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Module Study GuideAcademic Year 2018-2019

Classical Techniques

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

Module Code: MU5FD09SLevel: 5Credits: 20

Version No 01 © UWL 2016

Table of Contents

Full Title of Module highlight and type over the top (up to 2 lines)............................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................................................................................................78. Content of the Module............................................................................................89. Learning Resources...............................................................................................810. Reading List.........................................................................................................811. Assessment: General Information....................................................................1012. Details of Assessment.......................................................................................10

Assessment 1..........................................................................................................11Assessment 2..........................................................................................................12

13. 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.........................................................................................1519. Drop-in Support Service....................................................................................1620. Guide to Learning Sessions..............................................................................17

Session number:......................................................................................................17Session number:......................................................................................................17Session number:......................................................................................................18Session number:......................................................................................................18Session number:......................................................................................................19Session number:......................................................................................................19Session number:......................................................................................................19Session number:......................................................................................................20Session number:......................................................................................................20Session number:......................................................................................................21Session number:......................................................................................................21Session number:......................................................................................................22

Form I – Module Study Guide template – April 2016 Page 1 of 29

Appendix....................................................................................................................23


1. Module Leader, Teaching Team and Module Administrator Details

Module Leader Lindsay Ashe-Browne

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 07778512042

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

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 70%

Continual Technical Assessment 30%

Section

Overview and Content4. Welcome to the Module

Welcome to Classical Techniques. Over the next semester students will learn a great deal about classical ballet technique. However, you will also gain an introduction to other classical dance styles such as Spanish and Indian. 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.

5. Timetable/Venue/Rooms

Please see timetable and time-plan

6. Aims of the Module

Aims of this module:

To enable students to develop a critical appreciation and informed understanding of Classical dance and its ongoing relevance within the dance industry;

To ensure that all students experience and gain an understanding of the technique and vocabulary of movement in classical dance forms;

To enable students to experiment with classical ballet and various other classical techniques including Spanish Classical (Clasico Español) and Indian Classical (eg Bharatanatyam);

To enable students to understand, analyse and replicate classical dance while being able to creatively use classical movement in choreography


A

7. Learning Outcomes

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

. L1. Critically analyse classical choreographers while beginning to demonstrate a conceptual understanding of the creative and cultural relevance of their practice;

. L2. Critically evaluate form, content and the process of produced classical Ballets;

. L3. Critically analyse classical dance in comparison to contemporary dance techniques;

. L4. Identify, reproduce and replicate classical dance techniques;

. L5. Demonstrate the use of information technology in research and communication between lectures;

. L6. Demonstrate successful team building and independent working; and

. L7. Demonstrate commitment to their practice and to fellow students by ensuring that students meet all Health and Safety requirements of the dance industry.

8. Content of the Module

Students will participate in physical technique classes and informative lectures from one primary tutor, with possible visiting practitioners facilitating specific techniques and company repertoire. Students will gain a physical understanding and experience the devices and methods used by classical practitioners. The students will gain an understanding and experience of the technique and vocabulary of movement in various classical techniques.

Students will explore the principles; dance techniques and choreography of selected classical dance practitioners and they will be encouraged to assess the cultural context which shaped their vision. Students will be introduced to all elements of classical ballet such as pas de deux, classical mime, working as part of a corps de ballet and as a soloist.


Technique classes will focus on improvement of the students own classical facility, work towards the assessed examination and learn new skills within a classical dance context. Lectures will give students an insight into the timeline of how classical ballet developed around the world, how world events and culture impacted on the style and how it stays relevant to the dance world now.

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.

Viewing List:

La Fille Mal Gardee

Coppelia

Romantic Ballets – Giselle & La Sylphide

Classical Ballets – Swan Lake, Sleeping Beauty & Nutcracker

Ballet Russe Ballets - Les Sylphides & Rite of Spring

Balanchine Ballets – Jewels, Apollo & Serenade

10. Reading List

Essential texts:

Student 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:

Au, S. (2006) Classical and Modern Dance, UK, Thames and Hudson

Additional Texts:

Buckle, R. (1993) Diaghilev, UK, Butler, Tanner LTD, Frame of London

Crane, D & Mackrell, J. (2010) Oxford Dictionary of Dance, UK, Oxford University 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

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.

