Prepare once
Make two broad movement cards labelled A: MY FIRST MOVE and B: MY SECOND MOVE, one broad PAUSE card and one broad FINISH card. Use a large circle for A, square for B, two short parallel marks for PAUSE and a broad horizontal line for FINISH. Read the words aloud. Shape plus label gives more than a colour cue. None of these symbols is an official safety sign or universal gesture.
Prepare four broad blank moment spaces, plus a separate two-space repeat-unit strip. Use fixed raised outlines, large print, spoken/exact descriptions, AAC or child-directed placement when useful. No printing, music, device, costume or special kit is needed. Keep fresh Checks M/N unseen before Days 35/40.
Ask the learner what movement ideas work for them today. A and B can be distinct small movements within their own comfortable range, agreed with the educator; no prescribed reach, crouch, speed or amplitude is required. The adult can demonstrate an individually suitable option only after local checks, or a child can direct an adult instead. PAUSE means the chosen short rest/still moment in the artwork; FINISH marks that the phrase is over. A rest is not a compulsory rigid posture or a test of staying still.
Actual movement route and local safety
The educator checks stable reachable space, appropriate supervision, individual access/comfort, local movement routines, rest and warm-up/cool-down. No jumps, spins, floor work, forced stretching, contact, touching a person or mobility aid, loud/startling cues or public solo is required. Do not turn a mark's paper position into a prescribed body range. Ask each time; stop or change route on request. Physical safety must be judged locally by an educator who can see the learner and setup.
The learner chooses their own A/B actions, practises one short phrase, then decides what to keep or change. A small comfortable stationary or seated phrase is valid when actually made; record exactly which actions and child decisions occurred, not a generic movement-capability judgment. An adult physically moving at the child's direction is an actual adult performance of the child's composition. A puppet/object route is an enacted model. A score-only route is an unperformed plan. NOT PERFORMED is an honest status.
No filming or child recording is needed. Any real work, audience response and individual adjustments stay in the educator's approved records. An actual audience must freely agree; keeping work private is always an option.
Complete original teaching models
Source A · One phrase, two child-owned ideas
Four movement spaces in order: A → B → A → B. Complete score: A → B → A → B → FINISH. A circle marks each A and a square marks each B. The two-space unit is A then B, repeated twice. In the model, A/B are placeholders for two different child-chosen movement ideas; no fixed body actions have been assigned. The line FINISH follows the final B outside the repeated unit. This source is a graphic composition model, not a child's dance or actual movement record.
Source B · Make the rest intentional
Five spaces in order: A → PAUSE → B → PAUSE → FINISH. The pause is part of the chosen phrase, not a missing answer. The maker can choose its comfortable length locally. This source is different from Source A: it is not two AB units. A pause or finish mark must not be silently added to A's two-part unit when asking a Mathematics repeat-unit question.
Source C · Two endings to compare
Return ending: A → B → A → FINISH. New ending: A → B → B → FINISH. In the model, the last movement choice differs while the opening A/B order stays the same. The author offers these as possible choices, not fixed meanings. A child may say the return feels familiar, prefer the new ending, or choose neither. No audience reaction, emotion or cultural meaning is supplied.
Actual supplied graphic work · Little Hello
The actual original score Little Hello is A → B → A → B → PAUSE → FINISH. Two AB units come before a separate pause and finish. Its creator/source is SubjectNest by NeuroForgeIO Pty Ltd, 2026; creation type is original computer-created teaching model. The documented author purpose is to help a learner try a small self-chosen welcoming phrase with a repeat and deliberate ending. The score is actually supplied; no human maker, dancer, physical performance, recording, community tradition or successful welcoming effect is claimed. See SUPPLIED-WORK.md.
Record the right evidence
Keep the child's chosen movement meanings, mark key, phrase order, own intention, revisions and support. Use separate fields for CHILD MOVEMENT OBSERVED, ADULT PERFORMANCE AT CHILD DIRECTION, OBJECT MODEL, SCORE ONLY / NOT PERFORMED, ACTUAL SOURCE ENCOUNTER, ACTUAL WILLING AUDIENCE and ACTUAL RESPONSE / NONE. Do not fill one from another. A claimed intended welcome is a maker intention until an actual willing listener/viewer gives their own response.
No-print and tactile route
Draw broad circle/square/pause/finish marks and lay them in reachable spaces. Read each space in order. Fixed broad raised outlines may represent mark identity and order if desired; they do not measure a child's physical movement or imply touch is compulsory. The adult places marks exactly as directed and reads the final order back. Exact visible words and diagram descriptions accompany each print aid. Paper-only is sufficient for the composition task; actual movement evidence needs actual movement.
Optional offline planner
The phrase planner offers three fixed score choices: TWO UNITS, WITH PAUSES and RETURN ENDING. Every choice retains its full-word linear order in PICTURES and WORDS views. There is no animation to copy, sound, tempo demand, recorded body, personal-data input or answer grading. It represents plans only. A child chooses a plan, explains its unit/ending and may revise on paper; the adult checks any actual physical use separately. The complete paper equivalent is choosing Source A/B/C and reading its spaces. Reset restores TWO UNITS / PICTURES.
Other actual Dance works
A teacher may introduce a varied real maker/work only after checking title, creator, date/source, access rights, intended context and relevant cultural authority. Use the maker's own sourced account of purpose rather than inventing a community meaning. Record what the child actually encountered and said. A listing or imagined interview is not an encounter. First Nations dance, community protocols and local knowledge must come from appropriately authorised people/materials; no imitation of a traditional movement or pattern is supplied here.