DANCE UNLIMITED Amsterdam 2006-2008
Post-Graduate* Study Course in Choreography/ New Media
STUDY GUIDE 2006-2007 (Blocks one and two)
*Master of Fine Art Accredition in 2007
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Contents
1) Dance Unlimited Study Program
a) Background/ History
b) Dance Unlimited Profiles
c) Master Validation
d) DU Amsterdam Education Plan
e) DU Amsterdam Structural Changes 2006-2008
2) Course Outline
a) Block System
b) Study Components
c) Mentoring
d) Communication
e) Schedule
3) Taught Study Components
a) Choreography Workshops
b) Technology Workshops
c) Lecture Series
d) COLLAB 2007
e) Space Between/ Waag Project
4) Independent Study Components
a) Choreographic Projects/ Studio Mentoring
b) Practice-Based Activities/ Mentoring
5) Dossier Guidelines
6) Assessment
a) Non-Graded Evaluation
b) Graded: Choreographic Presentations
c) Graded: Essays
d) Integrated Assessment
e) Final Qualifications
7) Overview of Credits/ Work Hours
8) Staff Biographies
9) APPENDIX
a) Education and Exam Regulations
b) Study Course Regulations
c) Admission Guidelines
d) Production Manual
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Dance Unlimited Study Program
Background/ History
Dance education in the Netherlands in the context of Higher Professional Education (HBO) has featured choreography
for a number of years. The School for New Dance Development, part of the Theaterschool Dance Sector, Amsterdam
School for the Arts, has given extensive attention to the creative skills of dancers since the 1980s. And, for over a
decade, the Dance Academy Arnhem and Rotterdam Dance Academy have had a graduation differentiation in
choreography.
In 2002, a collaborative effort between the three dance schools (Amsterdam, Arnhem and Rotterdam) resulted in the
establishment of Dance Unlimited as the first post-graduate study course in Choreography in the Netherlands. Each of
the schools developed a distinct profile and course of study which, within the collaborative framework, was intended to
enable diversity across the three profiles and specificity within the individual study courses. Students may select study
components from any of the three schools to fulfill their education requirements and take advantage of an extensive
professional three-city network.
Dance Unlimited Profiles
These are very brief current descriptions of the three study courses. More information is available from the Dance Office
and through the website: http://www.danceunlimited.nl/
Amsterdam Profile: Amsterdam is a unique two-year study course supporting the study of the relationship between
choreography, performance and new media technologies. The program takes the development of choreographic work as
its starting point, and new media technologies and practices are approached from this perspective. Theoretical and
critical reflection is used as a means to challenge and support the practical work; and collaboration is emphasized.
Arnhem Profile: Arnhem offers an emphasis on choreographic research, specifically with regard to Open Form
Composition, which investigates diverse choreographic/ compositional constructs that involve both set materials and
improvisation, in a “both/ and” amalgam. The moment right before one makes a choice is of particular interest. Central to
the program is the examination of the psychophysical body; how this is constructed, how it enhances, modifies, creates,
challenges or informs dancing in choreography. This examination will take place through an inquiry into late 20th century
models of the body.
Rotterdam Profile: Rotterdam focuses on the enhancement of choreographic skills through the analysis of movement
material and its way of communicating using the Laban system and composition techniques presented in the following
modules: Laban Movement Analysis, Composition Group work and Inter-disciplinary Works. The learning process takes
the form of workshops and presentations of two productions and the pursuit of theoretical subjects, practical lessons and
weeklong workshops. In addition, an individual curriculum is set up for each student.
Master Validation
During the 2004-2006 course, the decision was made to validate (Master of Fine Art) the three Dance Unlimited courses
separately. The Dance Unlimited Amsterdam course successfully completed the validation process in Spring 2006 and
waits for the official accreditation in 2007. The official accreditation title will be Master in Dance (CROHO registration)
with the orientation of the programe as "choreography/ new media" specified on the diploma.
DU Amsterdam Education Plan
The Education Plan (leerplan) Version 1.2 that was prepared for the Validation Committee contains a more detailed
background and history of these programmes in Chapters One and Two (copies are available on-line and in the Dance
Office). The Education Plan also contains descriptions of elements and components of the study course as they existed
for the years 2004-2006. Many of these descriptions are in the process of being updated along with structural changes
for 2006-2008.
DU Amsterdam Structural Changes 2006-2008
The changes to the course structure will help ensure the continuity of your experience with the course and will better
integrate evaluation and assessment into this experience. These changes are reflected in the Block Structure (Blocks 14) and the inclusion of the same proportion of taught and independent study components in each block. The changes are
also reflected in the clarification of the relationships between study components, learning outcomes, assessment and
final qualifications. With the addition of the new mentor (studio-based) there is more consistent support for the artistic
work. The details of these aspects will be described in the following sections of the Study Guide.
