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Module Study GuideAcademic Year 2017/18

Dance History

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

Module Code: MU4FD12SLevel: 4Credits: 20

Version No 01 © UWL/CA 2016

Form I – Module Study Guide template – April 2016 Page 1 of 26

Table of Contents

Dance History............................................................................................................11. Module Leader, Teaching Team and Module Administrator Details......................42. Key Contacts..........................................................................................................53. Further Information................................................................................................64. Welcome to the Module.........................................................................................75. Timetable/Venue/Rooms.......................................................................................76. Aims of the Module................................................................................................77. Learning Outcomes................................................................................................88. Content of the Module............................................................................................89. Learning Resources...............................................................................................810. Reading List.........................................................................................................911. Assessment: General Information....................................................................1012. Details of Assessment.......................................................................................10

Assessment 1..........................................................................................................1013. Summative Assessment Grid............................................................................1314. External Examiner(s).........................................................................................1415. Statement on Plagiarism...................................................................................1416. Evaluation of the Module...................................................................................1517. Personal Development Plan (PDP)...................................................................1518. If You Have an Issue.........................................................................................1619. Support Service.................................................................................................1620. Guide to Learning Sessions..............................................................................17

Session number: 1..................................................................................................17Session number: 2..................................................................................................17Session number: 3..................................................................................................17Session number: 4..................................................................................................18Session number: 5..................................................................................................18Session number: 6..................................................................................................19Session number: 7..................................................................................................19Session number: 8..................................................................................................19Session number: 9..................................................................................................20Session number: 10................................................................................................20Session number: 11................................................................................................20Session number: 12................................................................................................21Session number: 13 & 14.......................................................................................21


1. Module Leader, Teaching Team and Module Administrator Details

Include the full details of Module Leader, Module Tutors, and Administrator

Module Leader Joshua Pilmore

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 01753 875 400

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 Vacant

Job title Academic Administrator

Email

Phone 01753 875 400



mailto:[email protected]


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 Sara Raybould, and can be contacted at [email protected]

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






3. Further Information

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


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:

Exam x%

Coursework x%

Practical 100%

Section

Overview and Content4. Welcome to the Module

This is the module study guide for Dance History. Over the next semester students will learn a great deal about contemporary, commercial and classical dance. Most of the important information you, as students, require for this module is contained in this document. To ensure you are meeting the needs of this module and are able to achieve successfully you should familiarise yourself with this document.

Dance History underpins every other module offered at the Creative Academy; it places in context the creative, cultural, theoretical and artistic movements of various dance practices, techniques, choreographers and practioners and the historic geo-demographics of the important dance developments.

The main focus of this module is for you to gain a clear theoretical understanding of the technique and vocabulary of movement in various contemporary, commercial and classical techniques their cultural background and the practioners principals of movement.

5. Timetable/Venue/Rooms

Please see timetable and time-plan

6. Aims of the Module

Aims of this module:

• Ensure students explore the relationship between socio-cultural issues and the development of dance

• To enable students to discover the major innovators and gain a critical understanding of the trends/techniques they set

• Enable students to place in context the artistic/creative choices of the pioneers and the artists that followed

• To encourage students to develop a critical appreciation of dance as an expressive medium

• To enable students to experiment with a range of different dance techniques


A

7. Learning Outcomes

By the end of the module students will be able to:LO1. Demonstrate a good knowledge of the history and genealogy of dance and dance technicians and the histories, forms and traditions of performance. LO2. Demonstrate a critical understanding and knowledge of the Inter relationships within and between dance techniquesLO3. Discuss and form an opinion, critically evaluate and draw conclusions about the principals of choreography and the pioneers of modern danceLO4. Manage time and work elements to meet deadlinesLO5. Conceive, design and present ideas effectively both orally and in written form

8. Content of the Module

This module will explore the technique and vocabulary of movement identifying and analysing the soci-cultural issues which developed technique and affected its pioneers. The student will learn and perform sequences of movement choreographed by the tutor, engaging creatively with the material; exploring primary movement principles as individual.

You will study with one primary dance teacher during the course with visits from others to focus on specific aspects of dance history and the technique culture. Each teacher will bring to the classes his or her particular knowledge and experience of dance training and performance. Students will engage in debate and discussion around historic topics and replicate the movement of those pioneers and practioners. This subject will support the historic element of the technique modules and dance history is underpinned by all modules

9. Learning Resources

Students will identify dance and draw conclusions from the historic elements of that time period. The students will engage creatively with the material and demonstrate their understanding of the movement associated with a specific genre.

Each tutor 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 and adaptability within the dance industry and the role that dance plays in shaping popular culture

Power point or hand-outs accompany most 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.

One-to-one meetings with tutors are provided for all students; at least 2 points of contact are expected each semester per student.

Student must purchase all core text, although 1 copy is available for reference purposes through the Creative Academy administration office. All additional texts, viewing list and Dancing Times are available through the Curve for reference or free 2 week loan, late returns incur a charge.