Learning Activities: The approach taken to the acquisition of knowledge and understanding will make use of a blended learning approach. The range of teaching and learning methods on this course will include:

Tutor input during classroom sessions i.e. lectures and practical workshops with one primary tutor and visiting practitioners. The module will provide students with the opportunity to analyse selected film material and pictorial imagery underpinned with practical demonstrations and replication. Students will be provided with selected reading to supplement individual library based/internet research;

Self directed learning through work-place learning and independent research; Student input in lectures; Student group and individual presentations and practical demonstrations and

guided reading.

Assessment methods: A variety of Assessment methods will be used, however the primary vehicle for assessment will be through an examination in the studio as well as on-going tutor


observation during practical classes and lectures. Students will be required to work to deadlines both within teams and independently. The work will be assessed using a variety of methods including:

Tutor marking and observation; Double marking; and External verifier.

12. Details of Assessment

Assessment 1

Assessment task: Exam

Weighting: 70%

Date/time/method of submission: Week 14

Word count or equivalent: 10 to 12 exercises and 1 solo variation, gender specific, set by tutor.

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: technical ability (in a variety of Classical techniques; specifically Ballet); 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 (in a variety of Classical techniques; specifically Ballet); 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 (in a variety of Classical techniques; specifically Ballet); 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 (in a variety of Classical techniques; specifically Ballet); 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 physically of Classical techniques demonstrated; the performer is heavily redundant; incoherent; irrelevant; lacking energy and 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; no understanding of Classical dance techniques; irrelevant; lacking in energy and student demonstrates an un-professional 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 Technical Assessment

Weighting: 30%

Date/time/method of submission: Monitoring by tutor 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 in to consideration.

Assessment criteria: Students will be marked on trueness of replication of technique and choreography. Students will also be assessed on attendance, 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 (in a variety of Classical techniques; specifically Ballet); 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 (in a variety of Classical techniques; specifically Ballet); 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 (in a variety of Classical techniques; specifically Ballet); 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 (in a variety of Classical techniques; specifically Ballet); 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 physically of Classical techniques demonstrated; the performer is heavily redundant; incoherent; irrelevant; lacking energy and 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; no understanding of Classical dance techniques; irrelevant; lacking in energy and student demonstrates an un-professional 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

Exam 1, 4, 5, 6 & 7 10 to 12 exercises including solo variation

Week 14 Yes 40% 40 70% 15 days after date of assessment

Continual Technical Assessment

1, 2, 3, 4, 5, 6 & 7

14 weeks attendance

Week 14 Yes 40% 40 30% 15 days after date of assessment


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 2 of this guide rather than expressed through the survey.

ii) Improvements made in response to student feedback

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 un-available between June and September.



Section

C20. Guide to Learning Sessions

Session number: 1

Venue: The Creative Academy

Key concepts/issues : Introduction to Module

Understanding generic classical dance. Introducing the classical ballet timeline beginning in the 1500’s, Catherine de’ Medici, French and Italian court dancing. Introduction to classical mime – watch La Fille Mal Gardee/Coppélia for examples of mime and replicate a mime in small groups.

Practical – begin learning set exercises for examination

Delivery method : Lecture and practical class given by tutor

Formative/summative assessment opportunities : Continual technical assessment will start,

Independent study : Mime gestures should be practiced and made fluid, beginning exam exercises should be practiced.

Session number: 2


Key concepts/issues : Basic Classical principals

Continue to explore classical ballet timeline with the codification of ballet steps, establishment of first ballet schools, importance of Noverre and how culture fed into the development of classical dance. Continue watching La Fille Mal Gardee/Coppélia identifying classical ballet principals.

Practical – revisit exercises from week 1 and continue learning set exercises.


Formative/summative assessment opportunities : Continual technical assessment ongoing

Independent study : Continue practising exam exercises


Session number: 3


Key concepts/issues : Development of Romantic ballet & the importance of Bournonville to this style.

