience is real only if present.** “A puppet card says, ‘I noticed the pause.’ The card is a fictional sample of possible feedback. If a child shows a work to a willing real person, ask what that person actually said or did; if no reply occurred, write **NO ACTUAL AUDIENCE RESPONSE**. Do not invent praise, understanding or impact.”

## Original SubjectNest teacher-demo score

**Work title: Open, Answer, Pause. Maker: SubjectNest by NeuroForgeIO Pty Ltd (original score, 30 September 2026). Intended purpose:** show that one small invitation can receive a different answer and leave room for another person. **Score:** at a comfortable place, the adult chooses a small OPEN gesture or paper marker for count 1; leaves a visible WAIT on count 2; chooses a changed answer shape on count 3; ends with a PAUSE on count 4. The adult says, “I chose a different answer instead of an exact copy.” An optional quiet original [two-note cue](audio/two-note-cue.wav) marks count 1 and count 3; the same four numbered cards are the no-audio route. The educator may change or omit any physical motion for safe access while retaining invitation, answer and pause. This is a complete original score and maker statement, not a claim that a teacher or child performed it. If actually performed, record the performer, date, adaptation, audience and what was observed, then ask children what they noticed without telling them a required emotional effect. No recorded child performance is needed.

## Six A4 aids: exact ordered text, tactile and linear routes

Each printed page has six broad numbered fields. Read them top to bottom. For a tactile route, secure six broad strips or braille labels in this same order; no loose small piece is required. A child may decline touch. Read arrow directions aloud and never rely on colour alone. Empty space is for a fictional score or private school record, not personal disclosure.

1. [Invitation score](invitation-score.svg): **MAKER'S OWN IDEA; OPEN / OFFER; WAIT / SPACE; CHOSEN THIRD SHAPE; WHAT I WANT TO COMMUNICATE; PAPER / ACTUAL MOVEMENT / UNKNOWN**. Six fields. The large drawings at right show a source card, two lines opening from one point, two thick upright wait bars, a curved answer arrow, a line continuing right and a paper card. A thick connector outside the boxes runs from OPEN past WAIT to the CHOSEN shape. Read or trace **idea → open → wait → chosen answer → meaning → evidence type**. This paper score is not a floor route or a body position.
2. [Answer choice](answer-choice.svg): **SOURCE IDEA I NOTICED; MY ANSWER MAY BE DIFFERENT; CHANGE DIRECTION / QUALITY / PAUSE; TWO IDEAS SIDE BY SIDE; NO EXACT COPY REQUIRED; WHAT IS OBSERVED / UNKNOWN**. Six fields. The large drawings show an initial curved arrow, a second differently curved arrow, an arrow that turns a broad corner, a curve and corner side by side, two unlike marks, and a paper card. Read or trace **source → changed answer → what changed → compare → choose rather than copy → record what actually happened**. The two marks do not imply physical synchrony.
3. [Choice to share](choice-share.svg): **ASK BEFORE SHOWING; YES / NO / NOT NOW; NO REASON NEEDED; CHOOSE A WILLING PERSON OR PRIVATE ROUTE; STOP OR CHANGE AT ANY TIME; ACTUAL PERSON SAW / HEARD? YES / NO**. Six fields. Large drawings show a speech bubble, three separate choice boxes, thick wait bars, two separated circles with a connecting arrow, a stop box, and a circle used only as an event marker. Read or trace **ask → choice → respect pause → willing audience or privacy → stop/change → record actual event**. No child must perform or supply an audience name publicly; the circles are abstract markers, not required bodies.
4. [Flow phrase](smooth-change-pause.svg): **SMOOTH LINE ON PAPER; CHANGE DIRECTION ON PAPER; PAUSE MARK; CHILD-CHOSEN SAFE ACTION IF ANY; SOURCE: PAPER / ACTUAL / ADULT; WHAT THE MAKER MEANT**. Six fields. Large drawings show a broad smooth curved arrow, a right-angle arrow, two thick pause bars, a small optional curved line, two overlapping source cards, and a speech bubble. A thick connector outside the boxes links the first three steps. Read or trace **smooth → change → pause → optional safe action → source type → maker meaning**. These are paper score cues, not instructions to roll a body.
5. [Maker and audience](maker-audience.svg): **WORK TITLE + MAKER; ORIGINAL SCORE OR AUTHORIZED REAL WORK; ACTUALLY PERFORMED? DATE / NO; CHOSEN WILLING AUDIENCE OR PRIVATE; ACTUAL RESPONSE OR NO RESPONSE; COMMUNITY MEANING: SOURCE OR UNKNOWN**. Six fields. Do not invent a community claim from the maker's fictional story.
6. [Evidence split](evidence-split.svg): **DATE + SCHOOL APPROVAL; CHILD'S PAPER IDEA + SUPPORT; CHILD'S ACTUAL MOVEMENT OR NOT OBSERVED; ACTUAL WORK / MAKER SOURCE OR NOT ENCOUNTERED; SHARED WITH REAL WILLING PERSON OR NOT; ACTUAL AUDIENCE RESPONSE OR NONE**. Six fields. Private teacher record; no public child identifiers.

The print pages and optional audio are original access supports. They do not certify a physical movement, a completed Dance work, a real performance, a willing audience or community importance without the corresponding event/source. Keep paper composition, actual physical action, maker intention and audience response as separate records.