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Course Outline
Block System

Block 1 runs for four months (September, October, November, December 2006)

Block 2 runs for six months (January, February, March, April, May, June 2007)

Block 3 runs for four months (September, October, November, December 2007)

Block 4 runs for six months (January, February, March, April, May, June 2008)
Study Components
There are two main study components comprising:
Taught: Workshops (choreography and technology), Lectures and two special projects COLLAB 2007 and Space
Between/ Waag Project (35% total credits in 2006-2007)
Independent Study: Choreographic Projects and Practice Based Activities (65% total credits in 2006-2007).
This helps you see how much emphasis is placed on the Independent Study part of the course in the first year. In the
second year this increases to 75%. More details are in the following sections.
Mentoring
Mentoring is a critical component of the study course supporting the Independent Study component. General Mentoring
is provided by core staff members and involves regular meetings to discuss any aspect of the study course. Studio
Based Mentoring has been established to provide a more consistent support for artistic work.
Communication
Since there is such a strong emphasis in the course on Independent Study, which requires the maximum amount of
flexibility regarding schedules, good communication throughout your course of study is essential. A lot of communication
is done electronically using the study course email list [madu0608] and the Blackboard on MYAHK. It is everyone's
responsibility to be able to access these. Students will discuss all schedule changes with their General Mentor, but final
approval and changes will be made by the DU coordinator Jeroen Fabius.
Schedule
The schedule for DU is always flexible therefore we ask you to refer always to the on line schedule:
http://www.j.fabius.myahk.nl/ (soon to be http://www.danceunlimited.myahk.nl)
Study Guide 2007-2008
The Study Guide for Blocks three and four will be available at the end of June 2007
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Taught Study Components (35% total credits)
TITLE
BLOCK
STAFF NAME
DESCRIPTION
AIMS
FORMAT
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OUTCOMES
RELATED FINAL
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ASSESSMENT
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STAFF NAME
DESCRIPTION
AIMS
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Choreography Workshop: Choreographic Mind
one
Susan Rethorst
A studio-based workshop for the group and invited guests taking as its point of
departure the workings of the choreographic mind/ body as it is used in and out
of dance making; those workings in relation to technology and theory, separately
and in overlap. It seeks to develop the ability in the student to recognize/ access
states and aspects of self necessary to making work (intuition, perception,
cognition, interiority, emotional distance, spontaneity, pleasure, will, reflection,
humour) and the ability to fuel ones work with questions about work and to
perceive when and how others have done the same.
The aim of this component is to develop the ability in the student:
1. to differentiate between received information, myths of making, fashion and a
genuine personal investigation; and to create habits of thought necessary for the
continuation of this
2. to 'read' one's own dances in process and be able to orient/reorient one's
decision making based on such readings
3. to understand the affect of time and accumulation on process; and to
understand the uses of making beyond but including the creation of a product
4. to perceive what contributes to 'readings' of dance, including but not limited to
space and numbers and directionality and gender; a felt effective use of
elements for their specificity of resonance
5. to talk about work from the point of view of what it does to a viewer - it's
affect/effect
Studio-based workshop format: intensive daily sessions lasting from 2-3 weeks.
Each day includes individual physical preparation followed by teacher led
exercises and discussion. Emphasizing free wheeling, out-on-a-limb intuitive
practice, making and showing in an ongoing cycle.
See on-line schedule
By the end of this component there will be:
1. evidence in the work that a profound allowance has been found and
continues to inform daily making practice
2. evidence that habits of questioning have been put in place
3. evidence that the work is felt beyond a simplistic search for the 'good' dance
or the readily unpickable 'statement'; that issues of meaning are felt beyond a
'this equals that' construction
4. evidence that a personal criteria has been arrived at
1, 2 and 3 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument (through readings of the ways of work, the
students relationship to the practice, as well as a frank reading of the work itself)
Block one: 140 hours for 5 credits
Choreography Workshop
two
Thomas Lehmen
This workshop will focus on the following topics: Analysis of the Parameter of
the possible and used Dispositif (mechanics/ apparatus); Making of
Choreographic Work; Contextualisation; Presentation and Discussion. Each
member will create a short piece within this workshop to be shown and
discussed throughout the progress. A fast process is used in a creation,
reflection, presentation and discussion circle. Rather than researching on
themes, an immediate product and its materiality are processed. Individual
artistic viewpoints and convictions will be used as a base of discussion.
