| Module Code: CON2002 |
Module Title: CONTEMPORARY |
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Module Provider: Dance,Film & Theatre
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Short Name: CON2002
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Level: HE2
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Module Co-ordinator: DA SILVA K Ms (Dnc Flm Thtr)
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Number of credits: 20
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Number of ECTS credits: 10
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| Module Availability |
| Year Long |
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| Assessment Pattern |
Semester 1: Assessment in Class 10%
Lecture demonstration (10-15 minutes) in pairs (40%)
Semester 2: Repertoire (50%)
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| Module Overview |
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| Prerequisites/Co-requisites |
| Completed HE1 Contemporary Dance |
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| Module Aims |
To provide in-depth study of one or more dance forms of diverse cultural origins.
To equip students with a critically reflective and embodied understanding of a dance technique
To develop the ability to undertake theoretical and practical independent study
To introduce students to a range of strategies for engaging with a practice-based research project |
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| Learning Outcomes |
Knowledge and Understanding
A detailed theoretical and embodied knowledge and understanding of a dance technique
A working knowledge of the terminology in current use by professional practitioners and understanding of the function of class.
A detailed understanding, through practice and critical reflection, of the distinctiveness of the genre.
An embodied knowledge of stylistic variation in performance of choreography.
Knowledge of a range of persepctives and approaches for engaging with practice-based research.
Cognitive/Intellectual Skills
Ability to analyse and embody the technical and expressive principles of the technique.
Ability to consider, and apply appropriately, a range of learning strategies in technique class and develop an understanding of professional practice.
Ability to apply a physical and mental skills in the re-creation and performance of repertoire and extended technical sequences.
Ability to identify an area of research interest and develop a research project with minimum guidance.
Practical/Key Skills
Ability to demonstrate versatility and stylistic characteristics of the genre.
Ability to work effectively as an individual and interact within a group.
Ability to develop professional working methods, applying appropriate techniques and theories to study within and outside class.
Ability to perform with expressive and technical understanding and skill.
Ability to present a lecture demonstration that articulates findings from practice-based research. |
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| Module Content |
The module provides the student with the opportunity:
to study and embody technical and performance apsects of a specific dance genre in class and in performance of repertoire.
To examine relationships between embodied understanding and theoretical frameworks.
To identify an area of research interest and develop an independent practical and theoretical research project.
At HE2 the emphasis is on the importance of applying strategies that develop the agbility to explore both practical and theoretical knowledge in class and in performance. Alongside practical study in the studio, students are introduced to a range of perspectives for engaging with a theoretical dance technique project: aesthetic, anaytical, cultural, historical, pedagogic, somatic. The seminars identify particular foci that may be applicable in individual independent research projects, different strategies for learing in dance technique classes and tools for independent self-reflexive study. |
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| Methods of Teaching/Learning |
| Practical classes, seminars and tutorials |
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| Selected Texts/Journals |
Alger, J.B. (1991) Dance-Based Dance Theory: From Borrowed Models to Dance-Based Experience. New York: Peter Lang.
Blakely,P. (1999) The Muscle Book, Stafford: Bibliotek Books.
Franklin, E. (1996) Dynamic Alignment Through Imagery. Champaign: Human Kinetics.
Fraleigh, S.H. (1987) Dance and the Lived Body: a Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press.
Jackson, J. (2005) My dnace and the ideal body, Research in Dance Education, 6, 1.2 pp25-40.
Koutedakis, Y and Sharp, C. (1999) The Fit and Healthier Dancer. Chicester, Wiley.
Preston-Dunlop, V. (1998) Looking at Dances: A Coreological Perspective on Choreography. Ightham: Verve.
Schon, D. (1987) Educating the Reflective Practitioner. San Francisco: Jossey-Bass Publishers
Teck, K (1994) Ear Training for the Body. Pennington, NJ: Dance Horizons.
Claid, E. (2002) Standing Still .. Looking at You, Research in Dance Education 3, 1, pp25-34.
Mackrell, J. (1992) Out of Line: The Story of New British Dance. London: Dance Books
Stodelle, E. (1979) The Dance Technique of Doris Humphrey and its Creative Potential. London. Dance Books
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| Last Updated |
| 25th November 2009 |
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