Strictly Ballroom Analytical Response Plan

HSC-style question

You have been invited to speak at the book launch of a new collection of texts entitled Belonging in our Society. 

In your speech, explain and assess the ways in which belonging is represented in the texts in the collection. 

In your answer, refer to your prescribed text and at least ONE other related text of your choosing.

Modelled response

Texts: Strictly Ballroom and 'Slow Cycle'

‘Slow cycle’  is a short story written by Nerida Wayland. The extract is used here as a related text.]

Analytical response plan

Introduction

People long to be together, to spend time with one another and to connect to other human beings. Sometimes this longing is so strong that it prevents us from exploring our own desires and from fulfilling our own dreams. Our need to belong can also force us to compromise our own values and adhere to expected codes of behaviour. So what do you do? These issues of rebellion and belonging are poignantly explored in Baz Luhrmann’s film ‘Strictly Ballroom’, an Australian classic that humorously pokes fun at the frivolous world of ballroom dancing to highlight the values of self-belief and self-will, and the difficulties in expressing these in an oppressive society. The extract from Nerida Wayland’s ‘Slow cycle’ also explores the values of identity and self-expression and their effect on an individual’s ability to belong in a meaningful way in marriage. To me, ‘Strictly Ballroom’ and ‘Slow cycle’ are worthy additions to ‘Belonging in our Society’ because they explore the emotional impact of rebellion and its effect on belonging in society. 

First body paragraph

Topic sentence

‘Strictly Ballroom’ successfully creates humour by satirising aspects of the ballroom dancing world, showing the restrictions placed on  the individual’s desire for self-expression and individuality.

Main points

Fantasy motifs—e.g. red curtain, dancing silhouettes—are used to depict the ballroom dancing world as ‘unreal’.

The world of ballroom dancing is depicted as colourful and glamorous.

Interviews contain exaggerated comments and fear of ‘new steps’.

Key quotes

‘I kept asking myself, “Why?”’

’Did I fail him as a mother?’

Second body paragraph

Topic sentence

The value of self-belief in ‘Strictly Ballroom’ is shown through the realistic representation of dancing within the Spanish community, in contrast to the exaggerated,  cartoon-like images of the ballroom dancing world, which is dominated by flashy costumes, wailing women and insincerity.

Main points

Scott is challenged by Rico to dance the paso doble and is laughed at for the way he dances.

Rico dances with passion and deliberation.

Ya Ya shows Scott where to feel the rhythm.

The Spanish community teaches Scott the value of dancing from the heart.

Scott dances freely, expressing himself.

Key quotes

‘What is so funny about the way I dance?’

Third body paragraph

Topic sentence

Rebellion against expected ways of belonging is also explored in the extract from ‘Slow cycle’ as the persona leaves her husband to travel through Morocco in a quest for identity. 

Main points

There is a comparison between the postcard of the Australian outback and the Moroccan landscape.

Visual images of the Moroccan sun, wind and desert highlight the persona’s isolation and confusion.

The persona feels an inability to connect with and belong to her new environment.

A lack of understanding between the husband and wife leads to separation.

Key quotes

‘setting sun’, ‘chilling night winds’, ‘impending desert’

‘But why Morocco?’/‘Why not?’ 

Conclusion

As individuals, we struggle against the oppression of others who insist we blindly follow expected ways of behaving and belonging. Making a decision to rebel against expected ways of being can have a significant emotional impact on an individual’s sense of self. However, when we objectively observe the influences in our lives, we are better able to decide a course of action that is most suited to our personal judgments and aspirations. When we are comfortable with our choices we have a better chance of belonging in a meaningful manner to a group, community or society. In this collection ‘Belonging in our Society’, therefore, ‘Strictly Ballroom’ and the extract from ‘Slow cycle’ successfully address the implications of rebellion and self-expression on an individual’s ability to comfortably belong while maintaining identity.

Body paragraphs

‘Strictly Ballroom’ successfully creates humour by satirising aspects of the ballroom dancing world, showing the restrictions placed on  the individual’s desire for self-expression and individuality. The opening scene highlights a fantasy world, depicting silhouettes of ballroom dancers gracefully dancing to the famous waltz, ‘The Blue Danube’, followed by images of the glitzy and glamorous dancers in their brilliant costumes. It is a world the audience is set up to admire: we would all would like to belong to it. Or would we? The crosscutting to the interviews at the beginning of the film surprises the audience, sending up the content of the interview and the exaggerated seriousness of the characters’ approach to ballroom dancing. The interviews describe the events of the recent Southern District Waratah Championships, where Scott Hastings dared to express his individuality through unconventional dance steps. A tone of mock tragedy is expressed through Shirley’s lament, ‘I kept asking myself, “Why?” … Did I fail him as a mother?’ The word ‘tragedy’ makes the audience laugh at her exaggeration. The open framing here as Scott dances out of the shot conveys the sense of rebellion, juxtaposing the image with the closed framing of the ‘strictly ballroom’ waltz in the scene. By now we see the original images of the dancing silhouettes as superficial. This is not a world we would want to belong to, as it is fraught with anxiety and fear of self-expression.

