ENGLISH FINAL TEST

Read the text bellow and answer the question correctly !

A visit to the dramatic island of Bali will not be complete without watching some of the most captivating traditional performances the island has to offer. Aside from Barong and Janger Dances, another dazzling performance you definitely don’t want to miss is the traditional Kecak Dance, one of Balinese artistic masterpieces in the form of a dance and musical drama.

Held in the open air at sunset , usually above a cliff facing the sea, the drama depends entirely on the natural light of day. Starting at dusk, the story continues into the dark, when only light comes only from flickering bamboo torches.

What makes this dance particularly unique is that the drama uses no artificial backdrop, involving no musical instrument. The focus is entirely on the concentric circles of about 50-60 men, bare-chested, wearing only distinct Balinese sarongs sitting cross-legged around a set of torches in the center.

Instead of the traditional “gamelan” orchestra which usually accompanies other Balinese traditional performances, the Kecak is simply accompanied by the chanting of the chorus of men representing an army of monkeys continuously intoning “Cak! Cak! Cak!” or “Keh-Chak" in polyrhythmic sounds during almost the entire performance. This amazing human voiced orchestra is led by a soloist, who is in charge of indicating the high and low notes, and also acts as narrator. The effect, after a while, is to provide a wall of dramatic sound against which the action of the play is enacted.

The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.

Question : What is the best tittle of the passage?

• Balinese dances

• Ramayana epic

• Kecak dance

• Traditional dance

Read the text bellow and answer the question correctly !

A visit to the dramatic island of Bali will not be complete without watching some of the most captivating traditional performances the island has to offer. Aside from Barong and Janger Dances, another dazzling performance you definitely don’t want to miss is the traditional Kecak Dance, one of Balinese artistic masterpieces in the form of a dance and musical drama.

Held in the open air at sunset , usually above a cliff facing the sea, the drama depends entirely on the natural light of day. Starting at dusk, the story continues into the dark, when only light comes only from flickering bamboo torches.

What makes this dance particularly unique is that the drama uses no artificial backdrop, involving no musical instrument. The focus is entirely on the concentric circles of about 50-60 men, bare-chested, wearing only distinct Balinese sarongs sitting cross-legged around a set of torches in the center.

Instead of the traditional “gamelan” orchestra which usually accompanies other Balinese traditional performances, the Kecak is simply accompanied by the chanting of the chorus of men representing an army of monkeys continuously intoning “Cak! Cak! Cak!” or “Keh-Chak" in polyrhythmic sounds during almost the entire performance. This amazing human voiced orchestra is led by a soloist, who is in charge of indicating the high and low notes, and also acts as narrator. The effect, after a while, is to provide a wall of dramatic sound against which the action of the play is enacted.

The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.

Question : What makes the Kecak dance unique?

• the dance drama uses no artificial backdrop, involving no musical instrument

• the dance drama dances by 50-60 male dancers completely form a diagonal pattern

• the drama uses artificial backdrop, involving gamelan musical instrument

• the dance drama accompanied by internal music and dances by 50-60 female dancers

Read the text bellow and answer the question correctly !

A visit to the dramatic island of Bali will not be complete without watching some of the most captivating traditional performances the island has to offer. Aside from Barong and Janger Dances, another dazzling performance you definitely don’t want to miss is the traditional Kecak Dance, one of Balinese artistic masterpieces in the form of a dance and musical drama.

Held in the open air at sunset , usually above a cliff facing the sea, the drama depends entirely on the natural light of day. Starting at dusk, the story continues into the dark, when only light comes only from flickering bamboo torches.

What makes this dance particularly unique is that the drama uses no artificial backdrop, involving no musical instrument. The focus is entirely on the concentric circles of about 50-60 men, bare-chested, wearing only distinct Balinese sarongs sitting cross-legged around a set of torches in the center.

Instead of the traditional “gamelan” orchestra which usually accompanies other Balinese traditional performances, the Kecak is simply accompanied by the chanting of the chorus of men representing an army of monkeys continuously intoning “Cak! Cak! Cak!” or “Keh-Chak" in polyrhythmic sounds during almost the entire performance. This amazing human voiced orchestra is led by a soloist, who is in charge of indicating the high and low notes, and also acts as narrator. The effect, after a while, is to provide a wall of dramatic sound against which the action of the play is enacted.

The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.

Question : What is soloist in kecak dance ?