The aim of this component is for the student:
1. to develop a critical awareness of the implications of their work and working
process
2. to develop a direct connection between making, doing and analysis
3. to develop a direct and active approach to making dance
Two week workshop scheduled daily from 10.00 to 17.00
See on-line schedule
By the end of this component:
1. students will be able to engage in critical reflection on their own work and the
work of others in the workshop
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2. students will be capable of producing work quickly under particular conditions
3. students will be able to easily make a connection between their own actions
and feedback from others
1, 2 and 3 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument
Block two: 80 hours for 3 credits
Technology Workshop
one and two
Jan Trutzschler and Dave Krooshof
A series of two to three day workshops to introduce students to various
technologies, to include a practical user oriented approach and more artistic
exploration of the possibilities for art making using various technologies. These
explorations happen both in the form of hands-on as well as lecture format. This
component includes individual tutoring / study up to 30 hours per block.
The aim of this component is to support the student:
1. in the development of basic knowledge of relevant technologies.
2. in developing awareness of the relevance of technologies within
contemporary art practices.
3. in the development of practical skills needed in the making of work.
4. to learn to collaborate with people from different backgrounds and skills within
artistic processes
2-14 day workshops (two to three workshops each block)
See on-line schedule
By the end of this component:
1. the student will be able to work with various technologies relevant for their
artistic practices (individually or in collaboration with specialists)
2. the student will have basic knowledge of applications within artistic contexts
3. the student will have developed a clear strategy for an individual trajectory to
explore a particular technology.
1, 5 and 6 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument on the basis of participation in the workshops
and the individual trajectory
Blocks one and two: 140 hours for 5 credits
Lecture Series
one
Scott deLahunta
A series of four lecture and discussion sessions on the following themes: (1) a
sort of historical overview of artists and approaches working within the genre of
"dance and technology" in the 1990s; (2) taking more examples to give an
overview of the "interdisciplinary research labs" mixing media, exchange and
innovation; (3) an discussion about art and science collaborations (using the
Choreography and Cognition project as an example); (4) arts research -- a
discussion about new thinking and structures related to practitioner-based
knowledge. Reading materials will be distributed before each session. Student is
expected to read these.
The aim of this component is:
1. to give a wide exposure to topics which the student will be busy with during
the study course
2. to engage the student in intellectual discussion on these topics
3. to develop comprehension of reading material
4. to develop critical speaking and writing abilities (see essay #1)
Informal sessions organised outside the school environment; staff member will
give starting points but lecture format is very loose and improvisational. Each
session is scheduled for 3 hours.
See on-line schedule (approximately every two weeks from the start of the
block)
By the end of this component:
1. the student will be able to take part in focused and productive intellectual
discussions.
2. the student will have increased their knowledge of arts research and
discussed this in relation to their own practice
3. the student will have completed a short essay of 1000 words on a topic
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ASSESSMENT
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STAFF NAME
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related in some way to the lecture sessions (graded -- see specific essay
criteria)
2, 3 and 4 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument and Graded Essay
Block one: 15 hours for .5 credit
Lecture Series: Situated Performance Practice Lectures: Affective Everyday
Movement Intensities
one
Sher Doruff
The thematic continuity of these lectures will open a transdisciplinary inquiry into
relational aesthetics in the context of politically situated artistic practice. The
continuity of the lecture series investigates the intersecting concepts of affect,
everyday life, space and place, and subversive aesthetics in the society of the
spectacle. These explorations take a historical perspective (performance art and
the Situationist détournement) to probe an ethics of aesthetics situated in a
world of pervasive/invasive technologies. The questions of the lecture series will
reflect the relational tendencies of matter in motion and the politics of
negotiation/interaction these movements generate; the unpredictable potential of
the event and the affective intensity of shared sensation.
The aim of this component is:
1. to develop a thread that links political and relational aesthetics of the 50’s70’s with current practice in performance and locative media art.
2. to generate lively discussion on the following issues:
a. How the body moves through thought, through space, through time in relation
with itself, with others, with objects;
b. How affective intensities between performers, and between performers and
audience, modulate, shift, transform;
c. The roles of choice and chance play in creative processes; in composition, in
improvisation;
d. How the body affects and is affected by the flow of data that is always arriving
and departing through it. Its relation to media technologies.
