Assessment 1 - creativeacademy.org€¦ · Web viewDate/time/method of submission: Monitoring from Week 1 to Week 14 Word count or equivalent: Students will be expected to improve

Module Study GuideAcademic Year 2018-2019

Performance Project 2Location: The Creative Academy, 73a Stoke Poges lane, SLOUGH, SL1 3NY

Module Code: MU5FD19S

Level: 5

Credits: 20

Version No 01 © UWL 2016

Form I – Module Study Guide template – April 2016 Page 1 of 24

Table of Contents

Performance Project 2 1Table of Contents21. Module Leader, Teaching Team and Module Administrator Details 32. Key Contacts 33. Further Information 54. Welcome to the Module 74. Timetable/Venue/Rooms 85. Aims of the Module 86. Learning Outcomes 87. Content of the Module 98. Learning Resources 99. Reading List 1010. Assessment: General Information 1111. Details of Assessment 12Assessment 1 12Assessment 2 13

13. Summative Assessment Grid 1614. External Examiner(s) 1715. Statement on Plagiarism 172. Evaluation of the Module 1817. Personal Development Plan (PDP) 1818. If You Have an Issue 1812. Drop-in Support Service 1913. Guide to Learning Sessions 20Session number: 1 20Session number: 2 21Session number: 3 21Session number: 4 21Session number: 5 22Session number: 6 22Session number: 7 22Session number: 8 23Session number: 9 23Session number: 10 23Session number: 11 24Session number: 12 24Session number: 13 24Session number: 14 24


1. Module Leader, Teaching Team and Module Administrator Details

Module Leader Taira Foo

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 07969780063

Location The Creative Academy

Name George Kirkham

Job title The Creative Academy Manager


Phone 01753 875 400


Name Jagdev Khatkar

Job title Quality Assurance and Business Manager


Phone 01753 875 400


Administrator Cassia Rudge

Job title Academic Administrator


Phone 01753 875 400


mailto:[email protected]





2. Key Contacts

The key contacts for your course are set out below:

The Course Leader responsible for this module is George Kirkham, and can be contacted at [email protected]

The Head of Subject responsible for this module is David Henson, and can be contacted at [email protected]

The Head of School/College/Dean of College responsible for this module is David Henson, and can be contacted at [email protected]

The Academic Partner Link Tutor responsible for this module is Emma Evans, and can be contacted at [email protected]





3. Further Information

Total Guided Learning Hours 200

Consisting of:

Teaching Contact Hours 42

Independent Study Hours 158

Placement Hours N/A

Assessment:

Percentage of final marks assessed by:

Performance 70%

Continual Creative Assessment 30%


4.

Due Dates:

Assessments for this module are due on the following dates: - Please see time-plan


Section

A

Overview and Content4. Welcome to the Module

Welcome to Performance Project 2. Over the next semester students will learn a great deal about company work, the production process of a performance and have the opportunity to work closely with an industry professional in order to gain knowledge and experience of working in a professional capacity. Most of the important information students require for this module is contained in this document. Students should familiarise themselves with this study guide to successfully achieve the requirements of this module.

This module is about creativity, co-operation and finding a place within a company. In Performance Project 1 students worked with their tutor and peers to create a performance. This year will feel familiar in set-up, however they will have to work with more independence and strive to formalise their creativity and push the creative self further, in order to develop as a young creative.

5. Timetable/Venue/Rooms

Please see timetable and time-plan

6. Aims of the Module

The aims of the module are to: · Enable Students to develop artistry, organisational and collaborative skills needed in making and presenting their own work.· Enable students to recognise and develop creative imagination, physical skills, and intellectual judgement.


· Professionally perform and create a touring performance while successfully completing a funding bid.· Enable students to develop their performance skills and develop their CV. · Gain an clear understanding of working in the creative industries.

7. Learning Outcomes

By the end of the module students will be able to:

LO5 1 Have a working knowledge and understanding of all aspects of running a small enterprise, funding and the needs of the professional arts sector.

