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Module Study GuideAcademic Year 2017/18

Contemporary Techniques 1

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

Module Code: MU4FD13SLevel: 4Credits: 20

Version No 01 © UWL 2016

Table of Contents

Contemporary Techniques 1.....................................................................................11. Module Leader, Teaching Team and Module Administrator Details....................32. Key Contacts.......................................................................................................43. Further Information..............................................................................................54. Welcome to the Module.......................................................................................65. Timetable/Venue/Rooms.....................................................................................66. Aims of the Module..............................................................................................67. Learning Outcomes.............................................................................................78. Content of the Module.........................................................................................79. Learning Resources............................................................................................710. Reading List.........................................................................................................811. Assessment: General Information....................................................................1012. Details of Assessment.......................................................................................10

Assessment 1..........................................................................................................10Assessment 2..........................................................................................................12

13. Summative Assessment Grid............................................................................1414. External Examiner(s).........................................................................................1515. Statement on Plagiarism...................................................................................1516. Evaluation of the Module...................................................................................1617. Personal Development Plan (PDP)...................................................................1618. If You Have an Issue.........................................................................................1619. Drop-in Support Service....................................................................................1720. Guide to Learning Sessions..............................................................................18

Session number: Week One...................................................................................18Session number: Two.............................................................................................18Session number: Three..........................................................................................19Session number: Four............................................................................................19Session number: Five.............................................................................................20Session number: Six...............................................................................................20Session number: Seven.........................................................................................21Session number: Eight...........................................................................................21Session number: Nine............................................................................................22Session number: Ten.............................................................................................22Session number: Eleven.........................................................................................23

Form I – Module Study Guide template – April 2016 Page 1 of 28

Session number: Twelve........................................................................................23Session number: Thirteen......................................................................................24Session number: Fourteen.....................................................................................24


1. Module Leader, Teaching Team and Module Administrator Details

Module Leader Hayley Barker

Subject and School/College

Contemporary

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

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 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: - Week 14. Please see Time-Plan


Total Guided Learning Hours 200

Consisting of:

Teaching Contact Hours 42

Independent Study Hours 158

Assessment:Percentage of final marks assessed by:

Practical Exam 70%

Coursework 30%

Section

Overview and Content4. Welcome to the Module

Welcome to Contemporary Techniques 1. During this module you will learn a great deal about contemporary dance, specific contemporary techniques and practitioners including Martha Graham, Jose Limon and Merce Cunningham. Most of the important information you require for this module is contained in this document. To ensure you are meeting the needs of this module and able to achieve successfully you should familiarise yourselves with this document.

The main focus of this module is for you to gain a clear physical understanding of the technique and vocabulary of movement in various contemporary techniques including Graham, Cunningham, Humphrey/Limon and improvisation. You will participate in technique classes and workshops underpinned with academic lectures exploring 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

Aims of this module:

You will acquire a critical understanding of the importance and influence of key contemporary dance pioneers, including Martha Graham, Isadora Duncan and Merce Cunningham.

You will be able to physically replicate Graham, Cunningham and Release Contemporary Dance techniques.

You will be able to express the artistic and creative contexts surrounding the development of Contemporary Dance.

You will develop a critical appreciation and informed understanding of Contemporary Dance and its ongoing relevance within the dance industry.


A

7. Learning Outcomes

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

LO1. Describe the essential aspects of Contemporary Dance techniques including those developed by key pioneers such as Martha Graham, Isadora Duncan and Merce Cunningham.

LO2. Identify, reproduce and replicate Graham, Cunningham and Release Contemporary Dance techniques physically.

LO3. Begin to demonstrate a critical and conceptual understanding of the creative and cultural relevance of Contemporary Dance.

LO4. Describe the development of Contemporary Dance.LO5. Respond positively to criticism from tutors and peers.LO6. Demonstrate commitment to their practice and to fellow students by

complying with professional practices and regulations.

8. Content of the Module

This module will introduce you to Contemporary Dance and its relevance within the dance industry. You will participate in physical technique classes with one primary tutor; with possible visiting practitioners to help facilitate specific techniques and company repertoire. You will gain a physical understanding of the devices and methods used by contemporary practitioners. You will begin to demonstrate and perform technical exercises/vocabulary of movement in various contemporary techniques including Graham, Cunningham, Release and improvisation.