Four two plus hour prepared lectures for students and invited guests illustrating
the reader text assignments and the lecture theme outline followed by a onehour informal discussion in DU Studio. Approximately 10-12 participants
See on-line schedule (approximately every two weeks from the start of the
block)
By the end of this component the student will have:
1. engaged with close readings of theoretical texts
2. increased comfortability with discussion of theoretical concepts
3. familiarity with the discourse relevant to the research proposals of students
that may be incorporated in the essay assignments on a topic related in some
way to the lecture sessions (graded -- see specific essay criteria)
2, 3 and 4 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument and Graded Essay
Block one: 15 hours for .5 credit
Lecture Series
two
Scott deLahunta
A series of four lecture and discussion sessions on themes that follow the
evolution of the student's independent work with an emphasis on corresponding
developments in arts research and continued parsing of new thinking and
structures related to practitioner-based knowledge. A more detailed description
of each session will be proposed in collaboration with the students taking into
account the outcome of the integrated assessment of the previous block.
Reading materials will be prepared before each session. Students are expected
to read these.
The aim of this component is:
1. to support the student in their own research into these specific topics
2. to bring a broader perspective to specific topics related to the student
research
3. to further develop critical speaking and writing abilities (see essay #2)
informal sessions organised outside the school environment; staff member will
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SCHEDULE
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RELATED FINAL
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RELATED FINAL
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give starting points but lecture format is loose and improvisational. One student
per lecture will be assigned special preparation tasks. Each session is
scheduled for 3 hours.
See on-line schedule (approximately every two weeks from the start of the
block)
By the end of this component the student will:
1. have further increased their knowledge of arts research in relation to their
own practice and based on the outcome of the previous block
2. be able to independently undertake and prepare a small presentation based
on this research
3. have completed a short essay of 1000 words (this will increase to 3000 and
5000 over the next two blocks) on a topic related in some way to the lecture
sessions (graded -- see specific essay criteria)
2, 3 and 4 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument and Graded Essay
Block two: 15 hours for .5 credit
Lecture Series: Disorientated Uncertainties
two
Sher Doruff
This block will further discussion on the threaded themes of movement, affect,
place, control and indeterminacy from a transdisciplinary perspective convolving
art, science and philosophy. Lectures in this block will include guest
presentations and a workshop.
The aim of this component is to continue developing interdisciplinary links
between art, science and philosophy by emphasizing current practice in
performance and media art, neuro-physiological research and poststructuralist
thought.
Two plus hour prepared lecture for students and invited guests illustrating the
reader text assignments and the lecture theme outline followed by a one-hour
informal discussion in DU Studio. Approximately 10-12 participants.
See on-line schedule (approximately every two weeks from the start of the
block)
By the end of this component the student will have:
1. continued his or her engagement with close readings of theoretical texts
2. increased comfortability with discussion of theoretical concepts
3. provided content and references for essay assignments (graded -- see
specific essay criteria)
4. been introduced to performative lectures as a format for presentation of
research
2, 3 and 4 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument and Graded Essay
Block two: 15 hours for .5 credit
COLLAB 2007
two
Nik Haffner (guest)
The COLLAB is an intensive 8 day interdisciplinary project bringing together
artists from different post-graduate media arts institutes and dance schools in
the Netherlands and abroad to explore the terrain between interactive media
arts, digital and sound art, choreography, theatre and live arts practices.
The aim of this component is:
1. to establish the conditions for choreography and media art post-graduate
students to explore interdisciplinary collaborative working processes
2. to place the emphasis on collaboration: getting together and working in small
groups, making things quickly, showing and discussing them.
Studio based / facilitated laboratory. Intensive day-long sessions. Residential
when possible.
See on-line schedule
By the end of this component the student will be able to:
1. demonstrate knowledge of interdisciplinary practice
2. demonstrate ability to work interpersonally in inter-disciplinary group
5 and 6 (see list of Final Qualifications under Assessment)
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ASSESSMENT
CREDITS
Qualitative evaluation instrument
Block two: 60 hours for 2 credit
TITLE
BLOCK
STAFF NAME
DESCRIPTION
Space Between/ Waag Project
two
Sher Doruff, Michelle Teran (guest)
An eight day intensive labratorium style workshop in which students from DU,
HKU/KMT and PZI work with locative media arts GPS and GIS technologies
developed by Waag Society and concepts for performing “place”. The lab will be
housed in the Beeldmedia studio, but will additionally utilize the Theatrum
Anatomicum at WS, the public space between the two institutes and the
cyberspace of the Internet. The students will be assisted by Waag Society
technicians, artist Michelle Teran and Sher Doruff. A three-day workshop in
October 06 introduced the students to the classic concept of the dérive and
tracking technologies used in contemporary locative arts work. A follow-up
presentation in February will explore additional technologies for mediating
movement.
The aim of this component is to facilitate an extended concept of performance
space that explores theater, public and cyberspace possibilities. As the students
will be guided, conceptually and technically, in a hands-on lab, they will
participate in an interdisciplinary process and present their work in a public
presentation.
Lab and presentation
See on-line schedule
By the end of this component the students will show evidence of:
1.hands-on engagement with state-of-the-art technologies that augment
sensations of place and movement through space.