LO5 2 Demonstrate a good professional knowledge and understanding of effective strategies for developing appropriate creative ideas in answer to specific work based problems.

LO5 3 Be able to critically evaluate the effectiveness of the produced performance in communicating its message to its target audience.

LO5 4 Engage and present opinion on current debates surrounding cultural policy and funding.

LO5 5 Be able to design, specify and manage writing and arts focused funding bid.

LO5 6 Professionally perform demonstrating a clear range of dance technique skills.

8. Content of the Module

You will participate in lectures regarding the running of a performance and create a performance with one primary tutor; a visiting choreographer will facilitate specific areas of work relating to company repertoire and the running of a small business.

Students will gain a physical understanding and experience the devices and methods used to create performance and performance practitioners while ensuring audience development.

All dance companies in the UK are considered Small Medium Enterprises including Rambert Dance Company (The UK’s largest professional dance employer). This module will demonstrate and support the students to create and run a social enterprise, develop a professional performance and provide industry relevant experience.

9. Learning Resources

Students will learn technique from one primary teacher with visiting practitioners facilitating specific genres of classical dance. The majority of the module will be delivered through workshop/practical sessions.


Students will learn and perform sequences of movement from specific choreographed pieces created by the primary tutor. The students will engage creatively with the material and demonstrate physically their understanding of the movement associated with classical technique.

Students will study with one primary dance teacher during the course with possible visits from others to focus on specific aspects of classical dance and the technique culture. Each teacher will bring to the classes his or her particular knowledge and experience of classical dance training and performance. This will demonstrate the importance of physical training within the dance industry and the role that classical dance plays.

10. Reading List

The reading list for your module is displayed below. Any core texts that you will be expected to purchase will also be indicated.

You can also login to the Student Portal and select My Blackboard to see an online version of the reading list shown below for your module maintained by Library Services. This shows real-time availability of books in our library catalogue and direct links to recommended online resources to save your time. Special online support guides (LibGuides) for the subject are also available to help you find relevant information for assignments, with contact details of the Academic Support Librarian for your subject.

Core: · Pearce, J (2003) Social Enterprise in Anytown, UK, Calouste Gulbenkian Foundation

Additional texts: · Hartley, J (2004) Creative Industries, UK, Blackwell Publishing · Pavis, P. (2006) Analysing Performance, USA, The University of Michigan press

Other Learning Resources (journals, databases, Websites):

Dancing Times - http://www.dancing-times.co.uk

Dance Europe - http://www.danceeurope.net

Pointe Magazine - http://pointemagazine.com


http://pointemagazine.com/

http://www.danceeurope.net/

http://www.dancing-times.co.uk/


Section

B

Assessment and Feedback11. Assessment: General Information

A variety of assessment methods will be used, however the primary vehicle for assessment will be through on-going tutor observation, an individual presentation and the performance of a dance theatre piece. Students will be required to work to deadlines both independently and within teams. The work will be assessed using a variety of methods including:

• Tutor marking and observation;

• Double marking; and

• External verification.

Individual progress in class will be continuously monitored and fed back to students by the module tutor, with input from visiting tutors. Teaching will be delivered through weekly lectures with considerable use of recorded resources and practical workshops/classes. These will be supported by group lectures in which students will discuss specific issues relating to each topic. Hand-outs will be provided at some of the lectures and there will be background reading to do some weeks. Students will be expected to undertake significant independent study, requiring them to familiarise themselves both with the Slough Borough Council town library resources and additional Creative Academy resources.

It is anticipated that downloads from www.creativeacademy.org and e-mail correspondence will be used to facilitate the exchange of information between students and staff.

The internet will also be a useful source of information for students when they are comparing different companies performing productions of the same/or similar name. However, information found on the net must be handled with extreme caution: there is no evidence to demonstrate how valid or accurate it is.

12. Details of Assessment

Assessment 1

Assessment task: Performance


Weighting: 70%

Date/time/method of submission: Week 14

Word count or equivalent: 10 to 20 minute dance piece choreographed by commissioned external choreographer based on a professional brief created by the company.

