This key chooses a next teaching step, not a score for a whole-year Dance standard. Credit an accurate answer through a language the educator actually understands, AAC, sign, pointing or an adult scribe; do not infer a translation. Record adult reading/access support separately from content hints. A fictional statement is a maker intention in the story, not a measured viewer effect. Paper, actual physical movement, actual performed work and willing audience response are different evidence sources.
Day 15 · Case I
Question 1. Remi's printed sequence is OPEN ARCH | SPACE | UP LINE. Remi explicitly says the SPACE lets another maker answer differently. Credit an exact point to the fields with a clear paraphrase of the maker's purpose. Do not invent a real person seeing it.
Question 2. Many original answers are valid: for example, a broad DOWN CURVE after SPACE instead of Remi's UP LINE. Credit any clearly changed answer and the child's stated intention, even if it differs from the example. If a child repeats UP LINE, invite a revision after the first response. This is composition; PHYSICAL DANCE MOVEMENT NOT OBSERVED unless actual suitable movement occurs separately.
Question 3. No. The puppet has not seen or replied and is not a real audience. A child may choose to present the work to one willing real educator or another approved person by paper, AAC, narration or optional safe movement. Record date, what the child shared and who actually encountered it privately. If no one responds, write NO ACTUAL AUDIENCE RESPONSE; do not invent understanding or praise. Passing on sharing is respected.
Next teaching: If maker purpose is confused with viewer effect, point to Remi's words and put UNKNOWN beside the puppet. If an answer exactly copies the source, use another broad direction card and ask what changed.
Day 20 · Case J
Question 1. The CORNER CHANGE is the turn after SMOOTH LINE. Rumi's stated intention puts PAUSE after the change, in the BLANK END. Credit pointing, a broad PAUSE card or words that preserve that order.
Question 2. Place SMOOTH LINE → CORNER CHANGE → PAUSE. A different original revision could put PAUSE first, change the corner to a broad curve, or choose another safe paper quality, with a stated new intention. Do not require the key's example or infer that all viewers would see the same idea. A physically performed version is optional and separately observed.
Question 3. No. The source explicitly says no person has danced it or reported a response. Real performance evidence would need a locally approved, actually performed and dated version, with performer and adaptation recorded. A real audience response needs a willing person who actually encountered the work and what they really said or did. If neither happened, write TEACHER DEMO NOT PERFORMED, PHYSICAL DANCE MOVEMENT NOT OBSERVED and NO ACTUAL AUDIENCE RESPONSE as applicable. A paper score is still valid composition evidence.
Next teaching: If the pause location is missed, re-read the maker's exact “after the change” phrase with a new blank score. If performance and score are conflated, compare paper with a separately dated teacher performance only if one actually occurred. Community importance remains unknown without an authorised real work and context source.