2. learning interdisciplinary collaborative techniques and methods
3. awareness of political and ethical issues that underscore artist’s work with
cutting edge surveillance technologies
5 and 6 (see list of Final Qualifications under Assessment)
AIMS
FORMAT
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RELATED FINAL
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Qualitative evaluation instrument
Block two: 60 hours for 2 credit
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Independent Study Components (65% total credits)
Brief Description: A large share of the study activities are organised according to your individual research aims under the
heading of Independent Study. A major part of Independent Study comprises the Choreographic Projects leading to
Presentations. There will be two obligatory studio Presentations in the first year and two major Presentations for graded
assessment in the second year. A Research Proposal is written (part of the Dossier) before work begins in the studio.
The development of the Research Proposal is done in consultation with your mentors (both Studio and general), other
staff and colleagues. You will document your process leading to the Presentation and produce a post-presentation
Research Report. The second part of the Independent Study comprises Practiced-Based Activities. These might include
internships, seminars attended, master classes and courses outside the DU Amsterdam program (including involvement
in modules at Arnhem and/ or Rotterdam). You will be required to document your Practice-based Activities.
TITLE
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STAFF NAME
DESCRIPTION
AIMS
FORMAT
SCHEDULE
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RELATED FINAL
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ASSESSMENT
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TITLE
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STAFF NAME
DESCRIPTION
AIMS
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Choreographic Projects / Studio Mentoring
ongoing
Simon Dove
A series of six to eight one hour sessions per block to support artistic
investigations between components leading to presentations. The sessions
have an exploratory character and offer a continuity of dialogue. These
dialogues take place as close to the studio practices as possible to foster a good
connection between practice and reflection.
The aim of this component is:
1. to help the student to clarify motivations and drives for making work
2. to support a process of conceptualization of artistic interests and investigation
3. to support the organization of research processes
4. to support the development of an individual artistic vision
individual sessions with the mentor, with or without collaborators.
See on-line schedule (approximately eight to ten times each block)
By the end of this component the student will have:
1. further increased the ability to become specific about their artistic projects.
2. the ability to develop clear concepts for working
3. developed a clear strategy for organizing their choreographic projects.
1, 2, 3, 4, 5, 6, 7 and 8 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument
Block one and two: 640 hours for 23 credits
Practice-Based Research / Mentoring
ongoing
Mentor (Sher Doruff and Jeroen Fabius) and Coordinator (Jeroen Fabius)
The student maintains good communication about planning of their studies with
the mentor. In the mentor talks, the student discusses the planning of
workshops, projects, outside activities connected to writing assignments, project
proposals and reports. Planning and placing of the artistic work in outside
contexts is discussed with the mentor. The student maintains good
communication about additional activities undertaken to support their individual
development. These may include extra training at undergraduate level,
workshop, conferences, etc. All activities are documented by the student and
kept in the personal files.
The aim of this component is to support the student:
1. in learning to organize their studies, clarifying long and short term aims
2. in finding solutions for planning problems
3. in the development of individual trajectories
4. in placing their work in local and international context
six mentor sessions per year / self organized time by student
not applicable
By the end of this component the student shows they:
1. are capable of organizing their time and planning
2. are capable of setting goals and realizing these
3. are capable of reflection on the import of the activities undertaken
3, 7 and 8 (see list of Final Qualifications under Assessment)
Qualitative evaluation instrument on the basis of documentation delivered to
mentor.
Block one and two: 200 hours for 7 credits
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Dossier Guidelines
Brief Description: The Dossier is a cumulative writing and reading process that runs continuously throughout all four
blocks with three writing assignments for each block: one Research Proposal, one Essay (graded assessment) and one
post-presentation Research Report. Deadlines and lengths vary from 500 to 5000 words depending on the assignment.
Reading will take place in connection with the lectures via prepared readers and suggested references. In addition, you
will be expected to accumulate your own individual reading lists.
Dossier Contents (suggested word length):
Block One
1. Short research proposal one 500
2. Essay one [graded] 1000
3. Post presentation research report 1000
4. Reading List
Block Two
5. Short research proposal two 500
6. Essay two [graded] 1000
7. Post presentation research report 1000
8. Reading List
Block Three
9. Extended research proposal one 1500
10. Essay three [graded] 3000
11. Post presentation research report 1500
12. Reading List
Block Four
13. Extended research proposal two 1500
14. Essay four [graded] 5000
15. Post presentation research report 1500
16. Reading List
Brief Contents Description:
Research Proposals – prepared before each of the scheduled presentations (two studio presentations in the first year
and two major presentations for assessment in the second year). They should include: (1) description of research
project; (2) production planning; (3) reference points/ context.