The value of self-belief in ‘Strictly Ballroom’ is shown through the realistic representation of dancing within the Spanish community, in contrast to the exaggerated,  cartoon-like images of the ballroom dancing world, which is dominated by flashy costumes, wailing women and insincerity. Through Fran and her Spanish culture, Scott is transformed as he learns the value of dancing from his heart, and the true spirit of family and belonging. To depict the backyard of the Toledo Milk Bar, Fran’s home, Luhrmann uses low-key lighting and creates a romantic, warm and inviting atmosphere. When Rico challenges Scott to dance the paso doble, Scott is ridiculed for not dancing from the heart and this separates him from the group. Close-ups of people laughing are juxtaposed with long shots of Fran and Scott dancing, showing that they are laughing at the way he dances. The medium shots between Scott and Rico accentuate Scott’s humiliation and highlight Scott’s folly as Scott asks, ‘What is so funny?’ Rico rises from his chair and begins to dance with deliberate steps and obvious passion, which is shown through a combination of medium and long shots intermingled with close-ups of his spinning feet. Close-ups of Scott’s softly lit face show his sense of enlightenment and desire to connect with the values of the Spanish community. Ya Ya taps Scott’s gut and chest, mimicking the rhythm of the heartbeat, illustrating Scott’s realisation of where the real rhythm should come from.  When he dances again, he is seen twirling continuously as the camera pans up from his feet. Flecks of light shine on him while he spins in complete abandonment, celebrating his liberation and newfound sense of belonging.

Rebellion against expected ways of belonging is also explored in the extract from ‘Slow cycle’ as the persona leaves her husband to travel through Morocco in a quest for identity. Marriage is integral to how we live in society, making an exploration of the barriers to an effective relationship worthy of discussion and incorporation into ‘Belonging in our Society’. The persona compares her home in Australia to Morocco through the image of  the Australian outback postcards. The visual image of the Moroccan ‘setting sun’, an image of beauty, is juxtaposed with the images of ‘chilling night winds’ and ‘impending desert’, which suggest fear and loneliness. This highlights the persona’s isolation and confusion in the absence of security and belonging. The persona is uncertain about her decision to leave the marriage and travel on her own. This is further developed through the persona’s unsuccessful attempt to connect with her new environment and the young boy on the roadside, which she compares to her struggle to focus on things that matter in her marriage. The short, sharp dialogue between the persona and her husband (‘But why Morocco?’/‘Why not?’) illustrates the strain on the relationship and their inability to communicate, hampering their sense of belonging together. The persona has separated from her husband to re-establish her sense of identity, something she has not been able to do within the marriage. 

The Crucible: Analytical Response Plan

HSC-style question 1

Despite an individual’s desire to belong to a group or community, this is not always possible.

How do the texts you have studied represent the processes and results of belonging and/or not belonging? 

In your answer, refer to your prescribed text and at least ONE other related text of your choosing.

See other analytical response plan posts for how to write an analytical response plan.

Modelled response

Texts: The Crucible and ‘Berla Hill’

[The Crucible is one of the prescribed texts for the HSC. ‘Berla Hill’ is a short piece of creative writing by Shelley McNamara, which is on this blog. It is used here as a related text.]

Analytical response plan

Introduction

Belonging to a community or group is complicated. Societies are made up of complex rules and codes of behaviour, determined by those in power, which the members of the society are expected to adhere to. However this is not always possible, especially when an individual’s values oppose those values of people in positions of power. When the dominant values in society and the processes of administering the law are fundamentally flawed and corrupt, it is difficult for the individual to remain true to their own sense of morality. In ‘The Crucible’, by Arthur Miller, hysteria caused by accusations of witchcraft destroys the community, creating mistrust and fear and the struggle to belong securely in family groups . Similarly, in the short piece of creative writing ‘Berla Hill’, the hypocrisy of the council’s practice of governing is exposed through the death of innocent children, undermining the secure foundation of the society they purport to provide. 

First body paragraph

Topic sentence

In ‘The Crucible’, hysteria plays a significant role in destroying the sense of belonging within the community of Salem, compromising people’s security within their households and faith in dominant values within the society.

Main points

The fervour of accusations destroys logic in the community.