Assessment criteria:

Students are expected to execute the given choreography accurately and with performance quality, to show an understanding of classical technique, use of space, how to work within a group and as a solo performer.

Marking scheme:

(90-100) The work excels in all of the following: performance practice and management; criticality; rehearsal; thoroughness; performance; perspicacity; synthesis (of specific choreography); originality. It is the right length, pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.

(80-89) The work excels in most of the following: technical ability; performance practice and management; criticality; rehearsal; thoroughness; performance; perspicacity; synthesis (of specific choreography); originality. It is the right length, pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.

(70-79) The work excels in three or more of the following: performance practice and management; criticality; rehearsal; thoroughness; performance; perspicacity; synthesis (of specific choreography); originality. It is the right length, pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.

(60-69) The work displays one or more of the following properties very well: technical ability (in a variety of commercial techniques; specifically Street); criticality; rehearsal; thoroughness; performance; perspicacity; synthesis (of specific choreography); originality. It is the right technical demands are met, pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.

(50-59) The work shows some good evidence of involvement, and a little, however positive, independence of thought from a range of sources. It is largely technically correct, pertinent and coherent, if not very well-ordered, though these may be inadequate in places.

(40-49) The work shows limited independence of thought from its (perhaps very


limited) technical development and performance, and no signs of any involvement. It might be poorly performed with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent.

Fail(20-39)

The assignment fails when it is at least three of the following: very badly performed; no understanding is demonstrated physically of commercial techniques; the performer is heavily redundant; incoherent; irrelevant; lacking energy and student demonstrates an unprofessional attitude.

Fail(0-19)

The work/replication fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; technically incoherent; no understanding of commercial dance techniques; irrelevant; lacking in energy and student demonstrates an unprofessional attitude, and/or timekeeping is constantly bad.

Timing and methods of feedback:

Formative feedback will be provided verbally from the tutor on an ongoing basis. Summative feedback will be provided by tutor in writing, within 15 working days after submission of final assessment of the semester.

Assessment 2

Assessment task: Continual Creative Assessment

Weighting: 30%

Date/time/method of submission: Monitoring from Week 1 to Week 14

Word count or equivalent: Students will be expected to improve over the 14 weeks to the best of their facility and capability. Elements such as attendance, professionalism and conduct in both lectures and practical classes will be taken into consideration.

Assessment criteria: Students will be marked on trueness of replication of technique and choreography. Students will also be assessed on attendance, professionalism, contribution to the process, time keeping and participation in physical classes on a continual basis.

Marking scheme:

(90-100) The work excels in all of the following: technical ability rehearsal; thoroughness; performance; perspicacity; synthesis (of a broad range of sources or objects of study); intelligence. It is pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure. The student displays a professional attitude and 100% attendance to all lectures and workshops.


(80-89) The work excels in most of the following: technical ability; rehearsal; thoroughness; performance; perspicacity; synthesis (of a broad range of sources or objects of study); intelligence. It is pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure. The student displays a professional attitude and 100% attendance to all lectures and workshops. .

(70-79) The work excels in three or more of the following: technical ability rehearsal; thoroughness; performance; perspicacity; synthesis (of a broad range of sources or objects of study); intelligence. It is pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure. The student displays a professional attitude and 100% attendance to all lectures and workshops.

(60-69) The work displays one or more of the following properties: technical ability rehearsal; thoroughness; performance; perspicacity; synthesis (of a broad range of sources or objects of study); intelligence. The right technical demands are met, with a good sense of interpretation. The student displays a professional attitude and 90% attendance of all lectures and workshops.

(50-59) The work shows some evidence of involvement and a little independence of thought from a range of sources. It is largely technically correct, pertinent and coherent, if not very well performed or interpreted. 90% attendance of all lectures and workshops.

(40-49) The work shows no independence of thought or technical development and performance, and no signs of any involvement. It might be poorly performed with a certain amount of redundancy, but it must be at least partially pertinent and coherent. Less than 90% attendance of all lectures and workshops. .