Research Reports – prepared after each of the scheduled presentations (one in the second year). These are critical
reflections on your work and might include references to taught content, etc.
Essays – written to conform to guidelines for research writing to include finding and evaluating sources, using summary,
paraphrase and direct quotation, revising and editing, etc.
Reading Lists – this a list of readings you accumulate during the block books, chapters and articles. These include
readings you do for the Lecture Series and for your essays and/ or choreographic projects. You are expected to on
average read 2-4 books, 5-8 chapters and something like 7-12 shorter essays per year.
STAFF NAME
SCHEDULE
ASSESSMENT
CREDITS
Essay Coordinator (Scott deLahunta) and Mentors (Simon Dove, Sher Doruff
and Jeroen Fabius)
Deadlines set in consultation with Essay Coordinator and Mentors
The contents of the Dossier are associated with Learning Outcomes and
Assessment of both the Taught Study Components: Lecture Series (essays)
and Independent Study Components (proposals, reports and reading lists).
Block one and two: 280 hours for 10 credits (60 hours assigned to essays)
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Assessment
Non-Graded Evaluation
The Qualitative Evaluation Instrument will be used to assess ongoing participation and development within each
component. The staff person in charge of the component will complete this upon the conclusion of the component, and
the evaluation will be used at the end of that block in the Integrated Assessment. This instrument makes an explicit link
between the aims and learning outcomes of the component and the eight final qualifications listed below ensuring that
each student sustains a dialogue with these final qualifications.
Graded: Choreographic Presentations
There will be two Presentations selected for graded assessment in the second year. At least one of these two
Presentations is required to be a live event. For other formats (such as an interactive website) approval is necessary. All
formats will use the following criteria:
1. To what extent has the choreographer implemented, challenged and sustained his/her choreographic vision
throughout the research?
2. To what extent does the choreography contain specific and individual concerns of movement vocabulary, in relation to
their meaning and invention?
3. To what extent does the choreography show knowledge of detailed structural concerns?
4. To what extent does the choreography show a specific mode of giving the audience access to the work?
5. To what extent is the choreographer capable of reflection regarding the whole process of the work, including the initial
research and presenting the work?
6. To what extent has the choreographer effectively communicated his/her ideas and intentions to the dancers and
collaborators?
7. To what extent does the choreographer show evidence of being able to take on all the organizational and production
concerns regarding the project in relationship to the venue, publicity and finance?
Procedure: Graded assessments will be by a committee comprising your mentor, an external assessor*, a representative
from another Dance Unlimited location (Rotterdam or Arnhem) and a local Dance Unlimited representative. Scheduling of
these assessments will be dependant on availability of external assessors and time frame of performances. You have the
opportunity to suggest an external assessor* of your choice (you can ask your Mentor to help you decide); but you must
present the name and contact address of this individual to the course coordinator at least 4 months prior to likely
assessment date. The coordinator who will take the necessary formal steps to make the external assessment viable. If
the suggested external assessor is not available at that time or is unviable for other reasons, the coordinator will appoint
someone from the work field or use the resident assessment committee to assess the work.
* An external assessor is someone from the work field who is an expert in your area of research.
The general procedure is as follows:
1. Prior to the assessment, each assessor will receive a copy of your Research Proposal for the work and any other
supporting materials you might wish to provide. They will also be provided a copy of the criteria and assessment
procedures.
2. All assessors must attend, visit and/ or view the selected work.
3. Where possible assessments of live events will generally be scheduled the day after the performance.
4. During the assessment you will present your project for 20 minutes and then the committee will be able to ask
questions and engage you in dialogue for 30 minutes. Following this you will have the choice to leave or remain in the
room while the committee proceeds with the grading part of the assessment. In either case you will know the final grade
at the end of the assessment.
5. The final grade must be agreed by all members of the committee. If not, an examining board will be called upon to
decide.
6. The chairperson for the session will write a summary of the assessment. The chairperson may or may not take part in
the grading procedure.
The table below shows the relative grades, ranges and qualifications. All final grades (percentages) are translated into an
A,B,C,D or F grade. Additional grading details will be explained in a future document.
Grade
A
B
C
D
F
E
Percentage range
83 % - 100 %
67 % - 82 %
55 % - 66 %
40% - 54 %
below 40
Qualification
excellent
good
sufficient
insufficient
fail
dispensation
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N.B. In addition to supporting the metrics required by Higher Education Institutions, these assessment criteria and
grading procedures provide us tools for enabling systematic, interrogative analysis of and feedback on your
presentations and writings. These criteria make it possible to rigorously discuss the qualities your work, and they have
correspondences with the Final Qualifications that will be explored in your Integrated Assessment at the end of each
Block.
