Assessment 1 - creativeacademy.org€¦ · Web viewWord count or equivalent: 2,000 words (excluding direct quotes/references) Assessment criteria: At the start of the semester students

Module Study GuideAcademic Year 2018-2019

Contemporary Techniques 1Location: The Creative Academy, 73a

Stoke Poges Lane, SLOUGH, SL1 3NY

Module Code: MU4FD13SLevel: 4Credits: 20

Version No 01 © UWL 2016

Table of ContentsContemporary Techniques 11. Module Leader, Teaching Team and Module Administrator Details 4

2. Key Contacts 53. Further Information 64. Welcome to the Module 75. Timetable/Venue/Rooms 76. Aims of the Module 87. Learning Outcomes 88. Content of the Module 99. Learning Resources 910. Reading List 1011. Assessment: General Information 1112. Details of Assessment 11Assessment 1 11Assessment 2 1313. Summative Assessment Grid 1614. External Examiner(s) 1715. Statement on Plagiarism 1716. Evaluation of the Module 1817. Personal Development Plan (PDP) 1818. If You Have an Issue 1819. Drop-in Support Service 1920. Guide to Learning Sessions 20Session number: 1 20Session number: 2 20Session number: 3 21Session number: 4 21Session number: 5 22Session number: 6 23Session number: 7 23Session number: 8 24Session number: 9 24Session number: 10 25Session number: 11 26Session number: 12 26

Session number: 13 26Session number: 14 27

Form I – Module Study Guide template – April 2016 Page 2 of 26

1.Module Leader, Teaching Team and Module Administrator

Details

Module Leader Hayley BarkerSubject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 01753 875 400

Location The Creative Academy

Name George KirkhamJob title The Creative Academy Manager


Phone 01753 875 400


Name Jagdev KhatkarJob title Quality Assurance and Business

Manager


Phone 01753 875 400


Administrator Cassia RudgeJob title Academic Administrator


Phone 01753 875 400


2.Key Contacts

They 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 200Consisting of:

Teaching Contact Hours 42Independent Study Hours 158

Placement Hours N/A

Assessment:Percentage of final marks assessed by:

Exam 70%Essay 30%

Due Dates:Assessments for this module are due on the following dates: -Exam - Week 14. Please see time-planEssay - Week 14 Monday 09:30am. Please see time-plan.


Section

A

Overview and Content

4.Welcome to the Module

Students will learn about the development of contemporary dance, including specific contemporary techniques in practical sessions, and about the lives and work of key practitioners including Isadora Duncan, Martha Graham, Merce Cunningham, Doris Humphrey and José Limón. Most of the important information students require for this module is contained in this document. To ensure students are meeting the requirements of this module and that they are able to achieve their goals successfully they should familiarise themselves with this document.

The main focus of this module is for the learner to gain a clear physical understanding of the technique and vocabulary of movement in various contemporary techniques including Graham, Cunningham and Humphrey/Limon, as well as improvisation. Students will participate in technique classes and workshops underpinned with academic lectures exploring the dance practitioners and the philosophy behind the creation of their technique.

5.Timetable/Venue/Rooms

Please see timetable and time-plan

6.Aims of the Module

● To enable students to acquire a critical understanding of the importance and influence of key contemporary dance pioneers, including Martha Graham, Isadora Duncan, and Merce Cunningham.

● To encourage students to study, understand and replicate physically contemporary dance techniques, and to be able to make use of these in their own choreography.


● To encourage students to understand the artistic and creative contexts surrounding the development of contemporary dance.

● To enable students to develop a critical appreciation and informed understanding of contemporary dance and its ongoing relevance within the dance industry.

7.Learning Outcomes

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

Knowledge and understanding LO1.Understand the essential aspects of contemporary dance skills and

techniques including those developed by key pioneers such as Martha Graham, Isadora Duncan and Merce Cunningham.

Subject practical skillsLO2.Identify, reproduce and replicate contemporary dance techniques

physically in the technique exam and in their own choreography.

Intellectual (thinking)LO3.Begin to demonstrate a critical and conceptual understanding of the

creative and cultural relevance of contemporary dance.

Key transferable skills LO4. Work effectively both on their own and as a member of a team.

LO5. Be able to respond positively to criticism from tutors and peers.LO6.Demonstrate commitment to their practice and to fellow students by

complying with professional Health and Safety practices and regulations.