Fail (20-39)

The assignment fails when it is at least three of the following: very badly performed; no understanding or engagement of practical performance techniques demonstrated; the performer is heavily redundant; incoherent; irrelevant; lacking energy and student demonstrates an unprofessional attitude.

Fail(0-19)

The work/replication fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; technically incoherent; no understanding of performance; irrelevant; lacking in energy and student demonstrates an unprofessional attitude, and/or timekeeping is constantly bad.

Timing and methods of feedback:


Formative feedback will be provided verbally from the tutor on an ongoing basis. Summative feedback will be provided by tutor in writing with 15 working days after submission of final assessment of the semester.


13.Summative Assessment Grid

Type of assessment

Module learning outcome(s)

Word count or equivalent

Due date and time

Threshold (if applicable)

Pass mark Weighting Date assignment feedback will be made available to student

Performance 1 to 6 10 to 20 minute Performance of choreography.

Week 14 Yes 40% 40 70% Within 15 days of assessment.

Continual Creative Assessment

1 to 6 14 weeks attendance of creative process.

Week 14 Yes 40% 40 30% Within 15 days of performance.


14. External Examiner(s)

The External Examiner is an independent academic staff member from another institution who provides assurance that the assessment system is fair and ensures that standards on the course are comparable to other institutions.

The External Examiner(s) for this module are listed below. Please note that this is provided for information only; students are not permitted to enter into any correspondence about their marks with External Examiners.

Name Jane White

Job Title Course Leader

Institution Arts University Bournemouth

15. Statement on Plagiarism

Plagiarism is defined as the practice of taking someone else’s work and/or ideas and passing it/them off as your own. It is the action of presenting someone else’s work as one’s own irrespective of intention. Close paraphrasing without adequate attribution; copying from the work of another person, including another student; using the ideas of another person without proper acknowledgement all constitute examples of plagiarism. In addition, the act of re-using work (whether in part or in whole) that you have previously submitted for graded assessment – at the University of West London or at another institution - without properly referencing yourself (known as ‘self-plagiarism’ ) shall also constitute plagiarism.

For further information please refer to the Student Handbook Section 3. University Regulations and Student Code of Conduct

For further advice on plagiarism go to the UWL website:

http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism


http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism

16. Evaluation of the Module

i) Evaluation framework

Towards the end of the module you will be invited to provide some feedback to the module leader. This will be through an online or paper survey and you will be given a few minutes in a taught session to complete it. Please think carefully about the feedback you provide. Constructive feedback will help your module leader understand your experience and help inform the development of the module. If you have concerns about individual members of staff, these should be taken to your module or course leader whose details are in Section Key Contact of this guide rather than expressed through the survey.

ii) Improvements made in response to student feedback

The biggest change to this module is that there is no longer a Mood Book connected to their project. This was discarded due to the students not feeling that they benefited greatly from documenting another creatives process. The weekly format is also harder to document and therefore the focus is fully on the performance project.

17. Personal Development Plan (PDP)

Students are responsible for recording notes from weekly lectures either via written or electronic means. Students are encouraged to undertake self-directed learning through independent research of dance theatre companies and choreographers and their methodologies. Students are encouraged to see live performances of dance theatre companies where available at theatres such as The Place Theatre or Sadler’s Wells, amongst others. All information gathered will inform each student for both assessments in this module.

Self-directed learning, analysis and interpretation of the materials recorded will inform each student’s personal development. Self-reflection between creative tasks and after rehearsals will also add to each student’s PDP.

18. If You Have an Issue

If you have an issue with the module or course you should speak to your personal tutor or Module Leader in the first instance. You could also speak to your Course Representative who will be able to raise it at a Course Committee which take place once each semester. You can also raise issues with your Course Leader. It is important that you raise matters as soon as possible so that they can be resolved.

If you have a complaint about the course you should raise this informally in the first instance with the Course Leader. If you are unable to resolve it informally, you should


use the Complaints Procedure which is outlined in the Student Handbook. You are also encouraged to contact the Students’ Union about it. The University aims to ensure that most issues are resolved informally but the Complaints Procedure is there to help you resolve issues if this is not the case.

