Disclaimer
Every effort has been made to ensure the accuracy of the information presented in this handbook at the time of going to print. However, the Rambert School reserves the right to make changes as necessary to ensure the smooth running of learning, teaching and assessment.
BA (HONS) IN BALLET AND CONTEMPORARY DANCE
The focus of this handbook is on teaching, learning and assessment in relation to your programme of study. It includes information and advice related to both practical and theoretical work. The Handbook is divided into several sections for ease of reference.
Section 1 includes information about your course and a Module Study Guide for each module of your programme for this academic year. The guides set out the context for the area of study and include the learning outcomes, module content, assessment tasks, assessment criteria, assessment/study guidelines and reading lists. Please read these thoroughly and use them as a continual point of reference during the year.
Section 3 focuses on study skills and academic writing. It includes general guidelines and advice for approaching both practical and theoretical areas of study. The Assessment Guidelines section of each of the Module Study Guides includes specific advice regarding the assessment tasks for the module. Your tutors will give further advice during class and in tutorials.
As you progress through your programme of study, you are expected to demonstrate an increased self-reliance in managing, organising and initiating your own learning although tutorial support is available throughout. It is expected that you refine your study skills and that you deepen your practical and theoretical understanding of the work undertaken to help you successfully meet the demands of the course and to prepare for the demands of the dance profession.
You are advised therefore to use the Programme Handbook as a constant point of reference throughout the academic year.
CONTENTS
INTRODUCTION |
5 |
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SECTION 1: |
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PROGRAMME INFORMATION AND STUDY GUIDES |
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Programme Specifications |
6 |
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Modules Specifications |
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RA 3001 |
22 |
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RA 3002 |
29 |
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RA 3003 |
36 |
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RA 3004 |
43 |
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RA 3005 |
51 |
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SECTION 2: |
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ACADEMIC CONVENTIONS |
58 |
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Introduction |
60 |
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Academic Offences |
60 |
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How to Reference |
63 |
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How to Present a Bibliography and Other Sources |
72 |
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Presentation of Written Work |
77 |
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Some Examples |
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Referencing : Some Examples |
80 |
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Presenting Work : An Example |
83 |
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Presenting A Bibliography : an Example |
85 |
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SECTION 3: |
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STUDY SKILLS AND ACADEMIC WRITING |
87 |
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Introduction |
88 |
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Locating and Using Resources |
88 |
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Note Taking |
89 |
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Writing Assignments |
90 |
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Format of Written Assignments |
95 |
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University of Kent at Canterbury
Rambert School
BA (Hons) in Ballet and Contemporary Dance
Programme Specifications
Degree and Programme Title
1. Awarding Institution/Body University of Kent
2. Teaching Institution Rambert School
3. Teaching Site Rambert School
4. Programme Accredited by:
5. Final Award BA (Hons) in Ballet and Contemporary Dance
6. Programme
7. UCAS code
8. Relevant QAA subject benchmarking Dance, Drama and Performing Arts
9. Date of Production/Revision
10. Applicable Cohort(s)
1. Educational Aims of the Programme
Aims of the programme are consonant with the distinctive features of Foundation Degrees. They thus reflect that the programme provides students with the knowledge, understanding and skills that employers need. The aims listed below and the degree itself have been formulated through employer involvement. It is delivered and monitored through employer involvement and partnership. It is also characterised accessibility, articulation and progression, and flexibility.
The Programme aims to:
1. To provide an education and training in the technical execution of Ballet and Contemporary Dance to the level of professional excellence. [1]
It shall be characteristic of such excellence that, not only is a professional level of dance technical accomplishment reached within it, but that such technique itself shall provide, and be, a manifest vehicle of expressivity.[2]
2. To enable students to realise their individual potential as professional performers to the level of professional excellence through the development of their capacity for experience and expression in dance. This they will do through the exploitation of dance technique, musicality and expressivity in communication with an audience.
3. To enable students to find, to the level of professional excellence, their individual choreographic voices and/or the capacity to contribute to choreography through improvisation or building product out of material provided by a choreographer and/or the capacity to productively inform their work as dance performers through knowledge and understanding of choreographic structures, styles and methods.
4. To provide students with the opportunity to reflect upon and critically evaluate subject knowledge concerning the technical and stylistic development of Ballet and Contemporary Dance as genres such that this contributes to their capacity as dance artists.
5. To enable students to engage creatively and critically with, and contribute to the advancement of the genres of Ballet and Contemporary Dance during their subsequent careers.
6. To provide students with a systematic body of knowledge and understanding concerning their subject categories including the key aspects of these and further including a coherent, detailed and sensitive knowledge of some of their specialised aspects.
7. To equip students with the capacity to use established academic analytical techniques, as these provide for creative and critical engagement with abstract data and concepts and as these further provide for the identification and solution of problems. This capacity will be exercised and evident through the use of critical thinking, discussion and debate, reflection, writing, presentation, analysis.
8. To enable students to develop as reflective practitioners and/or to continue and advance in learning and research through further and higher educational opportunities and/or with significant responsibility within organisations.
9. To cause or allow a holistic educational experience through the provision of an attitude, environment and methodology, as regards teaching and learning, that supports students in their development such that they may achieve their unique potential as people and as artists. Through this to provide students with the opportunity to move forward in their vision, awareness, knowledge and insight into their world and their selves.
2. Programme Outcomes
The programme provides opportunities for students to develop and demonstrate knowledge and understanding, qualities, skills and other attributes in the following areas. The programme outcomes have references to the subject benchmarking statement for
Knowledge and Understanding
1. Comprehension of, and intelligent engagement with, the key aspects, components and processes by which, Ballet and Contemporary Dance performance are created and realised including detailed knowledge of some specialised aspects of these genres.
