📚 A Linha Curva — 6b.4
Choreographic Content
Four movement examples · RADS · devices · DLIE appreciation · interpretation
📚 What this page covers
- Four movement examples — each a key section from the work
- RADS breakdown — Actions, Dynamics, Space, Relationships
- Choreographic devices used in each example
- DLIE appreciation panels — full D/L/I/E worked answers
- Bank of model interpretations — tap to reveal, then write your own
Viewing note
Ask your teacher for access to the full performance recording and interview clips — these are essential for preparing your Section C answers. A trailer and a short clip are available via your teacher or the portal landing page.
6b.4.1 Movement Example 1 — The Large Ensemble Opening
1
The Large Ensemble Opening
Section 1 · 28 dancers · Grid lighting on · Named motifs in formations
🎬Ask your teacher for the full performance recording to view this section.
The longest section of the work — an overwhelming ensemble of 28 dancers performing named motifs in a series of formations dictated by the 7×7 chequer-board lighting grid. The section opens with a chant, then moves into the Liris motif — a grounded, hip-led phrase with a shoulder roll, clap and hand-under-chin gesture. Accumulation along a diagonal builds from one dancer to many. The section ends with canon duets — 7 couples in rapid close-contact sparring with kicks over the head and lunges, with a strong capoeira feel.
Actions
Travel · step · lunge · turn · gesture · clap · swing arms · shoulder roll · kick · arch · drop · run
💭 The clap and shoulder roll could suggest the communal rhythm of a street party — everyone joining in the same beat together.
Dynamics
Rhythmic · energetic · sharp · punchy · accented · grounded · sudden (clap) · fluid (arm swings)
💭 The sharp, punchy accents could suggest the energy of live carnival percussion driving the body — movement that cannot resist the beat.
Space
Chequer-board grid constrains positions. Linear formations and diagonals. Mid to low level throughout. Canon duets confined to individual grid squares.
💭 Being confined to a grid square despite the joyful energy could suggest that freedom always operates within invisible social constraints — the dancers celebrate, but only where they are permitted to.
Relationships
Full ensemble of 28. Accumulation (Liris diagonal). Unison in formations. Canon (named motifs in sequence). Close-contact canon duets — 7 couples sparring.
💭 The accumulation along the diagonal could represent a carnival parade collecting more participants as it moves through the streets of Brazil — one individual after another choosing to join, until the whole street is dancing.
Motif & development
Accumulation
Canon
Unison
Repetition
Motif & development — the named motifs (Liris, Robson, Wagner and others) are short phrases that were each created by a specific dancer through improvisation. These phrases are introduced, then repeated and developed across the section, each time appearing in different formations or at different points in the canon.💭 Each named phrase carries a hidden individual identity within the collective — even when 28 people perform in unison, each movement has one person's name on it.
Accumulation — in the Liris motif, dancers begin performing one after another along a diagonal line, the phrase building from a single dancer to a large group. This mirrors the samba parade stimulus — individuals joining a growing collective.💭 Like a carnival parade gathering participants as it moves through the streets — one dancer joins, then another, until the whole diagonal is alive. This could represent the irresistible pull of communal joy: once it starts, it collects everyone.
Canon — the named motifs ripple through the company in canon, creating a wave-like visual effect across the lighting grid. The canon duets end the section with 7 couples starting in sequence from upstage right to downstage left.💭 The ripple of canon across the grid could suggest the way music and rhythm spread through a crowd — one person picks it up, then the next, until everyone is moving together.
Unison — between canon moments, all 28 dancers perform in unison, creating the visual impact of the samba parade — every body moving as one.💭 28 bodies in perfect unison could represent the collective identity of carnival — the moment when the individual temporarily gives themselves to the group, and something bigger emerges.
Sample answer — The Large Ensemble Opening
D
Describe — what can you see?
28 dancers perform a series of named motifs — including the Liris phrase (shoulder roll, clap, hand-under-chin gesture) — in formations dictated by the chequer-board lighting grid. The Liris motif builds through accumulation along a diagonal. The section ends with canon duets: 7 couples in rapid close-contact sparring with kicks over the head, confined to individual grid squares.
L
Link — how does it connect to intent or stimulus?
The ensemble formations and samba-influenced named motifs directly link to the stimulus of Brazilian culture — evoking a carnival parade. The accumulation in the Liris motif mirrors the parade's growing scale, while the chequer-board grid links to the contradiction in the title: the curved line of samba movement performed within the strict straight lines of the grid.