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:

Layson, J (1983) Dance History, London, Adshead – Lansdale

Additional texts:

• Manning, S A (2004) Modern dance, Negro dance, USA, Dance Books

• Emery, L F (1972) Black dance from 1916 to today, UK, Dance Books

• Magriel, P (1977) Nijinsky, Pavlova, Duncan, USA Da Capo Press

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

• Rose, P (1989) Jazz Cleopatra, The Josephine Baker Story, USA, Hardcover


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. 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 and theatre, particularly in Western Europe and the USA, applies to all areas of this work.

12. Details of Assessment

Assessment 1

Type of assessment: Group Presentation / DebateLength: Week Thirteen Timing: 15 minutesWeighting: 100%Assessor: J. Pilmore & Another tutor

Assessment Brief and preparation

At the start of the semester students will be given an overview of completion of verbal assignments. The group will be split into 4 and each group given 1 question to discuss. This debate will come from the student choice of short answer question:


The presentation must include:• video/DVD resources • power-point/prezi presentation • written hand-outs

• Compare and contrast the socio-cultural issues which influenced the development of Jive/Lindy Hop and Graham technique in the USA in the early part of the 20th Century.Or• What impact did Josephine Baker’s dance style have upon the American cultural and political thinking of the early part of the 20th Century and how would this differ today? Or• Compare and contrast the socio-cultural issues which influenced the development of b’boying / breaking movement within the late 1970’s and early 1980’s and how is this genre used today?Or• Describe what impact Martha Graham and Doris Humphrey had upon the development of modern dance and how has this manifested in the 21st Century.

At the start of the semester students will be given an overview of presentation skills and how to structure presentations. The groups will be set out by the module tutor and in week 4 the students will agree with tutor the theme and content of their presentation.

These are the criteria that students will be assessed uponThe presentation will demonstrate the students understanding of the development of dance technique and the cultural and historic context it has been placed in. 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 an understanding and knowledge of subject matter and the overall mark will be affected by presentation, literacy and communication skills.

Timing and methods of feedbackGrades are posted on the student area at www.creativeacademy.org within 15 working days of the assessment and feedback is emailed to the students within 10 working days of the end of the semester.

Marks(80-100) Distinction Demonstrates an exceptional degree of commitment, creativity and innovation. Represents absolute professional quality that is beyond reproach in every or almost every aspect. Exceptional skill and ability is exercised equally with regard to form, content and function. The work is so robust that it is almost impossible to find weaknesses in any area. The work engages the imagination, spirit and emotions of the recipient. Must have 100% attendance for the whole module.

(70-79) Distinction


http://www.creativeacademy.org/

Exceptional presentation - exciting and innovative. Outstanding in its concept - perceptive, articulate, imaginative. Clearly structured, maintains a high level of interest. Very successful on both informative and emotional levels. All elements combine to create the required finished product. Technically very assured. Wholly appropriate use of the medium while answering the set question. Must have 100% attendance for the whole module.

(60-69) MeritOverall, a successful presentation which fulfils its aim very well and with clarity. Cohesive in structure and impact. May have many of the qualities of a 70+ artefact, but without the excitement or innovation. There may be minor parts of the artefact which do not function to the utmost. Perhaps a convention used without thought, or a lack of attention to detail. Technically assured. Appropriate use of the medium. Must have a minimum of 90% attendance of the whole module

(50-59) PassSuccessful in meeting its aim and overall meaning clear. There may, however, be problems with structure or execution which lead to some confusion in parts. Often lacking in imagination, uninspiring and conventional. Concept is limited, so that the final artefact may lack cohesion and integration. May omit some important (but not crucial) aspects of the subject matter. Overall, technically competent (the lower marks may have problems here, but even these will have their saving graces). Generally appropriate use of medium, but perhaps there is a better way of doing it.

(40-49) PassMay communicate with difficulty, audience has to concentrate to draw out what it means. May have elements that are poorly structured, confused. Some work may show only a very limited ability to select, structure, prioritise information, omits some important aspects, and/or includes some irrelevant material. Lacks cohesion and may be scrappily presented. Demonstrates a lack of team work and participation. The artefact does communicate its message, but only partially. There may be some technical problems although overall the work shows a fair degree of competence. Has often used an inappropriate medium for the job.

(20-39)The body of work presented suggests that 200 hours of appropriate student involvement has not been completed. Fails to answer the key technical requirements of the brief. Fails to communicate a coherent message, perhaps through a mixture of lack of logical thought, poor organisation of material and/or technical ineptitude. Conceptually flawed, the project has limited meaning. Technically incompetent (basic competence may be present but without application or meaning). Glimpses of technical or organisational skill may result in a mark in the higher reaches of this range.

(0-19)The body of work presented very strongly suggests that appropriate student involvement falls far short of 200 hours. There are significant problems associated with fulfilling the technical requirements of the brief. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed conceptually that the work is rendered almost entirely meaningless. Shows crucial


omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment.