2. Comprehension of, and creative, critical, sensitive and intelligent engagement with, group and collective processes as these relate to the production and performance of Ballet and Contemporary Dance.
3. Critical and creative comprehension of the potential of the use of movement quality, musicality, presence, commitment, empathy and co-operation, and dance technical ability towards allowing dance to become a vehicle of expressivity.
4. Comprehension of the creative use, and the potential of the interplay between the performer's conscious and subconscious resources in the act of dance itself, in dance-making and in the realisation of performance.
5. An understanding of the limits of the knowledge possessed by the student and of the limits of knowledge itself.
6. Creative and critical comprehension of, and intelligent engagement with, the interplay between practice and theory within the fields of Ballet, Contemporary Dance and dance- making.
Teaching and learning strategies and methods
Teaching and learning as concerns knowledge and understanding, intellectual skills, subject specific skills and transferable skills are interwoven. There are three principal categories of study. Dance Technical Studies and Choreographic Studies are most obviously taught in sessions associated with dance studios and performance spaces. Critical Studies are most obviously taught in sessions associated with class and seminar rooms. Nonetheless, it is a tenet of the programme that the teaching and learning of these three categories of study should be deeply integrated.
The following methods are deployed as regards all areas of knowledge, understanding and skills and for all categories of teaching and learning;
- dance technical classes,
- group learning and individual learning in workshop situations,
- performances,
- lectures,
- tutorials,
- seminar presentations,
- project work including that conducted through student leadership,
- resource based learning,
Assessment
Assessment specific to each of the three principal categories of learning of the programme are given in the modules. The integrated assessment processes of the programme include;
- regular dance technical classes,
- test dance technical classes,
- rehearsals,
- performances (public and internal),
- showings of solos,
- assessed course work; seminar and discussion,
- written work,
- project reports,
- presentations.
Skills and Other Attributes
Assessment specific to each of the three principal categories of learning of the programme are given in the modules. The integrated assessment processes of the programme include;
- regular dance technical classes,
- test dance technical classes,
- rehearsals,
- performances (public and internal),
- showings of solos,
- assessed course work; seminar and discussion,
- written work,
- project reports,
- presentations.
Teaching and learning strategies and methods
The programme depends on an integrated system of Teaching and learning. Intellectual work involves coming to understand how to apply conscious cognitive or intellectual skills in critical thinking, discussion and debate, reflection, writing, presentation, analysis, interpretation and evaluation. These processes are employed in pursuance of the traditional academic method as well as in the practical or technical study of dancing and making dance.
C. Subject-specific Skills
D. Transferable Skills
The following outcomes are consonant with, and integrated within, the teaching of the programme's learning outcomes.
Teaching and learning strategies and methods
Transferable skills are developed throughout the programme.
Assessment
Assessment of Transferable Skills is not direct but is integrated into all assessment processes.
3 .Programme Structures and Requirements, Levels, Modules, Credits and Awards
Structure
This BA (Hons) degree is a one-year, full-time course of 36 weeks. It is divided into two semesters. The year is divided into a number of study modules of 20 or 40 credits where the accumulated credit value is equal to 120 credits. The Rambert School FDA degree in Ballet and Contemporary Dance will normally be the prerequisite of this BA (Hons) course.
Modules delivered are designated at Honours Level [H].
Categories of Study
There are three principal categories of study. They are highly integrated.
Dance Technical Studies
The centre of this degree programme is the process of coming to possess and apply a progressively sophisticated body of knowledge, understanding, cognitive and other skills such that the student is able to dance Ballet and Contemporary Dance to the level of, and in many cases well beyond, professional competence. Other aspects of the programme either derive from or support this central process in a number of senses.
At this BA (Hons) level accomplishment advances most obviously and significantly over the level attained within the associated FDA in that dance technical expertise, beyond being an end in itself, develops into a manifest vehicle of expressivity. (See footnote 3.)
Choreographic Studies
Students may exercise a degree of choice in their approach to Choreographic Studies. Focus can be directed towards learning to make dance works as a choreographer and/or how to contribute to the process of making dances through improvisation and/or through the development of movement material introduced by a choreographer or director. Finally work can focus upon discovering and developing expressive capacity in the more traditional role of the dance artist who brings finished movement material to life in performance.
At this BA (Hons) level accomplishment advances most obviously and significantly over the level attained within the associated FDA in that choreographic expertise, beyond being an end in itself, develops into a manifest vehicle of expressivity. (See footnote 3.)
Critical Studies
Within Critical Studies students acquire a body of knowledge, understanding and skills through which they may deploy established and traditional academic methodologies with sophistication.
It is stated above that Critical Studies focuses upon the processes of the act of dance and the making of dances. However, Critical Studies also focuses upon the academic method itself. In this way the structure and content of the programme assure its integration. Thus the need to develop knowledge, understanding and skills as regards the academic method particularly in respect of critical thinking, writing, presentation, analysis, interpretation, evaluation and research is emphasised within each module under 'Synopsis of the Curriculum'. It is also highlighted within the Statement of Assessment Criteria.
In Critical Studies, on completion of the BA (Hons) programme, indicative elements of advancement, over the level attained on completion of the associated FDA, include the following:[3]
1. The body of subject knowledge acquired is increased while both previously and newly acquired knowledge become the subject of reflection, deeper analysis and critical evaluation.
2. The contribution the dancer is in a position to make within the profession is no longer largely dependent on simple professional competence but becomes, also and beyond this, the result of reflective, creative and critical engagement.
