# Twenty worked context swaps · all original and optional

These invented domains give another way to practise each day's maker decision after the full teaching source. They are not the [fresh assessment cases](ASSESSMENT.md), real community dance, actual performance or audience results. A child may stay with paper, object, AAC, tactile strip or words; physical exploration and sharing remain optional and locally approved.

## Day 11

1. **Library welcome.** A fictional maker scores OPEN–WAIT–POINT for a new shelf display. **Worked report:** The maker chooses an opening and an answer shape; whether anyone notices it is unknown.
2. **Garden gate story.** A paper mover makes a wide offer, leaves space and changes direction. **Worked report:** The score can suggest an invitation without requiring a child to walk to a real gate.

## Day 12

1. **Train-platform fiction.** A maker draws a straight offer; another draws a soft curve. **Worked report:** The second line answers differently; it is not an exact copy or a real person's response.
2. **Art-table dialogue.** Two broad cards show high line and low line. **Worked report:** A changed level on paper can be named as a maker choice, not bodily range evidence.

## Day 13

1. **Bakery-window story.** A paper score says OFFER–WAIT–ANSWER. **Worked report:** The wait separates ideas; no child must hold a difficult pose.
2. **Bus-stop drawing.** A PAUSE label moves from after an arrow to before it. **Worked report:** Timing and possible maker intention change; no viewer effect is guaranteed.

## Day 14

1. **Class poster idea.** A puppet asks a peer to see a paper score and hears “not now.” **Worked report:** Accept no and keep the work private or choose a later willing adult; the puppet is not a real audience.
2. **Story-corner maker.** A fictional maker chooses one willing educator. **Worked report:** Actual sharing evidence exists only if a real educator receives the child's own idea, not from this invented sentence.

## Day 15

1. **Post-check museum label.** A paper maker draws offer–space–curve. **Worked report:** After the fresh first response, name the changed answer and keep it a paper composition.
2. **Post-check sports banner.** A maker declines to show a draft. **Worked report:** Respect the choice; no audience-sharing result is recorded.

## Day 16

1. **Beach-map fiction.** A broad drawn arc leads to a pause box. **Worked report:** The smooth line is a paper flow cue, not an instruction to slide a body.
2. **Space-window story.** A paper mover follows a long line. **Worked report:** The maker can intend calm travel, but no human movement or audience feeling is observed.

## Day 17

1. **Farmers-market sketch.** Version two bends left instead of right at one mark. **Worked report:** One directional revision can communicate a changed focus, if the maker says so.
2. **Book-fair sign.** A line changes from connected to broken near its end. **Worked report:** The changed quality is visible on paper; an actual dancer's quality remains unobserved.

## Day 18

1. **Quiet-stage idea.** A pause before a line is chosen to begin with room for another mark. **Worked report:** Record the maker's intention, not a claim every viewer felt welcome.
2. **Workshop map.** A pause after a curve suggests the end of an idea. **Worked report:** This differs from pause-first; no required body freeze follows.

## Day 19

1. **Paper-gallery card.** The original maker title and purpose are printed, but no teacher performs it. **Worked report:** A real work encounter has not occurred; mark **TEACHER DEMO NOT PERFORMED**.
2. **Willing listener.** A child actually shows a paper score to a teacher who says, “I saw your second pause.” **Worked report:** Only a *real* matching event could be recorded as audience response; this written example is fictional.

## Day 20

1. **Post-check kite display.** A maker changes a broad line to a corner, then pauses. **Worked report:** After the held check, point to the revised mark and state a possible intention without claiming actual performance.
2. **Post-check story window.** An adult moves a marker for a child-directed score. **Worked report:** Credit the child's composition choice; label the motion adult/paper, not child physical dance.