Miller is critical of the hysteria, as it leads to innocent people being accused.

Miller and his friends were accused of having pro-communist beliefs.

Accusations are based on grudges, not truth.

Hale urges Danforth to postpone the hangings as Salem is on the verge of rebellion.

Key quotes

‘She thinks to kill me, then to take my place’

Second body paragraph

Topic sentence

In an act of redemption and rebellion, John Proctor overcomes the oppression of belonging to a corrupted society by adhering to the principles of honour and dignity. 

Main points

Elizabeth tells Proctor that Corey Giles refused to confess to witchcraft and was crushed to death by stones.

Proctor laments that he is not a good man and can’t go to the gallows a martyr.

Proctor asks for Elizabeth’s forgiveness.

Proctor confesses to witchcraft, but refuses to sign the confession as it will condemn innocent people.

Proctor refuses to sign the confession as he will compromise his reputation.

Act of ‘judging’ is used to symbolise the corruption of the law

He goes to the gallows redeemed.

Key quotes

‘mount the gibbet like a saint’

‘dust on the feet of them that hanged’

‘I speak my own sins; I cannot judge another’

‘He have his goodness now’

Third body paragraph

Topic sentence

In ‘Berla Hill’, the forced unity and sense of belonging of the community is juxtaposed with the corruption and hypocrisy of the council, which has caused the death of innocent children. 

Main points

The composer uses an ironic tone when writing about the building of the new council chambers and the community’s mandatory financial contributions.

The children fall ill and are buried at the back of the council chambers instead of the churchyard.

The green sterilising fluid from the drain is the cause of these deaths.

A young boy is found dead in the river, finally exposing the corruption.

Key quotes

‘civic responsibility’

‘splendid addition to our fine city’

‘green sterilising fluid flushing out unwanted waste’

‘God-fearing Christians’

Conclusion

To defy the established order in any given society is not an easy task. The desire to belong to a community and follow expected moral codes is so strong that it can lead people to compromise their own integrity and values. ‘The Crucible’ explores the difficulties that can result when an individual refuses to yield to the corruption of values in a society in order to simply belong. The ease with which individuals can be manipulated by those in authority is represented in ‘Berla Hill’, showing that corruption leads to instability and a lack of desire to belong in a society that is fundamentally flawed by those in power.

Body paragraphs

In ‘The Crucible’, hysteria plays a significant role in destroying the sense of belonging within the community of Salem, compromising people’s security within their households and obscuring faith in dominant values within the society. The process of enacting revenge is symbolically represented through the fervour of accusations of witchcraft, which destroy all logic and allow people in Salem to believe normally upstanding members of the community have been involved in heinous activities, such as killing babies and communing with the devil. Miller, having been accused of being a communist along with many of his friends, is critical of this hysteria. Despite some of his characters’ legitimate fear of witchcraft, the fervour surrounding their accusations leads to innocent people being accused of wrongdoing to satisfy vengeful grudges. Abigail accuses Elizabeth of witchcraft in order to seek revenge, as Elizabeth acknowledges when she says, Abigail ‘thinks to kill me, then to take my place’. Thomas Putnam seeks revenge on Francis Nurse by accusing his wife, Rebecca, of murdering Ann Putnam’s babies through supernatural means. In Act Four, Reverend Hale reports that the town is in great confusion because of the hysteria, using visual images of homeless orphans wandering the street, abandoned cattle and rotting crops. Judge Danforth refuses to postpone the hangings of innocent people, however, ironically stating that it would be unjust to pardon people when others have already been hanged for the same crime. A previously cohesive community is now on the verge of rebellion, as no one knows who the next victim of the hysteria will be.  

In an act of redemption and rebellion, John Proctor overcomes the oppression of belonging to a corrupted society by adhering to the principles of honour and dignity. In the last scene of the play, Elizabeth is urged by Reverend Hale to speak with Proctor in the hope that she can get her husband to confess to witchcraft. Instead, Elizabeth’s visual image of Giles Corey being crushed to death by having stones placed on his chest forces Proctor to consider his own personal truth. Even on the brink of death, Giles Corey refused to tarnish his reputation and stood mute so that he could die a Christian under the law. Proctor laments that he is not a good man and cannot ‘mount the gibbet like a saint’, the simile being used to compare the honour of characters like Corey with Proctor’s own blemished past. Proctor thinks that if he goes to the gallows as a martyr it would be a falsehood as he is not worth the ‘dust on the feet of them that hanged’—others who have not sinned as he has. In the end, he refuses to sign the confession as it will condemn innocent people: ‘I speak my own sins; I cannot judge another’. The act of ‘judging’ is used to symbolically represent the irony of the legal proceedings during the witch trial, which led to innocent deaths. Proctor, an ordinary man, acts honourably by refusing to ‘judge’ others, while the law does not. Proctor was at first willing to give his soul through his confession, but refuses to compromise his reputation for the sake of belonging to a corrupt society, maintaining his dignity in the face of death. As he goes to the gallows, Elizabeth observes that ‘he have his goodness now’.