3. A secure body of knowledge, understanding and skills, as concerns the academic method, expands into a systematic capacity to deal, coherently, sensitively and in a detailed manner with key and specialised aspects of Dance Technical Studies, Choreography and Performance.
4. The capacity to develop lines of argument and solve problems through different approaches and the consideration of qualitative and quantitative data is enhanced such that it develops into the ability to use ideas and techniques, some of which are at the forefront of the discipline, and the ability to engage creatively and critically with abstract data and concepts while these further provide for the identification and solution of more complex problems.
5. The ability to undertake further training and develop new skills dependent on a structured and managed environment develops into the capacity to advance in learning and research through further and higher educational opportunities and/or with significant responsibilities within organisations.
Teaching, Learning and the Spiral Curriculum
Within all three subject categories, each semester, the student both acquires new subject knowledge and revisits previously considered material. Thus within each category of study an important portion of the work is characterised by a spiral curriculum and a phased approach.
As concerns revisited material, on completion of each semester attainment advances over the phase reached in previous semesters.
The level of advancement required is articulated in subject specific criteria set out in the Rambert School Statement of Assessment Criteria. The subject specific criteria are there given under identical main headings for all semesters. However, under these main headings are articulated the characteristics through which the student demonstrates that new achievement, which is unique and appropriate to the new semester, has taken place
It should be clear that this subject specific criteria name substantive content within each module.
Required Modules level credits semester |
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RA 3002 |
PROFESSIONAL BALLET |
H |
20 |
ONE |
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RA 3003 |
PROFESSIONAL CONTEMPORARY DANCE |
H |
20 |
ONE |
||
RA 3004 |
ACCOMPLISHED PROFESSIONAL BALLET |
H |
20 |
TWO |
||
RA 3005 |
ACCOMPLISHED PROFESSIONAL CONTEMPORARY DANCE |
H |
20 |
TWO |
||
Special Project (also Required) |
||||||
RA 3001 |
SPECIAL PROJECT |
H |
40 |
ONE AND TWO |
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The Special Project involves the culmination and completion of the Reflective Professional Progress Portfolio. This is built up over the three years of the programme.
Academic support
Overall academic and artistic leadership is in the hands of the Principal of the School.
Additionally Academic Leadership is in the hands of The Teaching Steering Committee, the Head of Learning and Teaching (responsible for oversight of quality assurance and implementation of quality assurance requirements) and the Director of Studies (responsible for oversight of the delivery of the programmes).[4]
Student academic support is implemented through collaboration between students and staff and through a system of committees. These include;
- The Academic Board/Board of Studies (meets termly),
- The Administrative Committee (all administrative staff) (meets weekly),
- The Teaching Steering Committee (three full time members of teaching staff) (meets weekly),
- The Staff/Student Consultative Committee (meets termly).
General pastoral care and academic guidance
Rambert School has worked with many foreign students. It deals with a wide age range (from sixteen to the mid-twenties and occasionally older). Processes of pastoral care have become efficient and effective in taking into account the differing ages, characters and needs of students.
A caring culture is cultivated. Each group (male and female) within each year group has a personal tutor who has pastoral and academic responsibilities towards each student in their care. The personal tutor is usually the student's principal Ballet teacher who, through teaching each student every day during the first year and often during the second and third, knows them well and can keep track of them. The personal tutor interviews each student of their tutorial group formally once a term on academic and pastoral grounds. Informal interviews may take place much more often.
In addition to the school's system of personal tutors it provides an open door policy which makes pastoral care as well as academic monitoring easier. At induction students are encouraged to seek advice and general help with problems from any member of staff with whom they feel comfortable. They can speak to the Principal at any time an appointment not being necessary.
IT support
IT learning support is provided in the first year through optional tutorial seminars as well as in RA 1003 and RA 1007. Groups are of no more than ten students. These meet weekly.
Language support
Support for students in cases in which English is not the first language and this is, or is likely to become, a hindrance to learning, is provided on a one to one basis through private tutorials. Such help is given on the basis of need.
Care of younger students
All students of the school must phone in on any day on which they do not attend classes. Calls are logged on the main staff notice board in the staff common room. (Classes, of course, take place for all student five days a week.) In addition on returning to school a student who has been absent must fill out and hand in an absence form before any more classes can be taken. The form specifies the reason for absence and what classes have been missed. These forms are kept in the student's file which is held in the school office and can be consulted by any member of staff. These methods of monitoring are particularly useful in keeping track, and understanding the situation of, younger students.[5]
Since registers are taken of all classes, in effect the student 'clocks in' for each class of every day. The attendance requirement is 100%. Thus absence is noticed immediately.
Specialist consultancy
The school employs two consultants: one dealing with nutrition and the other with physiotherapy and injury prevention. These consultants give at least one lecture/workshop to each group each year during each term. Students with specific problems are referred to these consultants by their teachers, personal tutors or the Principal.
Equal Opportunities and Student with Disabilities
Rambert School is committed to providing equal opportunities and to support all its students with disabilities and/or specific learning needs.
5. Entry Profile
Entry Route
Entry into the course normally requires successful completion of the Rambert School Foundation Degree or completion of a closely comparable course.
Non-English speaking students normally need English language qualifications. Qualifications accepted include TOEFL, IELTS, WELT or the Cambridge Advanced Certificate in English. The scores required are:
What does this programme have to offer?
Professionalism
In this BA (Hons) year, (which will normally be the third year the student spends at Rambert School) participation in the act of performance, understood as a powerhouse for artistic advancement for the student is increased. The student's performance work becomes more intense and of more acute focus. This facilitates the process through which the student's dance technical ability becomes a developed and sophisticated vehicle of individual expressivity.