I
Interpret — what could it mean or symbolise?
The fact that each named motif was created by — and is named after — an individual dancer could suggest that the ensemble contains hidden individual identities beneath its uniform surface. The joy of the samba celebration could suggest that living fully in the moment is only possible in the company of others.
E
Evaluate — what impact does it have on the audience?
This is effective because the visual density of 28 dancers in unison creates an almost overwhelming sense of collective energy and celebration — the audience is drawn into the carnival atmosphere before any narrative complication has been introduced. The scale is the celebration itself.
💬 Bank of model interpretations — tap each to reveal:
The grid constraining the named motifs could suggest… ›
The fact that each dancer's personally created phrase must be performed within the boundaries of a pre-programmed grid square could suggest that individual freedom always exists within social constraints — we carry our own identity, but the structure we live within shapes what we can do with it.
The accumulation in the Liris motif could represent… ›
The gradual addition of one dancer after another along the diagonal could represent community growing — individuals joining a collective, gathering momentum. This mirrors how a carnival parade builds in the streets of Brazil, one float and one dancer at a time.
The canon duets' capoeira feel could suggest… ›
The close-contact sparring of the canon duets — kicks over the head, rapid lunges — could suggest that even within celebration, competition and underlying tension are present. The capoeira influence reminds us that this martial art was born from struggle, not just from joy.
💜 Your turn — personal prompts
When you watch 28 dancers in full formation, do you feel the individuals within the ensemble or does the collective overwhelm them? What does this make you think about Galili's intent?
Knowing that every named motif was created by the dancer whose name it carries — does this change how you watch the ensemble sections? Can you see individual personalities within the unison?
6b.4.2 Movement Example 2 — The Adage Septet
2
The Adage Septet
Section 2 · 7 female dancers · Accumulation → simultaneous canon · Skateboards · 7 yellow squares only
🎬Ask your teacher for the full performance recording to view this section.
After the overwhelming scale and energy of Section 1, a sudden dramatic shift: a single female dancer begins a slow, fluid, rippling phrase — almost in silence. The music changes to a sparse, gong-led texture. One by one, six more female dancers join through accumulation, until all 7 stand on their individual yellow lighting squares. Later, the motif develops into a simultaneous canon. Male dancers lie on their backs on skateboards and propel themselves silently across the darkness, rippling arms just visible as they skim the space.
Actions
Lunge · reach · ripple · contract · gesture · arch · rise · turn · drop · bounce · (skateboards: propel, skim)
💭 The reaching and rippling could suggest a yearning quality — a body searching for something just out of grasp. The arch and rise could represent a moment of breakthrough before returning to stillness.
Dynamics
Slow · languid · gentle · careful · soft · suspended · sudden (bounce) · fluid throughout. No floor work.
💭 The sudden bounce within the slow, sustained quality could represent an involuntary moment of joy — as if the body cannot fully suppress the carnival energy still pulsing beneath the stillness.
Space
7 yellow squares only — rest of stage in darkness. Diagonals and verticals of the grid. DSL to DSR. No floor work — upright throughout.
💭 Each dancer isolated on her own square of light could suggest individual identities emerging from the collective — 7 women visible in their own spotlights for the first time, each one held and separate.
Relationships
7 female dancers. Accumulation (1 → 7). Simultaneous canon (same phrase, different entry points). Male dancers on skateboards in darkness — separate relationship.
💭 Like the carnival parade in Section 1 — but here quiet, careful, female. Each woman joining the growing line with deliberate grace rather than explosive energy, as if this parade is moving through a different kind of street entirely.
Accumulation
Simultaneous canon
Contrast
Motif & development
Accumulation — the single most important structural device in this section. The Adage phrase begins with one dancer and each subsequent dancer enters at the touch of the hand, building from 1 to 7. This creates a gradual layering of the phrase that mirrors the careful, patient quality of the movement itself.💭 Where the Robson accumulation in Section 1 felt like a carnival parade exploding into life, the Adage accumulation feels like something quietly gathering — women joining one another not with a shout but with a touch of the hand, as if adding their voice to a whispered conversation.