In ‘Berla Hill’, the forced unity and sense of belonging of the community is juxtaposed with the corruption and hypocrisy of the council, which has caused the death of innocent children. The system of governing, which led to the development of a new council chamber building, becomes the reason for the destruction of the community’s sense of security and trust in authority. The composer establishes an ironic tone about the new building the community has been forced to pay for as part of their ‘civic responsibility’. The community was assured that the chambers would be a ‘splendid addition’ to the ‘fine city’, not only because of the stonework in the building, but through the construction of a youth centre designed to keep young people off the streets and out of trouble. However, there is a suggestion of a cover-up, created through the visual images of small children suddenly falling ill and dying. The image of their burial at the back of the council chambers instead of in the churchyard symbolises the council’s cover-up. When it becomes obvious that the ‘green sterilising fluid’ is actually the cause of these deaths, the council members try to preserve the enforced sense of community and continue with the pretence of celebration for the opening of the new council chambers. The composer’s sceptical tone is shown through the councillors’ claim that they are nevertheless ‘God-fearing Christians’. When a young boy slips through his mother’s arms at the opening ceremony and is found dead in the river, the corruption and hypocrisy of those in authority is finally exposed. The composer is highlighting that belonging securely in a society is dependent upon the honest practices of those who have the power to manipulate that society.

Belonging Related Text - Berla Hill

Berla Hill council chambers were nestled on the top of the hill, overlooking the town of the same name. The recently built stone building was unlike any other in town as the rest of the public buildings were made of wood. Members of the council chambers assured the community that the building was the most splendid addition to our fine town and that the extra levies on our council fees we were forced to pay was our civic responsibility. The council chambers was unique in that as well as containing a ballroom temporarily available for mass until the new church was built, there was a centre for youth to drop in at their leisure.  The centre also provided activities and programs specifically designed to keep the youth of today entertained and off the streets. The councillors also hoped that the days of random markings, symbolic of delinquent youth behaviour, all over the town hall and courthouse were well and truly past for our most gracious city. 

The council chambers were scheduled to be opened for business on the 16th of June 1850. It was expected that as well as prominent officials and businessmen in the community, mothers and their children of non-school age would also be in attendance. Since the burning of the church, it was our duty to support local families and promote community spirit in whatever way we could. Tea was to be served on the verandah on the south side of the building overlooking the river at half past 10 in the morning and proceedings would begin promptly in the ballroom half an hour later. 

Recently several small children had fallen ill, coughing sporadically and breaking out in a nasty rash.  When they died, the town broke with the tradition of the country and began burying these small children on the hill behind the chambers instead of the yard of the local church, which no one had bothered to get around to building yet. The councillors assured us that our beloved children were in safe hands and that as God-fearing Christians they would look after them in death as they had done in life. 

At the back of the chambers, at the bottom of the hill, sheep wandered aimlessly in the green pastures and the cattle slept under the scattered trees. An open drain, a feat of innovation we were told on account of the green sterilising liquid flushing out unwanted waste, ran from the council chambers down the dusty road to the river at the front, which ran along the bottom of the hill through to the main part of town some 500 metres  below. The local children would strip off naked and paddle in the cool water at the bottom of the hill on a warm summer’s day. As a child, my brother and I had swum there daily in the summer months. It was our only relief from the heat. Since the opening of the council chambers all that has changed. The children began to avoid the area from that day forward, even though it is the deepest part of the river and you can jump off the rocks on the side into the water without fear of hitting the bottom. The lack of life caused a slimy film to grow over the water and our fine city. 

On the grand opening day, during Councillor Fraser’s glorious speech in the heady heat about the benefits of community spirit and the value of a solid work ethic, a strange smell like rotten eggs wafted through the proceedings, distracting the usually attentive constituents. A councillor rose from his chair to close the windows, stifling the listeners even more.  A young boy from a neighbouring farm slipped from his mother’s arms to go to his father, so she thought, but instead the boy made his way down the dusty road to the river. While we coughed and congratulated ourselves on the generous contributions we had made to the building of the council chambers, the boy disappeared into the river. 

As the body was dragged over the rocky bank up onto the grass where a large group of people looked on furtively, the boy’s skin sizzled like a sausage, and I temporarily presumed he must still be alive. Burials resumed in the churchyard after that day.

Shelley McNamara