• a person who sing the high and low notes

• a person who led the voiced orchestra

• a person who dance and sing the voiced orchestra

• a person who act as narrator only

Read the text bellow and answer the question correctly !

A visit to the dramatic island of Bali will not be complete without watching some of the most captivating traditional performances the island has to offer. Aside from Barong and Janger Dances, another dazzling performance you definitely don’t want to miss is the traditional Kecak Dance, one of Balinese artistic masterpieces in the form of a dance and musical drama.

Held in the open air at sunset , usually above a cliff facing the sea, the drama depends entirely on the natural light of day. Starting at dusk, the story continues into the dark, when only light comes only from flickering bamboo torches.

What makes this dance particularly unique is that the drama uses no artificial backdrop, involving no musical instrument. The focus is entirely on the concentric circles of about 50-60 men, bare-chested, wearing only distinct Balinese sarongs sitting cross-legged around a set of torches in the center.

Instead of the traditional “gamelan” orchestra which usually accompanies other Balinese traditional performances, the Kecak is simply accompanied by the chanting of the chorus of men representing an army of monkeys continuously intoning “Cak! Cak! Cak!” or “Keh-Chak" in polyrhythmic sounds during almost the entire performance. This amazing human voiced orchestra is led by a soloist, who is in charge of indicating the high and low notes, and also acts as narrator. The effect, after a while, is to provide a wall of dramatic sound against which the action of the play is enacted.

The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.

Question : Who is Hanoman?

• the king of monkey kingdom

• the commander in Rahwana's palace

• the commander of monkey kingdom

• the hero of white monkey

Read the text bellow and answer the question correctly !

A visit to the dramatic island of Bali will not be complete without watching some of the most captivating traditional performances the island has to offer. Aside from Barong and Janger Dances, another dazzling performance you definitely don’t want to miss is the traditional Kecak Dance, one of Balinese artistic masterpieces in the form of a dance and musical drama.

Held in the open air at sunset , usually above a cliff facing the sea, the drama depends entirely on the natural light of day. Starting at dusk, the story continues into the dark, when only light comes only from flickering bamboo torches.

What makes this dance particularly unique is that the drama uses no artificial backdrop, involving no musical instrument. The focus is entirely on the concentric circles of about 50-60 men, bare-chested, wearing only distinct Balinese sarongs sitting cross-legged around a set of torches in the center.

Instead of the traditional “gamelan” orchestra which usually accompanies other Balinese traditional performances, the Kecak is simply accompanied by the chanting of the chorus of men representing an army of monkeys continuously intoning “Cak! Cak! Cak!” or “Keh-Chak" in polyrhythmic sounds during almost the entire performance. This amazing human voiced orchestra is led by a soloist, who is in charge of indicating the high and low notes, and also acts as narrator. The effect, after a while, is to provide a wall of dramatic sound against which the action of the play is enacted.

The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.

Question : Choose the correct following statement below...........

• Rama helps Laksmana to find Sinta in Rahwana's palace

• The kecak dance also dance by 50-60 male and female dancer

• The kecak dancer wearing only distinct Balinese sarongs sitting cross-legged around a set of torches in the center.

• Sugriwa Sugriwa kidnaps Sinta in the monkey kingdom

The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.

Questions : What is the aim of this research?

• to study the features of the training of choreographers in higher education institution and their professional development in the context of educational activities and the professional competence development in the process of practical professional training

• to determine the concept of the training of choreographers in higher education institution and their professional education activities

• to create the practical training of choreographers in higher education and thei profesional competencies

• to find how the training method of professional educators and choreographers in higher education and their professional competencies

Read the text and answer the following question!

The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.

Question: What is the method of the research?

• Mix method

• Quantitative method

• Research and development method

• Qualitative method

Read the text and answer the following question!

The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.

Question: There are the result of this study, except......

• The study shows the problem of implementing the training of choreographers in higher education institution

• The research shows the way to the professional qualities development of future specialists

• The study shows practical value for educators of higher education institutions for the perspective of introducing and implementing the latest training approaches in the educational process,

• The research shows the problem and practical concept for educators of higher education implementing in choreghaphy class to be professional educators

Read the text and answer the following question!

The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.

Question : What part does the text above include in the article?

• Abstract

• Introduction

• Method

• Result and discussion

Read the text and answer the following question!

The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.

Question: The best title of this passage is.............

• Training process of Dance class in Higher Education

• Training of Choreographers in Higher Education Institutions

• Analysis of professional dance education in Higher education

• Analysis of learning process in Higher Education Institutions