Students continue to have the opportunity to take part in public performance through three seasons of student works (two seasons of a week each and one season of two evenings), two seasons of student and professional work (both a week each), one or two show case performances at the Linbury Theatre (in the Royal Opera House), and three performances of solos in the Rambert School Theatre. Some students (five to twenty each year) also take part in a professionally based Research Project involving summer performances in cathedrals for a two to three-week period and performances in churches during the rest of the year. It is unlikely that so much performance is matched by any professional school in the world.
Given this performance schedule all students work with visiting and resident professional artists in both classes and the production of performance material.
The teaching staff of the School have all performed professionally at a high level.
There is weekly teaching and choreographic input from a senior dancer of Rambert Dance Company. The Director of Rambert Dance Company sometimes choreographs on the School. The School's Artistic Director does so every year.
Dance companies give residencies and workshops at the School. Examples are; Scottish Dance Theatre, DV8, Mark Morris, Rambert Dance Company, Fin Walker and Union Dance Company.
Some students undertake work placements as, for example, with Diversions Dance Company, Vienna Festival Ballet, English National Ballet and Gelebe Dance Company and the Martial Dance Company.
Seminars are conducted towards finding a job and the process of auditioning.
Contacts
A special relationship at board and artistic levels with Rambert Dance Company.
Contacts with professional practitioners in the UK and internationally.
Contacts with dance companies in the UK and internationally.
Access and a relationship with venues in London.
Research Profile
The School has built up a research culture, within a university environment, over recent national Research Assessment Exercises. This includes research outcomes and PhD supervision.
Job Destination Record
A modest calculation of successful job destination rates place this at 90% of graduating students.
The School's graduates have gone on to enter the profession, usually at a high level. Graduates dance with Ballet companies like Dutch National Ballet, English National Ballet, Northern Ballet, Scottish Ballet, the Seoul Ballet and the Cape Town Ballet; and with Contemporary Dance companies like Rambert Dance Company, the Merce Cunningham Dance Company, Richard Alston Dance Company, Phoenix Dance Company, the Munich Dance Company and Netherlands Dance Theatre. These are among the most respected companies.
Personal Profile
On entry the student will be able to demonstrate:
Mental and physical stamina combined with a high level of motivation towards entry into the dance profession as a dancer or choreographer or both;
The potential to engage in Ballet and or Contemporary Dance at a level of professional excellence. The student will be able to demonstrate dance movement quality, musicality, dance physicality, stage presence and dance technical ability at a level of professional competence.
The potential to develop the academic skills of critical thinking, discussion and debate, reflection, presentation, analysis, interpretation and evaluation at a graduate level.
Signs of the potential to engage constructively, creatively and critically within group or corporate artistic work.
Methods for Evaluating and Enhancing the Quality and Standards of Teaching and Learning
Mechanisms for review and evaluation of teaching, learning, assessment, the curriculum and outcome standards
- Annual Review of the programme and course modules attended by staff and student representatives. This considered by the Academic Board and the Board of Trustees.
- Academic Board/Board of Studies (meets monthly).
- Participation in examining process by External Examiners and response to their reports.
- Weekly meetings of the Administrative Committee and and Teaching Steering Committee.
- Meetings of entire staff (meets termly).
- Process of double marking.
- Peer observation of teaching.
- Staff appraisals.
- Performances before the general public, critics and dance professionals (at least five seasons each year).
- Reports and evaluations by visiting professionals and artistic advisors.
- Student programme evaluation questionnaires.
- A clearly articulated course rationale and assessment process.
- University periodic programme review.
- QAA Institutional audits.
Committees with responsibility for monitoring and evaluating quality and standards
- Board of Trustees (meets monthly)
- Audit Committee (meets as necessary)
- Finance Committee (meets as necessary)
- Premises/Building Committee (meets and necessary)
- Remuneration and Nominations Committee (meets as necessary)
- Academic Board/Board of Studies (meets monthly)
- Administrative Committee (meets weekly)
- Teaching Steering Committee (meets weekly)
- Staff Student Consultative Committee (meets termly)
- Learning and Teaching Committee of the Faculty of Humanities
- University of Kent Learning and Teaching Board
- Board of Examiners (including External Examiners)
Mechanisms for gaining student feedback on the quality of teaching and their learning experience
- Student feedback is monitored through;
- meeting between students and the Director (termly),
- meetings between students and between any member of staff with which they feel comfortable,
- tutorials,
- questionnaires,
- the Staff/Student Consultative Committee (meets termly),
- the Reflective Professional Portfolio and other written work,
- student representation on the Academic Board.
-
Staff Development priorities include:
Individual development as teachers;
- through support in teaching experiences with other internationally recognised centre of excellence inside and outside the UK,
- through support in attending conferences, international competitions and symposiums and long and short courses.
Individual and collective development in Research;
- through the support of individuals in attending conferences, international competitions and symposiums and courses,
- through the support of individual and collective Research projects.
Initiatives towards inter-colligiality with the Conservatoire of Dance and Drama.
7. Indicators of Quality and Standards
- As appointed through Brunel University 1985 to 2002
- As appointed by Edexcel 2003-2005
- As appointed by Trinity College 2004/2005
CDET Accreditation Report – 1995
OFSTED Report 2003
Annual Monitoring Reports; West London Institute of Higher Education 1985-1996
Annual Monitoring Reports: Brunel University 1997-2005
Highly successful Employment Destinations record.
Regarded as of equal standing by the existing affiliates of the Conservatoire of Dance and Drama.
Highly positive press response to performance activity.