Simultaneous canon — later in the section, all 7 dancers perform the same phrase but at different points: 3 start from the beginning, 2 start at the bounce, 2 start at the final lunge. Although the phrase is the same, the different entry points create a fragmented, shimmering visual effect — as if the phrase is breathing.💭 The same idea held by many people at different stages could represent the way a shared experience is never quite the same for everyone — seven women, one phrase, seven different moments of living within it.
Contrast — the Adage Septet is a deliberate structural contrast to Section 1. Where Section 1 was high-energy, rhythmically driven and featured 28 dancers, Section 2 is slow, fluid, near-silent, and reduced to 7. This contrast is the work's central energy curve in action.💭 The sudden reduction from 28 to 1 could represent the individual emerging from the crowd — a moment of solitude within the celebration, the person beneath the carnival costume.
Motif development — the adage phrase is performed three times, each time facing a new direction: downstage left, upstage right, then both sides simultaneously in the simultaneous canon. The spatial development of the motif changes its visual character without altering the phrase itself.💭 The same phrase turning to face different directions could suggest the same experience viewed from multiple angles — the women do not change, but the world around them shifts.
Sample answer — The Adage Septet
D
Describe — what can you see?
A single female dancer begins a slow, fluid rippling phrase on one of 7 illuminated yellow squares — the rest of the stage is in darkness. One by one, 6 more dancers enter through accumulation until all 7 stand on their yellow squares. The actions are languid and extended — lunge, reach, ripple, contract, arch, rise, bounce — with sudden dynamic punctuation at the bounce. Male dancers on skateboards skim silently across the darkness, their rippling arms barely visible.
L
Link — how does it connect to intent or stimulus?
The sudden contrast to Section 1 links to the contradictions described in the choreographic intent — the work is not simply joyful and celebratory, but contains a quieter, more complex layer. The 7 yellow lighting squares link to the lighting grid — even in this slow narrative moment, the grid structure remains, reinforcing the title's central contradiction.
I
Interpret — what could it mean or symbolise?
The gradual growth from 1 to 7 dancers could suggest the fragility of female experience within the larger celebratory work — each individual figure cautious and deliberate before the group forms. The male dancers on skateboards moving silently beneath the women could suggest a separate, hidden male world existing alongside but not intersecting with the female one.
E
Evaluate — what impact does it have on the audience?
This is effective because the sudden reduction in scale — from 28 dancers to 1 — creates an almost shocking contrast that forces the audience to focus intently on individual bodies and movement quality. The near-silence and the restricted yellow squares make each gesture feel precious and deliberate in a way the ensemble sections cannot.
💬 Bank of model interpretations — tap each to reveal:
The accumulation from 1 to 7 dancers could suggest… ›
The gradual building from a single dancer to all 7 could suggest the power of female solidarity — each woman adding her presence to a growing collective, moving together with patient, careful grace. This creates a quiet counterpoint to the competitive male energy of Sections 3 and 6.
The male dancers on skateboards could suggest… ›
The male dancers skimming silently across the darkness — below and behind the female dancers' slow, luminous phrases — could suggest the men's presence as a background current, existing without the women noticing. It is a haunting visual: the men are there, moving, but invisible within the women's world.
The sudden bounce dynamic could suggest… ›
Within the otherwise slow, sustained quality, the sudden bounce creates a brief moment of involuntary joy — as if the body cannot sustain its quiet stillness and must, for a moment, burst upward. This could link to the intent of living in the moment: even in stillness, life insists on movement.
💜 Your turn — personal prompts
The Adage Septet comes immediately after the most overwhelming section of the work. What do you feel as the single dancer appears? Does the contrast feel abrupt, or does it feel right?
The male dancers on skateboards are barely visible. Did you notice them the first time you watched? What does their hidden presence make you think about the relationship between men and women in this work?
6b.4.3 Movement Example 3 — Showing Off
3
Showing Off
Section 3 · 5 male dancers + 1 solo female · Thrust & Jump motif · Floor work · Contact phrase · White wash lighting
🎬Ask your teacher for the full performance recording to view this section.
Five male dancers travel on a diagonal from upstage left to downstage right towards a solo female dancer. The Thrust & Jump motif is energetic and athletic — hip thrusts, high jumps, staccato body shapes. The men then fall to the floor in a straight line, rapidly roll to their stomachs and onto their backs. The section climaxes with an over-and-under contact phrase: at any one time, one dancer dives along the floor, one bends over to support, one balances standing on his back, one supports the standing dancer, and one runs from behind preparing to take his turn. The solo female performs a short phrase, but the men are entirely focused on competing with each other and barely notice her.