Graded: Essays
The graded essays will be assessed on the following criteria:
1. how well it follows the guidelines of the specific assignment
2. the extent to which it is focused, well structured and balanced
3. its use of succinct, coherent and articulate writing, including vocabulary
4. how well it shows understanding and appropriate use of distinct perspectives
5. its design and visual presentation
6. follow rules of English grammar (editing assistance is permissible)
7. use appropriate, systematic and consistent referencing
Procedure: Graded assessments (four essays) will be by a committee comprising two members of the Dance Unlimited
Amsterdam staff. The same grading table (see above) is used.
Integrated Assessment
Integrated Assessment takes place at the end of each Block as a meeting with everyone involved with the student during
the Block to evaluate progress in relation to the Final Qualifications (see below). This meeting looks closely at the
choices the student has made in relation to their own evaluation of how they began the Block; and takes into account
other assessment instruments such as the graded components (essays/ second year presentations) and non-graded
presentation talks. This produces an overall impression of the student's development and progress enabling the staff to
make projections and recommendations for the future. Integrated Assessment is repeated at the end of each Block. After
the meeting the student will receive a written report summarizing these recommendations.
Final Qualifications
The eight Final Qualifications listed below represent an integration of Higher Professional Education Master in Fine Arts
qualifications with professional competences as formulated by the Dutch National Organization of Dance Education
Network (for more details see Chapter 3 pages 12-13 of the "Education Plan Version 1.2").
Upon the completion of your studies the following eight Final Qualifications should apply. Related course components
are listed after each. These are not prescriptive, but indicative. Relationships between course component aims, learning
outcomes and final qualifcations will be a critical part of the Integrated Assessment and self-directed learning experience
of the student (for a description of 'self-directed' learning please refer to see Chapter 4 page14 of the "Education Plan
Version 1.2").
1. You will have developed a creative and articulate approach to present the body in dance and/or other related art
works. (Choreography Workshops; Technology Workshops; Choreographic Projects)
2. You will be able to make an intellectual contribution to the field of dance through live and/or virtual events.
(Lecture Series; Choreographic Workshops; Choreographic Projects)
3. You will have increased your knowledge about the social, political and economic context and implications of your
choreographic work. (Lecture Series; Choreographic Workshops; Choreographic Projects; Practice-Based Activities)
4. You will have the ability to comprehend, write and speak critically, regarding developments, representations and
presentation of the body in dance and its discourses in modern philosophy and science. (Lecture Series; Choreographic
Projects)
5. You will have developed production and managerial abilities, and you will be able to solve problems within
complex situations. (Choreographic Projects; Technology Workshops; Collab; Space Between/ Waag Project)
6. You will have developed the ability to work with artists from various disciplines to contribute actively to a shared
product or process. (Collab; Space Between/ Waag Project; Technology Workshops; Choreographic Projects)
7. You will have demonstrated the ability to network and create structures to sustain your work. (Practice-Based
Activities; Choreographic Projects)
8. You will have the capacity to reflect on your own actions to come to improvement and to communicate the
conclusions of past projects and rationales for future initiatives. (Choreographic Projects; Practice-Based Activities)
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Overview of Credits/ Work Hours
You are required to complete 120 credits (sometimes referred to as study points) to qualify for the diploma at the end of
this two-year full-time course. Credits are calculated based on the numbers of hours worked; so for each 28 hours of
work you will receive one credit.
In the first year Taught Study Components will contribute 35% of the credits for that year (35% of 60 is 21 credits) and
Independent Study Components will contribute 65% of the credits (65% of 60 is 39 credits). For the second year this
proportion will shift to 25% Taught Study and 75% Independent Study which reflects a greater emphasis on your own
artistic research and work in the second year.
Dance Unlimited Amsterdam is a "full-time" study course, which means you should expect to work for 40 hours per week
for 42 weeks of the year in order to complete the requirements in time.
The following overview gives you the breakdown of course components relative to anticipated work hours and resulting
credits (credit numbers are rounded up or down depending on how 28 divides into the hours). This is intended to give
you the overview of your two years. Additionally you will see listed at the end of each description provided earlier the
specific credits for that component.