The following reference points were used in creating these specifications:
Employment and the equality and importance of the study of Ballet and Contemporary Dance
The full title of the school is the 'Rambert School of Ballet and Contemporary Dance'. This title reflects that Rambert School is unlike, for example, the Royal Ballet School, which is primarily a Ballet School or the London School of Contemporary Dance which is primarily a school of Contemporary Dance. At Rambert School both these major genres of Western Theatrical Dance are treated equally and as major studies. One is not undertaken largely or only to supplement the other. This approach, which is unique in the UK, is adopted because, as the record of former students of the School shows, it provides young dance artists with an education and training through which they can, with great success, enter, enjoy and improve the professional dance job market of today.
This degree has been drafted in close consonance with the Subject Benchmark Statement of 2002 and the most recent National Academic Framework Descriptors. Guidelines adhered to from the Subject Benchmark Statement are given in the School's “Statement of Assessment Criteria (including Benchmark Statement Consonance)”.
University of Kent at Canterbury
Rambert School
BA (Hons) in Ballet and Contemporary Dance
RA 3001
1. Title of the Module
Special Project (RA3001)
2. Department responsible for the management of the module
Rambert School
3. Start Date of the Module
September 2007
4. Number of student expected to take the module
34
5. Modules to be withdrawn on the introduction of this proposed module and the consultation with other relevant Departments and Faculties regarding the withdrawal
none
6. Level of the Module
H
7. Number of Credits
40
8. Which term(s) the module is to be taught in
Semesters One and Two
9. Prerequisite and co-requisite modules
Those of the BA programme
10. The programme of study to which the module contributes
BA (Hons) in Ballet and Contemporary Dance
11. The intended subject specific learning outcomes and their relationship to programme learning outcomes:
On successful completion of this project the student will be able to demonstrate:
1. reflection, understanding and rigorous practice/theory evaluation of the subject knowledge and skill associated with this degree and acquired through a review of the student's experience of it;
2. reflection, knowledge, understanding and evaluation of practice as research and practice within research. This is conducted working within the forefront of the discipline. It takes account of its arguments, assumptions and abstract concepts from a professional level of sophistication;
3. improvement upon all aspects of the student's ability to dance and/or choreograph such that these practices reach a level of professional excellence and that the skills in question, beyond appearing to be and end in themselves, become a manifest vehicle of creativity.
4. creative, critical and sensitive use of the conventions of academic practice as made evident through essays, logs, reports, portfolios or some combination of these.
12. The intended generic learning outcomes and, as appropriate, their relationship to programme learning outcomes
The following outcomes are all consonant with and integrated within the teaching of the programme learning outcomes:
Students will be able to demonstrate:
13. A Synopsis of the Curriculum
13.1 Essential Content[6]
Building on Previous Study
This Special Project is ideally the culmination and completion of a Reflective Professional Progress Portfolio. This is a portfolio that is built up over the three years of the programme by all students considering progression from the Rambert School Foundation Degree to its BA (Hons) degree.
13. 1 Essential Content
As concerns the study of academic conventions and skills six main areas of focus to which the student is directed are given in the first list below. These six area are also the subject of Critical Studies modules within the related FDA. In the list that follows this first one are given characteristics specifically of concern within this module.
Critical Studies,
Discussion and debate,
Reflection,
Writing,
Presentation, Analysis,
Interpretation,
Evaluation.
The capacity to make use of the academic method is addressed providing levels of accomplishment such that:
Critical Thinking
Students should demonstrate that their thought about academic, practical/technical and choreographic studies and the practice of the profession, including its forefront work, is at a fully graduate level of academic practice. Such thought should be characterised by an ability to synthesize and evaluate alternative perspectives and to be able to defend personal judgements logically through analysis of appropriate evidence.
Discussion and Debate
In talking about problems and situations, and in defending or questioning positions taken in relation to them, the student should demonstrate knowledge and skills informed by a new dance professional's understanding of the dance profession. It should be clearly demonstrated that the individual can find new knowledge and deepen understanding through dialogue and debate.
Reflection
Students should demonstrate accomplishment in the ability to examine their work, and that of the profession through knowledge and skills informed by a new dance professional's understanding. Such reflection should include a review of the full experience of the degree programme in order that successes, failures and other learning situations can be revisited in retrospect and the student can demonstrate an ability to learn from this process.
Writing
Students should demonstrate knowledge and skills informed by a new dance professional's stage of understanding concerning the profession. It should be demonstrated that writing can be a means through which thought can be clarified.
Presentation
Students should demonstrate knowledge and skills of presentation as informed by a new dance professional's stage of understanding. A personal style of presentation should be evident.
Analysis
Students should demonstrate knowledge and skills informed by a new dance professional's understanding of the profession in breaking down and investigating problems or situations as these concern their work in the school and the work of the profession. Analysis of the various subject areas of concern to the student should show an ability to identify interrelations and their significance for dance practice and/or theory.
Interpretation
Students should demonstrate knowledge and skills informed by a new professional's understanding of the profession. Where appropriate interpretation of, for example, class structures (the structure of tuition processes) the instructor's intentions, artistic orientations and choreographic works made over the three years of the course should be related and compare. This will shed light upon final hypotheses, strategies and conclusions set out in the Special Project.
Evaluation
Students should demonstrate evaluative knowledge and skills as informed by a new professional's stage of understanding as concerns the work of the school, their work within it and the conventional and innovative work of the dance profession. They should demonstrate awareness of the limits of much evaluation within the arts (since such evaluation often deals with personal and non-verifiable experience) displaying an appreciation and respect for “approximate knowledge”, uncertainty, ambiguity and limits of knowledge.