Actions
Jump · thrust (hips) · contract · fall · lie · roll · pose · dive along floor · bend over · balance/stand on back · run · support
💭 The men throwing themselves to the floor — falling from a jump — could suggest that bravado always carries the risk of falling. The display of strength contains its own vulnerability.
Dynamics
Strong · powerful · sharp · staccato · rigid · sudden. Contrast with female solo: lighter, more fluid quality.
💭 The sharp, staccato quality could suggest a performance anxiety — every movement posed and precise, as if being judged. The contrast with the female solo's fluid quality could suggest two entirely different ways of being in a body.
Space
Diagonal pathway USL → DSR. Floor level (fall, lie, roll) and mid level (standing, jumping). Two large white wash lights upstage left — grid is off.
💭 The men travelling directly towards the solo female on the diagonal could represent pursuit — the diagonal as a line of intent, the whole section a choreographed approach to a person who doesn't look up.
Relationships
5 men in unison and canon. Close contact phrase: over and under (dive, support, balance). 1 solo female in counterpoint — separate, unnoticed.
💭 The female solo in counterpoint — performed simultaneously but going unnoticed — could represent the experience of speaking without being heard. She has her own story; the men have simply decided not to listen to it.
Unison
Canon
Counterpoint
Contrast
Motif & development
Unison — the 5 men perform the Thrust & Jump motif in unison as they travel the diagonal, creating a powerful, regimented sense of collective male display. The unison emphasises the competitive showing-off as a group performance, not just an individual one.💭 Five men in unison could suggest that machismo is a collective performance — no single man is showing off independently, they all do it together, as if the group's approval is the real audience, not the woman.
Canon — the jumps in the motif ripple through the men in canon: dancer 1, dancer 2, dancer 2 again — creating a staggered, percussive effect. The over-and-under contact phrase also repeats three times with the men taking different roles each time.💭 The canon of jumps could suggest a competitive call-and-response — each man answering the one before, each raising the stakes slightly, like a street corner game where no-one wants to be the last to stop.
Counterpoint — the solo female dancer performs her own phrase simultaneously alongside the men's motif. Because the men are so focused on competing with each other, she goes almost unnoticed — the counterpoint is a commentary: two things happen at once, but one is ignored.💭 Counterpoint here is not just a device — it is a statement. Two stories exist on stage at the same time; the audience must choose which one to watch. Most will follow the explosive men. That choice is the point.
Contrast — the floor work (fall, lie, roll) contrasts with the high jumps earlier in the motif, creating a dynamic range from airborne athleticism to grounded floor-level work. The female solo's lighter, more fluid quality also contrasts with the men's staccato power.💭 The floor work after the jumps could suggest the collapse of the performance — after the show of strength, the body falls. Every display contains within it the moment it ends.
Sample answer — Showing Off
D
Describe — what can you see?
Five male dancers travel on a diagonal from upstage left to downstage right performing the Thrust & Jump motif in unison and canon — thrusting hips, jumping into second position, contracting. The men then fall to the floor, rolling rapidly. An over-and-under contact phrase follows: one dancer dives along the floor while another bends over him to support a third who stands and balances on his back. The dynamics are strong, sharp, staccato and sudden. A solo female dancer performs a short phrase in counterpoint — largely unnoticed by the men.
L
Link — how does it connect to intent or stimulus?
This section directly links to the choreographic intent — the Fact File describes the narrative sections as showing "the competitive nature of the males and how they relate to the women." The section embodies this observation: the men's athletic display is directed at the woman, but their real competition is with each other. The white wash lighting (grid off) signals the narrative, character-driven nature of this section.
I
Interpret — what could it mean or symbolise?
The over-and-under contact phrase — where the men literally use each other as platforms — could suggest that male competition is fundamentally collaborative: men compete by lifting each other, supporting each other's performances. The female dancer's unnoticed solo could suggest that the entire performance is for the men themselves, not truly for her.
E
Evaluate — what impact does it have on the audience?
This is effective because the counterpoint between the men's explosive physicality and the woman's quiet solo creates a moment of social observation that subtly unsettles the celebratory mood. The audience watches both at once and must decide what to pay attention to — mirroring the men's choice to ignore her.