19. Drop-in Support Service

Opportunities to gain support are available daily through bookable sessions run by the well-being team. Between them, the well-being team have experience in all the courses taught at the Creative Academy. Well-being staff are there to offer guidance and support on a one-to-one basis, whether academic or personal - Appointment is needed, every Tuesday.

If you want to contact the service please email [email protected] to book an appointment.

*Please note that the service is unavailable between June and September.



Section

C

20. Guide to Learning Sessions

· Pearce, J (2003) Social Enterprise in Anytown, UK, Calouste Gulbenkian Foundation

Additional texts:

Session number: 1

Venue: The Creative Academy

Key concepts/issues: Introduction to the module. Understanding performance principals and theatrical devices.

Delivery method: Lecture and Seminar

Formative/summative assessment opportunities: This session applies to both assessments.

Essential reading for this session: Pearce, J (2003) Social Enterprise in Anytown, UK, Calouste Gulbenkian Foundation.

Recommended reading for this session:Hartley, J (2004) Creative Industries, UK, Blackwell Publishing

Pavis, P. (2006) Analysing Performance, USA, The University of Michigan press

Independent study: Research-based

Reference to resources: YouTube examples.

Session number: 2


Key concepts/issues: How to develop performance. What are the issues which affect performance? How can you ensure the smooth running of a production?



Essential reading for this session: Pavis, P. (2006) Analysing Performance, USA, The University of Michigan press



Reference to resources: Video examples from library.

Session number: 3


Key concepts/issues: Creative decisions and visions. What ideas they have for the performance and how these can be achieved.

Delivery method:Seminar





Reference to resources: Student lead examples based on research.

Session number: 4


Key concepts/issues: Stage vs Screen. What are the benefits of stage performance vs performance on screen? How can you ensure you meet the needs of a funder producer?






Reference to resources: N/A

Session number: 5


Key concepts/issues: Economy, budget and performance. What funding and sources of finance are there? What are the legal frameworks of a social enterprise?






Independent study: Research production companies.

Reference to resources: N/A

Session number: 6


Key concepts/issues: Developing a performance. What are the core issues when creating performance? How can you ensure that you meet the needs of the audience?




Independent study: Essential Text analysis.

Reference to resources: www.dv8.co.uk, www.rambert.org.uk

Session number: 7


Key concepts/issues: Structure, style and concept of performance project.

Delivery method: Seminar






Reference to resources: YouTube examples.

Session number: 8


Key concepts/issues: Writing a brief for the choreographer.


Formative/summative assessment opportunities: This session applies to both


assessments.

Essential reading for this session: Hartley, J (2004) Creative Industries, UK, Blackwell Publishing

Recommended reading for this session: Pavis, P. (2006) Analysing Performance, USA, The University of Michigan press


Session number: 9


Key concepts/issues: Interview of choreographers 1.

Delivery method: Workshops and Interviews



Recommended reading for this session: Hartley, J (2004) Creative Industries, UK, Blackwell Publishing


Independent study: Research choreographers

Session number: 10


Key concepts/issues: Interview of choreographers 2.

Delivery method: Workshop and Interviews.





Independent study: Research choreographers.

Session number: 11


Key concepts/issues: Rehearsal Process commences.

Delivery method: Workshop



Essential reading for this session: N/A

Independent study: Rehearsals as directed by choreographer

Session number: 12


Key concepts/issues: Rehearsal Process continues.

Delivery method: Workshop




Session number: 13


Key concepts/issues: Rehearsal Process ends. Stage rehearsals. One-to-one tutorials.

Delivery method: Workshop and tutorials




Session number: 14


Key concepts/issues: Performance Project: Live Performance Assessment.

Delivery method: Assessment





Documents

Assessment 1 - creativeacademy.org€¦ · Web viewDate/time/method of submission: Monitoring from Week 1 to Week 14 Word count or equivalent: Students will be expected to improve