Throughout the module you will explore the principles of contemporary dance techniques and choreography of selected contemporary dance pioneers, and will be encouraged to assess the cultural context which shaped their vision. You will experiment with various techniques including Graham, Cunningham and Release, ensuring that you can make effective use of a range of appropriate genres of movement in your own creative/improvisation work.

9. Learning Resources

You study with one primary dance teacher during the course with possible 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 that contemporary dance plays.

You will have access to the Creative Academy Library, which contains various books,


magazines and DVD’s that will complement your learning.

You will also have access to the online Student Portal where you will find the Practical Exam Syllabus both in film and written format. You will also be able to access the lecture slides and handouts.

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

Recommended 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 Duncan, I (1927) My Life, USA, W. W. Norton & Co.

Essential Viewing List: Martha Graham Diversion of Angels Merce Cunningham Beach Birds for Camera Doris Humphrey The Shakers José Limon The Moor’s Pavane

Recommended Viewing List: Isadora Duncan Masterworks Martha Graham Appalachian Spring Hofesh Shechter Political Mother James Cousins There We Have Been*Please note students are encouraged to watch as much Contemporary Dance as possible.*

Other Learning Resources (journals, databases, Websites): Dancing Times Dance Today


www.marthagraham.org www.merce.org www.dorishumphrey.org www.limon.org www.isadoraduncan.org www.dance4.co.uk www.southeastdance.org.uk www.onedanceuk.org www.article19.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 essay and the practical technique exam. You will be required to work to deadlines independently. 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 you by the module tutor, with input from visiting tutors. The essay assessment will demonstrate your own investigation and research of Contemporary Dance Technique, socio-cultural issues that shaped the development of Contemporary Dance, and major choreographies as well as your own opinions and thoughts. The practical exam will demonstrate your ability to replicate and perform Graham, Cunningham, Release and Improvisation techniques.

12. Details of Assessment

Assessment 1

Assessment task: Written Essay

Weighting: 30%

Date/time/method of submission: Refer to Time-Plan for date. Essay should be emailed to George Kirkham as PDF document before 9.00am on date of submission.

Word count or equivalent: 2000

Assessment criteria: At the start of the semester you 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. Module Leader will offer 5 questions, and the student will select a question/title.Your essay will demonstrate your learning of some of the historical debate on


contemporary dance and the cultural context in which techniques have been developed. Although you should express your opinion as a matter of course, this should be supported by existing academic literature relating to the subject be Harvard Referenced. As well as demonstrating what you have learned, the essay will demonstrate evidence of further reading and independent study. A small percentage of the marks will be awarded for presentation, spelling and grammar.

Marking scheme:

First (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.

First (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.

2:1 (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.

2:2 (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.

3rd (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 with 30 working days after submission of final assessment of the semester.

Assessment 2

Assessment task: Practical Technique Examination.

Weighting: 70%

Date/time/method of submission: Refer to Time-Plan. Practical Exam.

Word count or equivalent: N/A

Assessment criteria:At the start of the semester you will be given an overview of the requirements of the Contemporary Dance practical exam. You should demonstrate an understanding of appropriate genre/style characteristics and the differences in the various Contemporary Techniques. Throughout the module you will be taught set exercises based on Graham, Cunningham and Release technique. You 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.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. You should be able to demonstrate you ability to replicate and perform contemporary technique through improvisation.

Marking scheme:

First(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.

First(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.

First(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.

2:1 (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.

2:2 (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.

3rd (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 feedback will be provided on an ongoing basis from tutor verbally. Summative feedback will be provided by tutor in writing with 30 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

Written Essay 1, 3, 4, 5, 6. 2000 Refer to Time-Plan. Before 9am on Monday of Week 14.

40 30% 30 working days after assessment date.

Practical Technique Exam

1, 2, 3, 5, 6. N/A Refer to Time-Plan

40 70% 30 working days after assessment date.


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

The practical assessment is now an exam rather than a choreography/performance assessment.

The Written assessment has been condensed to a single essay instead of a portfolio.