💬 Bank of model interpretations — tap each to reveal:
The over-and-under contact phrase could suggest… ›
The contact phrase — where the men literally support each other to create impressive balances — could suggest that male competition is built on male solidarity. The performance for the woman is really a performance for each other. The men need each other to achieve the display they cannot do alone.
The female dancer's unnoticed solo could represent… ›
The quiet female solo, performed while the men show off around her, could represent the experience of being present but unseen — having something to say but being ignored because the dominant group is too preoccupied with themselves. In my opinion, this is one of the most quietly political moments in the work.
The floor work (fall, roll) could suggest… ›
The sudden fall from a jump to the floor — rolling rapidly — could suggest vulnerability beneath the bravado. The men throw themselves down as an act of strength, but lying on the floor is also an act of exposure. This could suggest that showing off always carries a risk of falling.
💜 Your turn — personal prompts
When you watch this section, do you find yourself watching the men or the woman? Does the fact that the men ignore her make you more aware of her? What does Galili want you to notice?
The contact phrase requires the men to literally support each other to create impressive displays. Does this feel competitive or collaborative to you? Can it feel like both?
6b.4.4 Movement Example 4 — The Finale & Call Outs
4
The Finale & Call Outs
Section 7 · All 28 dancers · Grid returns · Climactic energy · Vocal call outs · Liris accumulation
🎬Ask your teacher for the full performance recording to view this section.
The work builds to its climactic conclusion. All 28 dancers return to the grid formations with the full chequer-board lighting reinstated. At certain cue points, dancers are free to call out — unscripted words of encouragement, party sounds, whistles, screams — creating a live, unpredictable carnival atmosphere that changes with every performance. A brief moment of silence arrives — then a male dancer in the downstage right corner restarts the call outs, building again. Female dancers enter loudly. The Liris motif returns for a final accumulation — bringing the full 28 together in a carnival peak before the work ends.
Actions
Step · travel · gesture · call out (vocal) · shoulder roll · clap · hand-under-chin (Liris). Samba-influenced movement throughout.
💭 The unscripted call outs could represent the one moment of true spontaneity in an otherwise carefully designed work — joy that cannot be planned, rehearsed or repeated exactly. This is living in the moment made literal.
Dynamics
Energetic · rhythmic · accented · building · climactic · sudden (call outs) · brief moment of suspension (silence) before the final peak.
💭 The brief silence — a sudden suspension within the climax — could represent the held breath before something transcendent happens. The dynamic contrast makes the energy that follows more overwhelming precisely because it almost stopped.
Space
Full chequer-board grid reinstated. Full stage — all squares occupied. Linear formations. DSR corner as starting point for final call out sequence.
💭 The return of the full grid — all squares lit, all occupied — could suggest the restoration of the collective identity after the narrative interruptions. The community has reassembled; the parade continues.
Relationships
All 28 dancers together. Unison in formations. Accumulation in the Liris finale. Vocal call outs create unpredictable ensemble interaction.
💭 The final Liris accumulation — the same device used to open the work — could suggest that the parade has now gathered everyone. The curved line has closed on itself. The community that started with one shoulder roll now fills the whole stage.
Climax
Accumulation
Repetition
Motif development
Highlights
Climax — the entire structure of the work has been building towards this finale. The energy curve (low in Section 2, gradually climbing through Sections 3–6) reaches its peak here. The return of the full grid, all 28 dancers, and the Liris accumulation creates the most visually and aurally overwhelming moment of the work.💭 The climax could represent the peak of living in the moment — the instant when past and future no longer exist, and only the present celebration remains. This is the work's intent made physical.
Accumulation — the Liris motif makes its final return through accumulation, echoing its first appearance in Section 1. The repetition of this device at the beginning and end of the work creates structural unity — the same tool used in the same phrase, bookending the piece.💭 The accumulation returning here could represent the parade completing its circuit — the carnival that began with one dancer on a diagonal has now gathered all 28. The curved line returns to where it started, completing the arc that is the work's title.
Motif development — the Liris motif, originally introduced at the opening, has been developed throughout the work. In the finale it returns in its most developed form — with more dancers, more complex formations, and a full company energy that the opening version could only hint at.💭 The same phrase, now performed by the full company at maximum energy, could suggest that joy grows through repetition — the more times a celebration returns, the bigger and more joyful it becomes.