Introduction to Romantic ballet characteristics, themes, how cultural events shaped this style, famous dancers and choreographers of this era such as Bournonville, the development of pointe shoes. Watch Giselle/La Sylphide and learn how to identify Romantic ballet characteristics.Practical – revisit exercises from previous weeks and begin learning male/female specific solo variations.



Independent study : Continue practising exam exercises

Session number:


Key concepts/issues : Development of Classical Ballet – namely the Petipa ballets

Identify the characteristics of Classical ballets and compare these to the Romantic ballet characteristics. Identify the elements in a grand pas de deux as it appears in classical ballet. Watch Swan Lake/Sleeping Beauty/Nutcracker.Practical – continue learning set exam exercises and male/female specific solo variations.



Independent study : Continue practising exam exercises and solos

Session number: 5


Key concepts/issues : Ballet Russe – how it shaped ballet development around the world during and after its existance

Explore how the Ballet Russe and Diaghilev improved and developed classical Ballet,


how the Ballet Russe influenced and shaped the UK and American dance industries in particular. Watch Les Sylphides/Rite of Spring.Practical – review all exam set exercises learnt so far.




Session number: 6


Key concepts/issues : Ballet development in the UK – Royal Ballet, English National Ballet and Ballet Rambert.

Learn how Ninette de Valois, Marie Rambert, Alicia Markova and Anton Dolin influenced and shaped the development of ballet in the UK. Explore the current classical ballet scene in the UK today. Watch excerpts of dancing from British dancers such as Margot Fonteyn, Alicia Markova, Darcey Bussell and Adam Cooper. Practical – Focus mainly on set exercises, no variations




Session number: 7


Key concepts/issues : Continue researching ballet in the UK

Focus on vocational ballet schools, how ballet dancers survive in the British economy in the present, learn how ballet companies survive through Arts Council Funding/private funding etc. Continue watching footage as in week 6.Practical – Focus mainly on variations in small groups for individual attention.





Session number: 8


Key concepts/issues : Development of ballet in America – New York City Ballet & American Ballet Theatre

Research how the Ballet Russe once again shaped the development of ballet in America mainly through George Balanchine. Explore the development of America’s two main ballet companies, New York City Ballet and American Ballet Theatre. Also look at their corresponding schools. Watch Jewels and Apollo.Practical – start running through all exercises and variations set for exam in large groups.




Session number: 9


Key concepts/issues : Explore Classical dance in Spain, India, China and Thailand

Students will present a 5 minute presentation on a given country’s classical dance history in small groups. Each group may use any resources they need. They will be told about this presentation in Week 1 to have the time to prepare.Practical – continue running through all set exercises and variations in smaller groups than in week 8.

Delivery method : Presentation given by students and practical class given by tutor


Independent study : Working in groups to research a given topic, research can by done online, referencing books from the library and from film footage.

Session number: 10


Key concepts/issues : Compare and contrast classical and contemporary versions of the same/similarly named productions.

Use the information learnt through this module to analyse, compare and contrast classical and contemporary versions of Swan Lake, Nutcracker, Sleeping Beauty and Carmen. Watch excerpts from various companies productions of these ballets.Practical – focus on solo variations in this session. Each student should have at least 5 minutes of individual attention to clean their solos.





Session number: 11


Key concepts/issues : Continue from week 10

Continue the analysis process. Study reviews from world renowned ballet reviewers such as Clement Crisp, Mike Dixon and Judith Mackrell. Discuss whether you agree or disagree with their opinions.Practical – Focus on exercises in the centre such as pirouettes and allegro in this session.




Session number: 12


Key concepts/issues : Famous ballet dancers and their legacies

Identify why dancers such as Pavlova, Fonteyn, Nureyev, Baryshnikov, Schaufuss, Bussell, Copeland and Osipova became world famous. Examine what defined/defines these dancers and how/if they will pass on their ballet genius.Practical – Evaluate which areas of the set exam work require the most work.




Session number: 13


Key concepts/issues : Rehearse for examination taking place in week 14.

Continue to work towards improving technique, personal facility and assimilating all corrections given over the previous weeks.

Delivery method : Practical class given by tutor




Session number: 14


Key concepts/issues : Examination

Delivery method : Examination session

Formative/summative assessment opportunities : Continual technical assessment ongoing and practical examination


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