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 takes 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 an issue 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

C20. Guide to Learning Sessions

Session number: Week One

Venue: The Creative Academy

Topic Introduction to Module / Care of the InstrumentKey Concepts/Issues Understanding Contemporary Dance and physical

awareness.Delivery Method Lecture (1 Hour) and Workshop (2 Hours)Relevance to Assignments This session applies to both assignments.Formative/summative assessment opportunities

Formative assessment is provided verbally by tutor.

Essential and recommended reading for this sessionIndependent Study Further research into anatomy of body.Brief bibliography www.danceuk.org

Session number: Two


Topic Isadora DuncanKey Concepts/Issues Introduce Isadora Duncan’s life & work

Rebellious nature Formation of companies Costumes

Lifestyle reflected in choreographyDelivery Method Lecture (1 Hour) and Workshop (2 Hours)Relevance to Assignments This session applies to both assignments.Formative/summative assessment opportunities


Essential and recommended reading for this session

Essential: My Life Isadora DuncanRecommended: www.isadoraduncan.org.

Independent Study Further research into Isadora Duncan’s life and work.Practice set exercises.

Brief bibliography www.isadoraduncan.org Isadora Duncan – Masterworks DVD


Session number: Three


Topic Martha GrahamKey Concepts/Issues Explore Martha Graham’s technique and theory

What kind of themes informed Graham’s technique?

How has American folk lore been fed into her choreography?

Early training - DenishawnDelivery Method Lecture (1 Hour) and Workshop (2 Hours)Relevance to Assignments This session applies to both assignments.Formative/summative assessment opportunities



Essential: Bloody Memory Martha GrahamRecommended: www.marthagraham.org.

Independent Study Further research into Martha Graham’s technique and theory.Practice set exercises.

Brief bibliography Dance Was Her Religion Janet Lynn Roseman Blood Memory Martha Graham www.marthagraham.org

Session number: Four


Topic Martha GrahamKey Concepts/Issues Continue to explore Martha Graham’s technique

and theory Explore the themes of ‘Diversion of

Angels’Examine the use of choreographic devices in the piece

Delivery Method Lecture (1 Hour) and Workshop (2 Hours)Relevance to Assignments This session applies to both assignments.Formative/summative assessment opportunities




Independent Study Further research into Martha Graham’s choreographies (themes and devices).Practice set exercises.

Brief bibliography A Dancer’s Life (documentary) Diversion of Angels DVD Blood Memory Martha Graham Martha Graham: The Evolution Of Her Theory


And Training Marion Horosko www.marthagraham.org

Session number: Five


Topic Martha GrahamKey Concepts/Issues Continue to explore Martha Graham’s technique

and theory Explore the themes of ‘Appalachian

Spring’Examine the use of choreographic devices in the piece





Independent Study Further research into Martha Graham’s choreographies (themes and devices).Practice set exercises.

Brief bibliography A Dancer’s Life (documentary) Appalachian Spring DVD Blood Memory Martha Graham Martha Graham: The Evolution Of Her Theory

And Training Marion Horosko www.marthagraham.org

Session number: Six


Topic Merce CunninghamKey Concepts/Issues Explore Merce Cunningham’s work

Choreographic process Use of technology ‘Beach Birds for Camera’




Recommended: Merce Cunningham Fifty Years David Vaughanwww.merce.org.

Independent Study Further research into Cunningham’s choreographic processPractice set exercises.

Brief bibliography www.merce.org


Merce Cunningham Fifty Years David Vaughan Beach Birds for Camera DVD

Session number: Seven


Topic Merce CunninghamKey Concepts/Issues Continue to explore Cunningham’s technique and

theory.Compare & contrast with Martha Graham:

Technique Choreography




Recommended: Merce Cunningham Fifty Years David Vaughanwww.merce.org.Martha Graham: The Evolution Of Her Theory And Training Marion Horosko

Independent Study Further research into Cunningham’s choreographic processPractice set exercises.

Brief bibliography www.merce.org Merce Cunningham Fifty Years David Vaughan Beach Birds for Camera DVD A Dancer’s Life (documentary) Blood Memory Martha Graham Martha Graham: The Evolution Of Her Theory

And Training Marion Horosko

Session number: Eight


Topic Doris HumphreyKey Concepts/Issues Introduce Doris Humphrey’s work

Early training - Denishawn Development of technique Choreography Humphrey-Weidman company ‘The Shakers’



Essential and recommended Recommended: www.dorishumphrey.org


reading for this session The Art Of Making Dances Doris HumphreyIndependent Study Further research into Humphrey’s choreographic

process and involvement in the development of Contemporary Dance.Practice set exercises.