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

Presentation 1 to 6 15 minutes Week 13/14 40 100% 10 working days after semester end


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 Senior Lecturer & Course Leader -BA (Hons) Dance Course

Institution

AUB

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 2 of this guide rather than expressed through the survey.

ii) Improvements made in response to student feedback

Not Applicable 2016/17

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. 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 un-available between June and September.



Section

C20. Guide to Learning Sessions

Session number: 1

Venue: The Creative Academy

Introduction to Module

Key concepts/issues This session will be a full introduction to the module and the developments of dance in the late 19th/20th and 21st century

Delivery method Lecture

Formative/summative assessment opportunities Presentation at end of module

Essential reading for this session Chapters 1 to 3 Dance History

Recommended reading for this session N/A

Independent study N/A

Reference to resources N/A

Session number: 2


Ballet

Key concepts/issues Explore ballet technique and theory, identify and discuss the history of Ballet from Italy to the French Courts. What kind of cultural themes informed the development of the technique and how was Louis 14th influential in developing ballet?

Delivery method lecture


Essential reading for this session Dance History session 2 handouts at www.creativeacademy.org within student login area



Reference to resources www.youtube.com (Swan Lake and Nutcracker by Petipa)

Session number: 3


The Female Pioneers


http://www.youtube.com/


Key concepts/issues Discuss Graham based technique and the development of her principles of dance. Explore her movement, and its development, in comparison to the movement theory of Duncan, St. Denis, Humphrey and Fuller.



Essential reading for this session N/A

Recommended reading for this session

Independent study Watch Maple Leaf Rag choreographed by Graham

Reference to resources www.marthagraham.org

Session number: 4


Dance and Physical Theatre

Key concepts/issues Discuss the developments and theory of Dance/Physical Theatre and explore ‘new dance’ in the UK. Discuss the development of contact improvisation, Steve Paxton and Judson dance Theatre.



Essential reading for this session www.judson.org / www.dv8.co.uk

Recommended reading for this session www.pinabausch.org / www.pina-bausch.de

Independent study Watch Kurt Jooss Green table

Reference to resources www.creativeacademy.org student area

Session number: 5


Salome To Madonna

Key concepts/issues Explore how dance, media and art are linked with controversy and how controversy has been used as a device to move forward dance and popular culture.



Essential reading for this session handouts in student area of www.creativeacademy.org for session 5 Dance History

Recommended reading for this session Lolita by Vladimir Nabokov / Jazz Cleopatra by Phyllis Rose

Independent study www.madonna.com

Reference to resources


http://www.madonna.com/



http://www.pina-bausch.de/

http://www.pinabausch.org/

http://www.dv8.co.uk/

http://www.judson.org/

http://www.marthagraham.org/

Session number: 6


Salome to Madonna

Key concepts/issues Continue to explore how dance, media and art are linked with controversy and how controversy has been used as a device to move forward dance and popular culture.




Recommended reading for this session Lolita by Vladimir Nabokov / Jazz Cleopatra by Phyllis Rose

Independent study In groups create short presentation on different aspects of controversy within the arts

Reference to resources www.youtube.com

Session number: 7


Salome to Madonna

Key concepts/issues Continue to explore how dance, media and art are linked with controversy and how controversy has been used as a device to move forward dance and popular culture.






Reference to resources www.creativeacademy.org student log in area for handouts

Session number: 8


African

Key concepts/issues Experiment with African Dance

Delivery method workshop





http://www.youtube.com/

Recommended reading for this session Modern dance, Negro Dance by Susan Manning

Independent study www.tavazivadance.com


Session number: 9


Jazz and Tap

Key concepts/issues Explore the roots of Jazz, Tap and Lindy Hop within early American Culture up until mid 20th century



Essential reading for this session Handouts session 9 Dance History www.creativeacademy.org student log In area


Independent study watch any movies with Fred Astaire and Ginger Rogers

Reference to resources www.anb.com

Session number: 10


Street and Commercial

Key concepts/issues What is commercial Dance? Explore how dance is influenced by media in popular culture.

Delivery method lecture




Independent study watch music videos on www.vevo.com

Reference to resources www.vevo.com

Session number: 11


Street and Commercial

Key concepts/issues Commercial Dance is an umbrella term used to describe a rainbow of techniques which are social and culturally relevant usually to a 4/4 beat with a background in African and American dance.



http://www.vevo.com/


http://www.anb.com/


http://www.tavazivadance.com/


Essential reading for this session Session 9 & 10 handouts Dance History handouts at www.creativeacademy.org student login area


Independent study watch more music videos

Reference to resources www.vevo.com

Session number: 12


South East Asian Dance

Key concepts/issues Experiment with Indian dance specifically Bhart Natyman / Kathak & Bollywood and Bhangra

Delivery method workshop in Bollywood





Reference to resources www.rifco.org

Session number: 13 & 14


Assessments

Key concepts/issues Deliver presentations

Delivery method Assessment

Formative/summative assessment opportunities Presentation (in groups)






http://www.rifco.org/



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