13.2 Procedural Content
A Retrospective Review Towards Progression
The project has professional orientation. The student, with the guidance of a supervisor (while demonstrating that all aspects of practice have been informed and enhanced by the application of Critical Studies and academic skills) identifies an element or area of their performance or pre-performance practice which they wish particularly to investigate and so seek to improve. Students undertake an in-depth self-evaluation, examining progress made through the full three-year period spent at the School or in similar education and training. They examine theoretical and practical aspects applying knowledge about dance performance practice, choreography, performance styles and philosophies in relation to the professional demands of the field.
They are encouraged to consider how this examination might contribute to the formulation of strategies that will allow them to plan and document an action plan: a personal way forward within the profession. They are brought to identify weaknesses as well as strengths in order to form an honest and realistic self-evaluation and approach towards their future as professionals. Students are encouraged to analyse, reflect and evaluate work within the profession itself such that they might contribute to its general artistic advancement.
They will finally be encouraged to show that they have thought about and conceived plans for continual learning and professional development looking towards the years that will follow those in which they can normally expect to dance.
Advancement over the FDA Level
This module straddles the border between the three categories of Dance Technical Studies, Choreographic Studies and Critical Studies.
As concerns Dance Technical and Choreographic Studies, work should reach the standard of professional excellence such that technical expertise becomes a manifest vehicle of expressivity.
As concerns Critical Studies indicative elements of advancement, over the level attained on completion of the associated FDA, include the following elements:[7]
1. The body of subject knowledge acquired is to a much increased while both previously and newly acquired knowledge become the subject of reflection, deeper analysis and critical evaluation.
2. The contribution the dancer is in a position to make within the profession is no longer largely dependent on simple professional competence but becomes, also and beyond this, the result of reflective, creative and critical engagement.
3. A secure body of knowledge, understanding and skills, as concerns the academic method, expands into a systematic capacity to deal, coherently, sensitively and in a detailed manner with key and specialised aspects of Dance Technical Studies, Choreography and Performance.
4. The capacity to develop lines of argument and solve problems through different approaches and the consideration of qualitative and quantitative data is enhanced such that it develops into the ability to use ideas and techniques, some of which are at the forefront of the discipline, and the ability to engage creatively and critically with abstract data and concepts while these further provide for the identification and solution of more complex problems.
5. The ability to undertake further training and develop new skills dependent on a structured and managed environment develops into the capacity to advance in learning and research through further and higher educational opportunities and/or with significant responsibilities within organisations.
14. Indicative Reading Lists
Reading will be appropriate to the themes of the Project.
15. Teaching and Learning Methods including the nature and number of contact hours and the total study hours which will be expected of students and how these relate to achievement of the intended learning outcomes
Teaching and Learning Hours; (a minimum of) Tutorials, Lectures and Seminars: 100 Independent Work and Research 300 |
Total number of student/tutor contact hours: 100 Expected student learning hours: 300 Total contact and learning hours: 400 |
Processes must vary for individual cases of this Special Project. The focus of it might have been decided upon early in the process of building up the Reflective Professional Progress Portfolio or it may be identified only in the third year of study in which this Project is undertaken. The investigation is conducted through the application of academic methodologies of critical thinking, analysis, reflection, interpretation and evaluation to the student's own performance or pre-performance practice.
In terms of the practical dance performance aspect of what is presented a student could chose to be be assessed on activity that is essentially solitary (the performance of a solo) or as a contributor to, and worker within a group project (as choreographer, director or dancer in a group work etc). In terms of the theoretical aspect of what is presented the student prepares a documentation which includes material arrived at through the largely proforma based work of the first year, selections, with comment, from the more independently formulated work of the second year, other material demonstrating reflection, analysis and evaluation of the student's work over the full three year programme including at least 4,000 words of essay material written by the student. It is particularly in this essay material that the student must demonstrate that the academic knowledge and skills listed and discussed in earlier modules.
16. Assessment methods and how these relate to testing achievement of the intended learning outcomes
All work should demonstrate the examination and improvement of the student's work from the view-point of one possessed of a professional level of knowledge and skills. Knowledge should be demonstrated that is informed by work at the forefront of the professional discipline of dance. Such work/research and its arguments, assumptions and abstract concepts should be critiqued and evaluated.
Overall the approximately 4,000 words of essay material and/or other written work demonstrate that the student's academic skills are at a BA (Hons) level. The practical work demonstrates that dance performance and/or choreographic skills have reached a level of professional excellence. In addition it should be clear that students' academic skills have informed and enhanced their practical ones.
Practical Assessment 40% to 60%[8]
As concerns the practical performance and/or pre-performance aspect of work, assessment addresses whether a level of professional excellence has been the better reached in dancing and/or choreography.
Theoretical Assessment 40% to 60%
University of Kent at Canterbury
Rambert School
BA (Hons) in Ballet and Contemporary Dance
RA 3002
1. Title of the Module
Professional Ballet (RA3002)
2. Department responsible for the management of the module
Rambert School
3. Start Date of the Module
September 2007
4. Number of student expected to take the module
34
5. Modules to be withdrawn on the introduction of this proposed module and the consultation with other relevant Departments and Faculties regarding the withdrawal
none
6. Level of the Module
H
7. Number of Credits
20
8. Which term(s) the module is to be taught in
Semester One
9. Prerequisite and co-requisite modules
none
10. The programme of study to which the module contributes
BA (Hons) in Ballet and Contemporary Dance
11. The intended subject specific learning outcomes and their relationship to programme learning outcomes:
On successful completion of the module the students will:
1. be able to demonstrate to a professional level (speaking in terms of a professional education and training and the Essential and Procedural Content give below) the intricacies of the ballet technique with ease and style;
2. be equipped to start competing in auditions to secure a job in the dance profession upon graduation;
3. be able to perform. at a level of professional competence, ballet solos and repertoire before the general public.