8.Content of the Module

Students will participate in physical technique classes with one primary tutor; visiting practitioners will facilitate specific techniques and company repertoire. Students will gain a physical understanding of the devices and creative methods used by contemporary practitioners. The students will gain an understanding and experience of the technique and vocabulary of movement in various contemporary techniques including Graham, Cunningham, Humphrey/Limon and improvisation. Students will experiment in improvisation making use of various techniques ensuring that students can make effective use of a range of appropriate genres of movement in their own creative work.

Students will explore the principles, dance theories and choreography of selected


contemporary dance pioneers, and will be encouraged to assess the cultural context which shaped their vision. Students will choose from a range of relevant topics to produce an essay that will demonstrate their theoretical understanding of their chosen topic.

9.Learning Resources

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

Students will learn sequences of movement from specific techniques (Graham, Cunningham, Humphrey/Limón, Release) and perform these plus an improvisation in their technique exam. Students will demonstrate their physical understanding of the requirements of the different techniques.

Power point notes accompany all lectures. Students download these notes in PDF form, plus relevant handouts, from the student log-in system through the university portal. Lectures supported by watching DVDs of performances that are relevant to the content of the lecture. White boards are also occasionally used to illustrate content and to record student contributions within a lecture.

All the sequences in the technique syllabus have been filmed, performed by the contemporary teachers. Students have access to and may download these films so that they can practise in their own time with a frame of reference. They may also download a copy of the music files.

Music playback is provided to support practical workshops and technique classes.Mirrors are provided for self-observation.

One-to-one meetings with tutors are provided for all students; at least 3 points of contact are expected each semester per student.

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.

Students must purchase all core texts, although one copy is available for reference purposes through the Creative Academy administration office. All additional texts, viewing list and the Dancing Times are available through the Creative Academy office for reference or free two- week loan. Late returns incur a charge.

Core texts:

● Graham, M (1991) Blood Memory, Sceptre Books

Additional texts:

● Vaughan, D (1997) Merce Cunningham Fifty Years, Aperture Foundation● Roseman, J (2004) Dance was her Religion, Presscot, Arizona Hohm Press● Horosko, M (2002) Martha Graham The Evolution of her Dance Theory and

Training, University press of Florida● Freedman, R (1998) A Dancers Life, USA, Clarion Books


Section

BAssessment and Feedback

11.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. The presentation assessment will demonstrate the student’s own investigation of the cultural framework in which dance theatre has developed with reference to a particular dance theatre director/choreographer or company. An understanding of the socio-political and cultural issues that shaped the development of dance theatre, particularly in Western Europe, apply to all areas of this work.

12.Details of Assessment

Assessment 1

Assessment task: Essay

Weighting: 30%

Date/time/method of submission: 9:00am on Monday of Week 14, submitted in PDF form via email to [email protected] count or equivalent: 2,000 words (excluding direct quotes/references)


Assessment criteria: At the start of the semester students will be given an overview of the work which will need to be completed to ensure a successful and useful essay. The essay will be supported by the module tutor and the student’s individual self-directed learning. The Module Leader will offer 5 questions, and the student will select a question to answer.

The essay will demonstrate the student’s understanding of some of the historical debate on contemporary dance and the cultural context in which techniques have been developed. Although students should express their opinion as a matter of course, this should be supported by existing academic literature relating to the subject and Harvard referenced. As well as demonstrating what students have learned, the essay will demonstrate understanding and knowledge of subject matter. A small percentage of the marks will be awarded for presentation, spelling and grammar.

Marking scheme:

(80-100) The work excels in all or most of the following: intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; literary style. It is the right length, pertinent, correct and carefully written, with a good sense of continuity and a coherent overall structure. It has sufficient and clear references with Harvard referencing and a bibliography.

(70-79) The work excels in three or more of the following: intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; literary style. It is the right length, pertinent, correct and carefully written, with a good sense of continuity and a coherent overall structure. It has sufficient and clear references with Harvard referencing and a bibliography.

(60-69) The work displays one or more of the following properties: intelligence; criticality; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; literary style. It is the right length, generally correct and well written, with a good sense of continuity and a coherent overall structure. It has sufficient and clear references with Harvard referencing and a bibliography.

(50-59) The work shows some evidence of involvement, and a little independence of thought from a range of sources. It is largely correct, pertinent and coherent, if not very well structured. It is the right length, with bibliography and Harvard referencing, although these may be inadequate/incorrect in places.