Brief bibliography www.dorishumphrey.org The Art Of Making Dances Doris Humphrey The Shakers DVD

Session number: Nine


Topic José LimonKey Concepts/Issues Introduce José Limon’s work

Early training with Humphrey Development of technique Choreography Limon company ‘The Moor’s Pavane’




Recommended: www.limon.orgThe Illustrated Dance Technique of José Limon Daniel Lewis

Independent Study Further research into Limon’s choreographic process and the influence Humphrey had on his technique.Practice set exercises.

Brief bibliography www.limon.org The Illustrated Dance Technique of José

Limon Daniel Lewis The Moor’s Pavane DVD

Session number: Ten


Topic Rudolf LabanKey Concepts/Issues Introduction to Laban’s work

Influenced by Delsarte Movement analysis Labanotation / Kinetography Community Dance Dance / movement therapy

Delivery Method Lecture (1 Hour) and Workshop (2 Hours)Relevance to Assignments This session applies to both assignments.Formative/summative Formative assessment is provided verbally by tutor.


assessment opportunitiesEssential and recommended reading for this session

Recommended: http://www.trinitylaban.ac.uk/about-us/our-history/rudolf-labanThe Makers of Modern Dance in Germany DVD

Independent Study Further research into Labanotation and how it changed the way dance was recorded.Practice set exercises.

Brief bibliography Laban for Actors and Dancers Jean Lewlove http://www.trinitylaban.ac.uk/about-us/our-

history/rudolf-laban The Makers of Modern Dance in Germany

DVD Laban Dance Works

Session number: Eleven


Topic What is Dance?Key Concepts/Issues Explore the concept of what is dance, and

specifically what is contemporary dance Overview of the development of Contemporary

Dance from 1900-1960Delivery Method Lecture (1 Hour) and Workshop (2 Hours)Relevance to Assignments This session applies to both assignments.Formative/summative assessment opportunities



Recommended: Chronology handout (available on Student Portal)Fifty Contemporary Choreographers Martha Bremser Lorna Sanders

Independent Study Practice set exercises.Brief bibliography Chronology handout

www.danceconsortium.com

Session number: Twelve


Topic UK Dance IndustryKey Concepts/Issues Master-class with leading UK dance company

Discuss UK dance industry and continue with dance practice

How is contemporary dance continuing to develop in the UK and what are its challenges?

Current contemporary companies and choreographers

Funding for new works – sources and streams


https://www.amazon.co.uk/s/ref=dp_byline_sr_book_2?ie=UTF8&text=Lorna+Sanders&search-alias=books-uk&field-author=Lorna+Sanders&sort=relevancerank

https://www.amazon.co.uk/s/ref=dp_byline_sr_book_1?ie=UTF8&text=Martha+Bremser&search-alias=books-uk&field-author=Martha+Bremser&sort=relevancerank

https://www.amazon.co.uk/s/ref=dp_byline_sr_book_1?ie=UTF8&text=Martha+Bremser&search-alias=books-uk&field-author=Martha+Bremser&sort=relevancerank

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

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




Recommended: www.article19.co.ukhttp://www.artscouncil.org.uk/funding

Independent Study Research further into funding options and current contemporary choreographers.Practice set exercises.

Brief bibliography www.siobhandavies.com www.rambert.org.uk www.sadlerswells.com www.theplace.org.uk

Session number: Thirteen


Topic Pre-Exam and MockKey Concepts/Issues Mock ExamDelivery Method Workshop (3 Hours)Relevance to Assignments This session applies to assessment 2, the Practical

Exam.Formative/summative assessment opportunities


Essential and recommended reading for this sessionIndependent Study Reflect on feedback.

Practice set exercises.Brief bibliography

Session number: Fourteen


Topic ExaminationsKey Concepts/Issues Practical Technique examDelivery Method ExaminationsRelevance to Assignments This session applies to assessment 2, the Practical

Exam.Formative/summative assessment opportunities

Summative assessment.

Essential and recommended reading for this sessionIndependent StudyBrief bibliography


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