4. show, in all the above, distinct signs of individual and unique potential particularly in term of movement quality, musicality, presence and dance physicality at the level of professional competence.
12. The intended generic learning outcomes and, as appropriate, their relationship to programme learning outcomes
The following outcomes are all consonant with and integrated within the teaching of the programme learning outcomes:
Students will be able to demonstrate:
13. A Synopsis of the Curriculum
13.1 Essential Content[9]
The work of the programme is characterised by a carefully phased approach. The phases, including those associated with the Foundation degree related to, and conceived with, this BA (Hons) programme, are shown in the table below.
Phases |
Study is in the following phases; Phase 1 Introductory (semester one) Phase 2 Elementary (semester two) |
Phase 3 Pre-Advanced (semester three) Phase 4 Advanced (semester four) |
Phase 5 Professional (semester five) Phase 6 Accomplished Professional (semester six) |
This approach is particularly appropriate in the teaching and learning in Dance Technical Studies (modules dealing with Ballet and Contemporary Dance training) because they are accomplished through a spiral curriculum. This is to say that specific areas, themes and families of movement and individual positions and movements are visited many times and in many cases on every day. Thus, for example, pliés must be studied and practised during every day in the expectation that through this the student will improve. This revisiting of areas of study may involve an increase in difficulty, complexity, diversity and quantity but it need not always do so. A simple plié exercise can be as difficult and trying as a very complex one to the sophisticated dancer because that sophistication is applied to it.
This phase is called here 'Professional' within this programme there being one phase after it called here 'Accomplished Professional'. Within this module (and semester five of the programme) students are working at a professional level of competence. In semester six students will have reached a level beyond that of basic professional competence.
Six main areas of focus, to which the student is directed, accompanied by sub-headings; are given in the first list below. In the list that follows are given characteristics specifically of concern within this module and phase of study.
- co-ordination
- flow
- line
- dynamics
- rhythmic awareness
- musical awareness
- musical dynamics
- musical phrasing
Stage Presence
- eye line
- confidence
- grasp of appropriate style
- dramatic sense
- consistency of attendance (100% attendance and punctuality is expected except for bona fide reasons)
- level of concentration
- attitude to the learning of oneself and others
- attitude to the teacher
- attitude to other students
as concerns the use of
- feet
- legs
- torso
- arms
- head
- the full body in stillness, moving on place and moving across space.
The list below gives indicative characteristics which are the specific focus of teaching and learning within this module and phase.
(fifth semester)
Movement Quality
an assured individual movement quality,
Musicality
clear command of musical accuracy, phrasing and dynamics,
Presence
manifest power of, and the ability to employ different qualities of, projection,
Commitment, Empathy and Co-operation
Characteristics indicative of this area of accomplishment to the level given for earlier modules while additionally showing the ability to inspire a teacher or choreographer,
Dance Technical Ability
an accomplished level of proficiency in all areas of the genre.
13.2 Procedural Content
Central to the English tradition of classical ballet, based on purity of line and clarity of movement, with precise footwork and a strong use of epaulement. A lightness and speed of transference of weight with a fluid and lyrical quality in all Ports de Bras and use of the upper body. Influenced over the decades by the Russian (Vaganova); Italian (Cecchetti); French and Danish (Bournonville) schools and constantly developed to suit the English physique and temperament, and to achieve an excellence by the third year to compete in the international dance world.
Work focuses upon:
Approaching class work as a professional.
Developing audition skills within the classroom; e.g. performing class like a performance; picking up at speed; attention to every detail and nuance.
Barre Work:
A further progression with
Correct stance and placing.
Accurate weight placement.
Transference of weight, with exerecises on the demi-pointe and pointe.
Accuracy of the Positions and alignments of Devant, a la Seconde, Derriere a Terre, enL'air and on demi-pointe and pointe.
Stamina and clarity.
Complex and combined exercises, following the traditional running order – i.e.
Warm up
Plies
Battements Tendus
Battements Glisses
Battements Jetes
Ronds de Jambe a Terre
Battements Fondus
Battements Frappes
Ronds de Jambe en L'air
Petits Battements
Adage
Grands Battements
Stretch
Centre work:
Ports de Bras - with pirouette and adage elements, also on demi-pointe and pointe. (often 4 – 8 bar phrases)
Centre Practice - based on the barre work.
Pirouettes – including all grand pirouettes in attitude, arabesque, a la seconde – en dehors, en dedans – single, doubles.
Pirouettes en manege.
Fouettes
(All on demi-pointe and pointe)
Adage – (often 4 – 8 bar phrases) including pirouettes, ballottes, rotations, Promanades, Penchees, rotations on demi- pointe and pointe.
Allegro – Complex enchainements in 32 bar phrases
In petit Allegro, Allegro, Batterie with double beats, e.g. Entrechat Six and entrechat six vole de cote.
Grand Allegro, also en manege, including batterie, Cabrioles, Fouette Battu, Grands Jetes en tournant battu, Sissonnes battu.
Solos and Pas de Deux from the classical Repertoire.
14. Indicative Reading Lists
Essential Reading
Guest, I. The Romantic Ballet in London. London: Pitman, 1972.
Karsavanah. T. Theatre Street. London: Dance Books, 1981.
Specialised journals and magazines i.e.
The Dancing Times, London (monthly)
Dance Europe, London (monthly)
Dance Now, London (quarterly)
Year books i.e.