(40-49) The work shows no independence of thought from its (perhaps very limited) sources, and no signs of any involvement. It might be poorly ordered with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent, and some attempts must have been made towards a bibliography and references.

Fail (20-39) The portfolio/assignment fails when it is at least three of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length; lacking a bibliography and correct references.

Fail (0-19) The work fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length; lacking a bibliography and correct references.

Timing and methods of feedback:Formative feedback will be provided on an ongoing basis from tutor verbally. 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: Technique Exam

Weighting: 70%

Date/time/method of submission: Exam held in Week 14

Word count or equivalent: 10 technique exercises/sequences and improvisation

Assessment criteria: At the start of the semester students will be given an overview of the requirements of contemporary dance and replication of technique and choreography. The student’s movement and physical understanding should demonstrate an understanding of appropriate genre/style characteristics. Through the course students will be taught set pieces of choreography and technique relevant to contemporary dance. Students must arrive to class ready to work and time keeping is a very important element of this assessment. Attendance is of paramount importance for Health and Safety reasons and failure to attend all lectures and seminars will be reflected in the final module grade.Marking scheme:Students will be marked against trueness of replication of technique and choreography. The student’s movement and physical replication should demonstrate a clear understanding of appropriate genre/style characteristics associated with


different contemporary dance techniques and set choreography. Students will be assessed on time keeping and participation in physical workshops on an ongoing basis.

This is how standards/grades will be determined:

(91-100) The work excels in all of the following: technical ability (Limon, Graham and Cunningham); criticality; rehearsal; thoroughness; performance; perspicacity; It is the correct physical replication of the syllabus, and the student has attended 100% of module; 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 (Limon, Graham and Cunningham); criticality; rehearsal; thoroughness; performance. It is the correct physical replication of the syllabus, and the student has attended 100% of module; 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: technical ability (Limon, Graham and Cunningham); criticality; rehearsal; thoroughness; performance; perspicacity; It is the correct physical replication of the syllabus, and the student has attended 100% of module; 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: technical ability (Limon, Graham and Cunningham); criticality; rehearsal; thoroughness; performance. It is the correct physical replication of the syllabus, and the student has attended a minimum 90% of module lectures and workshops; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.

(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, although the technical ability of the student may need to be developed further.

(40-49) The work shows no independence of thought from its (perhaps very limited) technical development and performance with a very limited replication of syllabus, 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, and the student has less than 90% attendance.

Fail (20-39) The assignment fails when it is at least three of the following: very badly performed; no understanding of Graham, Cunningham and Limon, is not representative of contemporary


techniques; the performer is heavily redundant; incoherent; irrelevant; lacking energy and the student demonstrates an un-professional 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; irrelevant; lacking in energy and the student demonstrates an un-professional attitude; timekeeping is constantly bad and the student attended less than 90% of the module.

Timing and methods of feedback:Formative verbal feedback will be provided on an ongoing basis from tutor. Summative written feedback will be provided by tutor within 15 working days after submission.


13.Summative Assessment Grid

Type of

assessmentModule learning outcome

Word count or

equivalent

Due date

Threshold Pass mark

Weighting

Continuous formative assessment

1, 2, 3, 4, 5, 6

N/A ongoing N/A N/A Included in exam mark

Technique Exam

2, 3, 4, 5, 6

10 learned sequences plus improv

Week 14 Yes 40% 40 70%

Essay 1, 3 2000 words Monday of week 14

Yes 40% 40 30%


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


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 2 of this guide rather than expressed through the survey.

ii) Improvements made in response to student feedback

Exam syllabus and videos are now available on the Student Portal.

Study Skills available for Assessment 1 - Essay.

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 wellbeing team. Between them, the wellbeing team have experience in all the courses taught at the Creative Academy. Wellbeing 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

Session number: 1

Venue: The Creative Academy

Key concepts/issues: Understanding contemporary dance and physical awareness

Delivery method: Seminar & Workshop

Formative/summative assessment opportunities:

Formative Feedback on technical exercises.

Essential/Recommended reading for this session:

Graham, M (1991) Blood Memory, Sceptre Books Recommended:

www.dance.uk.org

Hass, J G. (2017). Dance Anatomy, Human Kinetics

Independent study:

Research on Contemporary Dance. Research on Warm Ups and Cool Downs.

Reference to resources:

PowerPoint Presentation

www.danceuk.org

Session number: 2


Key concepts/issues: Isadora Duncan’s life & work



Formative Feedback on technical exercises and research/group discussion.


