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2010/1 Module Catalogue
Module Provider: Dance,Film & Theatre Short Name: PC FORMS
Level: M Module Co-ordinator: JACKSON J Ms (Dnc Flm Thtr)
Number of credits: 30 Number of ECTS credits: 15
Module Availability
Spring Semester
Assessment Pattern
Components of Assessment
Percentage weighting
Choreographic Performance
2000 word essay
Module Overview
Module Aims
  • To stimulate debate about the nature of choreographing and performance making from and within dance genre and language.
  • To evaluate critically and employ current research and scholarship in the making of new choreography.
  • To identify critical frameworks for understanding artistic, aesthetic difference and cultural factors that inform the production and reception of genre specific choreographies.
  • To develop choreographies that interrogate established practice.
  • To develop the independent voice of the choreographer in relation to a set of aesthetic and genre specific principles and procedures.
Learning Outcomes
Knowledge and Understanding:
  • An advanced critical awareness of how art works and choreographies interact with and challenge established methodologies and dance form.
  • An in depth understanding of the principles and practices of a dance genre and its location within the discourses of current arts practice.
  • An in depth theoretical and practical understanding of the production of choreography and the application of a range of methodologies across different genres.
  • An advanced knowledge of the aesthetic and cultural construction of specific dance genres.
Cognitive/Intellectual Skills:
  • Ability to articulate complex arguments about the relationship of choreographic works with codified forms, practices and theories.
  • Ability to evaluate one’s own choreography in relation to established and emerging practices, theories and artifacts.
  • Ability to synthesise theories, methodologies and independent research in an innovative manner in the creation of new choreography.
  • Ability to analyse choreographies independently, employing appropriate disciplinary frameworks towards an advanced understanding of artistic identity.
  • Ability to critique existing models and offer independent approaches to promoting creativity and innovation within codified dance forms.
Practical/Key Skills:
  • Ability to generate ideas and methods that refer to and interrogate established dance practices.
  • Ability to develop an independent artistic voice in clear relationship with established dance and arts practice.
  • Ability to innovate within a set of principles.
  • Ability to build theoretical and practical frameworks for self-directed research.
  • Ability to employ choreographing and writing strategies in the development of artistic practice.
Module Content

The module provides a critical context for students to evaluate and create new work within and from codified dance genres. The module interrogates the terms classical and traditional as applied to a range of dance forms and questions the notion of codified choreographic and technical principles and practices as ‘fixed’.  The module analyses and critiques models of choreographic practice and research; it provides preparation for students to develop their own research framework that identifies and debates genre specific concepts, principles, methodologies or art works and results in the production of new choreography and reflective writing. The current discourses in practice as research are used to inform the scholarly focus of the module, encouraging fluidity and an interrogative approach to the relationship between theory and practice, and the generation of new epistemologies.

Methods of Teaching/Learning

Studio-based seminars, group discussion, lectures, mentoring/tutorials.

Selected Texts/Journals
Required reading:
Adshead, Janet (ed). Dance Analysis: Theory and Practice. London : Dance Books, 1988.
Adshead-Lansdale, Janet (ed)  Dancing Texts: intertextuality in interpretation. London : Dance Books, 1999.
Bachelard, Gaston.  The Poetics of Space. Boston : Beacon Press, 1994.
De Marinis, Marco. The semiotics of performance. Bloomington: Indiana University Press, 1993.
Forsythe, William. Improvisation Technologies: a tool for the analytical dance eye. [CD Rom] ZKM (Zentrum f"xr Kunst und Medien Technologie) Karlsruhe , 1999.
Lakoff, George and Johnson, Mark. Metaphors We Live By. Chicago and London: University of Chicago Press, 1980.
Knorr-Cetina, Karin.   Objectual Relations in: Schatzki, Theodore, Knorr-Cetina, Karin and von Savigny, Eike (eds) The Practice Turn in Contemporary Theory. London and New York : Routledge, 2001, pp 175-188.
Melrose, Susan. Entertaining other options: Restaging ‘theory’ in the age of practice as research., 2002.
Worton, Michael and Still, Judith (eds) Intertextuality: theories and practice. Manchester and New York: Manchester University Press, 1991.
Recommended Reading :
Campbell, Patrick (ed) Analysing Performance. Manchester: Manchester University Press, 1996.
Fraleigh, Sondra Horton. Dance and the lived body. Pittsburgh, University of Pittsburgh Press, 1987.
Foster, Susan Leigh (ed) Choreographing History. Bloomington: Indiana University Press, 1995.
______. Corporealities. New York : Routledge, 1996.
Lakoff, George and Johnson, Mark. Philosophy in the Flesh: the embodied mind and its challenge to Western thought. New York : Basic Books, 1995.
Melrose , Susan curiosity of writing (or, who cares about performance mastery?), 2003.
Paskevska, Anna. Ballet Beyond Tradition. New York, London : Routledge, 2005.
Phelan, Peggy. Unmarked: the politics of performance. London : Routledge, 1993.
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