Highlights — the brief moment of silence within the final section is a powerful structural highlight: the call outs and music suddenly stop, creating a moment of suspension before the DSR dancer restarts and the energy builds to its final peak. The silence makes the sound that follows more overwhelming by contrast.💭 The silence could represent the contradiction at the heart of the work — even in the most ecstatic celebration, there is a moment where it nearly ends. The pause reminds us that the joy is temporary, which is precisely what makes it worth living.
Sample answer — The Finale & Call Outs
D
Describe — what can you see?
All 28 dancers return to the full chequer-board grid for the climactic finale. At cue points, individual dancers call out — unscripted words, whistles and sounds of encouragement. A brief silence falls; a male dancer in the downstage right corner restarts the call outs. The Liris motif — shoulder roll, clap, hand-under-chin — returns for a final accumulation, building from a few dancers to the full company in a peak of samba-influenced energy.
L
Link — how does it connect to intent or stimulus?
The return of the full grid and the Liris accumulation directly links to the choreographic intent — the celebration of the Brazilian way of life and the ability to live in the moment. The unscripted call outs link to the stimulus of carnival culture: live, unpredictable, communal sound-making that is different at every performance.
I
Interpret — what could it mean or symbolise?
The brief silence before the final call outs could represent the moment before a carnival reaches its absolute peak — the collective holding of breath before the explosion. The Liris motif returning at the end could suggest that the work has come full circle: the individual phrase that began the celebration is also the phrase that completes it, suggesting the curved line has closed on itself.
E
Evaluate — what impact does it have on the audience?
This is effective because the unscripted call outs break the fourth wall — the performers are no longer just performing, they are genuinely celebrating in the moment, differently at every show. This unpredictability gives the audience permission to respond — to feel part of the carnival rather than just spectators of it.
💬 Bank of model interpretations — tap each to reveal:
The Liris motif returning at the end could suggest… ›
The return of the opening Liris phrase for the final accumulation could suggest the work has described a curved line — beginning and ending in the same place, with the same motif, performed by the same people. The structure of the whole work literally embodies its title: the Curved Line returns to its starting point, completing the arc.
The brief moment of silence could suggest… ›
The sudden silence within the call-out section could suggest the contradiction at the heart of the work: even in the most ecstatic celebration, there is a moment of stillness — a breath — that reminds us the joy is temporary. The silence makes the final burst feel more precious, more alive, because we know it will end.
The unscripted call outs could represent… ›
The call outs — which change at every performance — could represent living in the moment: the one element of the work that cannot be repeated, planned or perfected. Galili builds this unpredictability in as a structural feature, ensuring the work's intent (to live fully in the present) is expressed not just through movement but through the very nature of how the finale is made.
💜 Your turn — personal prompts
Does knowing the call outs are unscripted — different every night — change how you experience the finale? Does it feel more or less like "dance" to you?
The brief silence in the finale is a single moment where everything stops. Which do you find more powerful — the silence itself, or the explosion of energy that follows it?
📌 Revisit This — Choreographic Content at a Glance
ME1 — Large Ensemble
Named motifs · accumulation (Liris diagonal) · canon duets · grid formations · 28 dancers
ME2 — Adage Septet
Lunge, reach, ripple, bounce · accumulation 1→7 · simultaneous canon · 7 yellow squares · no floor work
ME3 — Showing Off
Thrust & Jump · floor work (fall, lie, roll) · contact phrase · counterpoint (female solo) · staccato dynamics
ME4 — Finale
Unscripted call outs · brief silence · Liris accumulation · full grid · climax · 28 dancers
Key devices across all 4
Accumulation · canon · unison · motif & development · counterpoint · contrast · climax
DLIE reminder
D and L = facts. I and E = your opinion. Use "This could suggest…" and "This is effective because…"
✍️ Revision Check
10 questions across all four movement examples — answer all, then submit.
1. What is the Liris motif, and when does it first appear?
2. What choreographic device builds the Adage Septet from 1 to 7 dancers?
3. In the Adage Septet, what is a simultaneous canon?
4. What are the actions in the over-and-under contact phrase in the Showing Off section?
5. What does the female dancer do during the Showing Off section?
6. What are the actions in the Adage Septet motif?
7. What device is described as "two different phrases performed simultaneously" — and where does it appear in ME3?
8. What is significant about the call outs in the finale?
9. What is the function of the brief silence in the finale?
10. Why is the return of the Liris motif in the finale structurally significant?
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