Graham, M (1991) Blood Memory, Sceptre Books


Recommended Reading:

Duncan, I (2013). My Life, Liveright

www.isadoraduncan.org

Independent study:

Research Isadora Duncan. Peer Feedback.



Duncan, I (2013). My Life, Liverightwww.isadoraduncan.org Isadora Duncan – Masterworks DVD

Session number: 3


Key concepts/issues: Explore Martha Graham’s technique and theory






Roseman, J (2004) Dance was her Religion, Presscot, Arizona Hohm Press

Horosko, M (2002) Martha Graham The Evolution of her Dance Theory and Training,

University Press of Florida

Independent study:

Martha Graham research. Improvisation.



Dance Was Her ReligionBlood Memorywww.marthagraham.org

Session number: 4


Key concepts/issues: Continue to explore Martha Graham’s technique and theory - Diversion of Angels










Independent study:

Research Martha Graham. Analyse ‘Diversion of Angels’. Improvisation and Peer Feedback.



A Dancer’s Life

The Evolution Of Her Theory And Training

‘Diversion of Angels’ DVD

Session number: 5


Key concepts/issues: Continue to explore Martha Graham’s technique and theory - Appalachian Spring









Independent study:

Analyse ‘Appalachian Spring’. Group dicussions.



A Dancer’s Life

The Evolution Of Her Theory And Training

‘Appalachian Spring’ DVD


Session number: 6


Key concepts/issues: Explore Merce Cunningham’s work






Vaughan, D (1997) Merce Cunningham Fifty Years, Aperture Foundation

Independent study:

Merce Cunningham research. Peer Assessments.


PowerPoint PresentationFifty Years‘Beach Birds for Camera’ DVDwww.merce.org

Session number: 7


Key concepts/issues: Compare & contrast Martha Graham & Merce Cunningham






Independent study:

Group discussion. Analysis of Graham and Cunningham's technique.


PowerPoint PresentationFifty Yearswww.merce.orgA Dancer’s LifeThe Evolution Of Her Theory And TrainingDance Was Her ReligionBlood Memorywww.marthagraham.org


Session number: 8


Key concepts/issues: Introduce Doris Humphrey’s work






Humphrey, D (1997). The Art Of Making Dances, Dance Books

Independent study:

Doris Humphrey research. Group discussion. Peer Assessment.



www.dorishumphrey.org

The Art Of Making Dances

‘‘The Shakers’ DVD

YouTube.com: ‘Water Study’, ‘Air for a G-String’

Session number: 9


Key concepts/issues: Introduce José Limón’s work






Lewis, D (1999) The Illustrated Dance Technique of Jose Limon, Princeton Book

Company

Independent study:

José Limón research. Peer Assessment.



www.limon.org

The Illustrated Dance Technique of José Limon


‘The Moor’s Pavane’

Session number: 10


Key concepts/issues: Introduction to Rudolph Laban’s work






Newlove, J (1993) Laban for Actors & Dancers: Putting Laban's Movement Theory

into Practice - A Step-by-step Guide, Nick Hern Books. Independent study:

Laban research. Group Assessment. Peer Assessment.



Laban for Actors and Dancers

http://www.trinitylaban.ac.uk/about-us/our-history/rudolf-laban

The Makers of Modern Dance in Germany

Laban Dance Works

Session number: 11


Key concepts/issues: Explore the concept of what is Dance, and specifically what is Contemporary Dance





Graham, M (1991) Blood Memory, Sceptre Books Independent study:

Group Discussion. Reflection on what is dance?




Chronology handout

www.danceconsortium.com

Session number: 12


Key concepts/issues: Master-class with leading UK dance company

Delivery method: Workshop


N/A


www.rambert.org.uk

Independent study:

Research Rambert Dance Company prior to master-class.


N/A

Session number: 13


Key concepts/issues: Mock Exam

Delivery method: Mock Exam


Formative Feedback on technical exercises and improvisation.


N/A

Independent study:

Exam preparation.


Exam Syllabus/Video’s

Session number: 14


Key concepts/issues: Exam

Delivery method: Exam



Summative Assessment - Assesment 2


N/A

Independent study:

Exam Preparation


N/A


Documents

Assessment 1 - creativeacademy.org€¦ · Web viewWord count or equivalent: 2,000 words (excluding direct quotes/references) Assessment criteria: At the start of the semester students