PAYE (Performing Arts Yearbook for Europe)
Dance section; yearly, London
MOD (Music, Opera, Dance and Drama in Asia, The Pacific and North America) Dance section; yearly, London.
15. Teaching and Learning Methods including the nature and number of contact hours and the total study hours which will be expected of students and how these relate to achievement of the intended learning outcomes
Teaching and Learning Hours; (a minimum of) Dance Technical Classes: 187 Priactice: 30 |
Total number of student/tutor contact hours: 187 Expected student learning hours: 30 Total contact and learning hours: 217 |
This module ensures the students' maximum development of their capacity to that of a professional with further refinement of Ballet technique beyond that accomplished in levels 1 and 2.
This module will also continue to enhance students' rehearsal and performing skills.
In addition to their five separate ballet classes per week of one and a half hours each for men and women, the students will have two pas de deux classes of tone and a half hours a week, two solo classes of one hour each, (separated for the men and women) and one repertory class for the women and one coaching class for the men of one hour each per week.
16. Assessment methods and how these relate to testing achievement of the intended learning outcomes
Assessment Criteria for this subject and phase are given in theRambert School Statement of Assessment Criteria.
Assessment is achieved employing an integrated system of processes, which are also processes of teaching and learning, through which the student progresses and the marker/teacher is able to witness and confirm this progression.
In this module these processes include;
Five times weekly technique classes, twice weekly pas de deux classes, a single summative 'observed class' (watched by a panel of staff and conducted once a semester) and a single performances of solos (watched by a panel of staff, students and invited guests and conducted at the end of each term).
In the sense that these processes form an ongoing and integrated system of teaching and learning all assessment is continuous and practical.
Marks, written comment and a formal interview focusing on student progression and the assessment mark awarded in respect of this are given at the end of each semester.
University of Kent at Canterbury
Rambert School
BA (Hons) in Ballet and Contemporary Dance
RA 3003
1. Title of the Module
Professional Contemporary Dance (RA3003)
2. Department responsible for the management of the module
Rambert School
3. Start Date of the Module
September 2007
4. Number of student expected to take the module
34
5. Modules to be withdrawn on the introduction of this proposed module and the consultation with other relevant Departments and Faculties regarding the withdrawal
none
6. Level of the Module
H
7. Number of Credits
20
8. Which term(s) the module is to be taught in
Semester One
9. Prerequisite and co-requisite modules
none
10. The programme of study to which the module contributes
BA (Hons) in Ballet and Contemporary Dance
11. The intended subject specific learning outcomes and their relationship to programme learning outcomes:
On completion of this module, students will be able to:
1. demonstrate, at a professional level, (speaking in terms of the Essential and Procedural Content listed below) through class room exercises and solo material, movement quality, musicality, stage presence, commitment, helpfulness and co-operation and dance technical ability within the genre of Contemporary Dance,
2. make evident, at a pre-professional level, within this demonstration an informing presence of the effects of Ballet training,
3. show individual and unique potential particularly in term of movement quality, musicality, presence and dance physicality at an intermediate level.
12. The intended generic learning outcomes and, as appropriate, their relationship to programme learning outcomes
The following outcomes are all consonant with and integrated within the teaching of the programme learning outcomes:
Students will be able to demonstrate:
13. A Synopsis of the Curriculum
13.1 Essential Content[10]
The work of the programme is characterised by a carefully phased approach. The phases, including those associated with the Foundation degree related to, and conceived with, this BA (Hons) programme, are shown in the table below.
Phases |
Study is in the following phases; Phase 1 Introductory (semester one) Phase 2 Elementary (semester two) |
Phase 3 Pre-Advanced (semester three) Phase 4 Advanced (semester four) |
Phase 5 Professional (semester five) Phase 6 Accomplished Professional (semester six) |
This approach is particularly appropriate in the teaching and learning in Dance Technical Studies (modules dealing with Ballet and Contemporary Dance training) because they are accomplished through a spiral curriculum. This is to say that specific areas, themes and families of movement and individual positions and movements are visited many times and in many cases on every day. Thus, for example, pliés must be studied and practised during every day in the expectation that through this the student will improve. This revisiting of areas of study involves an increase in difficulty, complexity, diversity and quantity. A simple plié exercise can be as difficult and trying as a very complex one to the sophisticated dancer because that sophistication is applied to it.
Six main areas of focus, to which the student is directed, accompanied by sub-headings; are given in the first list below. In the list that follows are given characteristics specifically of concern within this module and phase of study.
- co-ordination
- flow
- line
- dynamics
- rhythmic awareness
- musical awareness
- musical dynamics
- musical phrasing
Stage Presence
- eye line
- confidence
- grasp of appropriate style
- dramatic sense
- consistency of attendance (100% attendance and punctuality is expected except for bona fide reasons)
- level of concentration
- attitude to the learning of oneself and others
- attitude to the teacher
- attitude to other students
as concerns the use of
- feet
- legs
- torso
- arms
- head
- the full body in stillness, moving on place and moving across space.
The list below gives indicative characteristics which are the specific focus of teaching and learning within this module and phase.
(fifth semester)
Movement Quality
an assured individual movement quality,
Musicality
clear command of musical accuracy, phrasing and dynamics,
Presence
manifest power of, and the ability to employ different qualities of, projection,
Commitment, Empathy and Co-operation
Characteristics indicative of this area of accomplishment to the level given for earlier modules while additionally showing the ability to inspire a teacher or choreographer,
Dance Technical Ability
an accomplished level of proficiency in all areas of the genre.
13.2 Procedural Content
Work goes forward at a Profe