Overview of Credits: Course Components
Hours
Credits
YEAR ONE
taught components (35%)
choreography workshops
technology workshops
lecture series
collab 2007
space between / waag project
graded essays (part of lecture series)
220
140
60
60
60
60
8
5
2
2
2
2
640
220
220
1680
23
8
8
60
140
60
60
60
120
5
2
2
2
4
840
180
220
1680
30
7
8
60
3360
120
independent study (65%)
choreographic projects
practice-based activities
dossier (proposals, reports and reading)
year total
YEAR TWO
taught components (25%)
choreography workshops
technology workshops
lecture series
collab 2008 or Dance in the Virtual
graded essays (part of lecture series)
independent study (75%)
choreographic projects / graded assessment
practice-based activities
dossier (proposals, reports and reading)
year total
TOTAL
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Staff Biographies
Scott deLahunta works from his base in Amsterdam as a researcher, writer, consultant and organiser on a wide range
of international projects bringing performing arts into conjunction with other disciplines and practices. He is an Associate
Research Fellow at Dartington College of Arts and an affiliated researcher with Crucible, an interdisciplinary research
network within the University of Cambridge. In 2006, he is a Research Fellow with the Art Theory and Research and Art
Practice and Development Research Group, Amsterdam School for the Arts. In 2005 and 2006, he is Visiting Artist at the
Dance Department/ Advanced Computing Center for Art and Design, Ohio State University. Past and present research
supporters and collaborators include Tanzquartier Wien, Emio Greco|PC (Amsterdam), Monaco Dance Forum, IRCAM
(Paris), TECHNE (Istanbul), Random Dance Company (London), Forsythe Foundation (Berlin), L'animal a l'esquena
(Celra/ Barcelona). He lectures on the post-graduate study (pending Master validation) in Choreography/ New Media at
the Amsterdam School for the Arts and serves on the editorial boards of Performance Research, Dance Theatre Journal
and the International Journal of Performance and Digital Media. He is a member of the Advisory Board of i-DAT,
University of Plymouth, UK and the International Advisory Board for the new Hochschulübergreifendes Zentrum Tanz in
Berlin.
Sher Doruff is currently creative director of the Sensing Presence department of the Waag Society/for old and new
media in Amsterdam and is a core member of the development team of KeyWorx a distributed, multi-user, multi-channel,
performance platform. She is a digital artist working in the performative arts working with real time interactive
performance technologies in collaboration with interdisciplinary artists and performance-makers. She completed her
dissertation "The Translocal Event and the Polyrhythmic Diagram" with the University of the Arts London/Central Saint
Martins/SmartLab researching collaborative performance methods. She also works with the Augmented Performance
Practice module of the Dance Unlimited MA program in the Netherlands. Her articles have appeared in books, journals
and electronic journals.
Simon Dove is currently Director of Springdance the international contemporary dance festival based in Utrecht. He has
extensive experience of supporting and nurturing artists and their work and fostering an engagement with communities
and audiences. He has developed the Springdance/Dialogue, an international mentoring project for young dance
makers, and produces and co-commissions a wide range of international works for the Springdance/festival. Previously
Simon was Director of Yorkshire Dance in Leeds, one of the first National Dance Agencies in Britain; founder and curator
of Vivarta, a ground breaking contemporary South Asian Arts Festival in London; and Dance Officer at the Arts Council of
England.
Jeroen Fabius is the coordinator of Dance Unlimited Amsterdam. He completed his Communication Studies at the
University of Amsterdam in 1985 before entering the School for New Dance Development (SNDO). After finishing the
SNDO courses in 1990, he worked as performer and dancemaker and teaches dance history and theory at the SNDO.
His teaching work has included the *Art Across Borders* module for the Amsterdam School for the Arts, the introduction
an internet based course to prepare dancers for the business side of dance making, advising for students of the MA
program Fine Arts at the Piet Zwart Instituut in Rotterdam, as co-reader for assessment of thesis at Theatre Science of
the University of Amsterdam. For two years (2000-2002) he was head of department of the School for New Dance
Development in association with Robert Steijn before taking part in the initiation of Dance Unlimited Amsterdam. Jeroen
has published in several magazines and held lectures mostly about dance and cultural studies (among others
Performance Studies Conference, Vereniging voor Dansonderzoek, Landelijk Centrum Amateurdans, Ballett/Tanz,
Danswetenschap in Nederland 3 and 4). From 2002 he is the coordinator of dance research activities at the
Theaterschool within the framework of the research program of the Amsterdamse Hogeschool voor de Kunsten. He is
editing a publication of 25 years of archive materials of dance research at the School for New Dance Development, part
of it is published in Tanz(aus)bildung by Franz Anton Cramer. Since 2001 he has been member of the committee
Choreografie opdrachten of the Amsterdam Fonds voor de Kunsten (until 2004) and since 2005 of the committee Dance
of the Fonds voor de Amateur en Podiumkunsten.
Jan Trützschler v. Falkenstein is originally from Munich (Germany) and currently living in The Hague (Netherlands). He
is active in the fields of improvisation, live electronics, composition, (sound-) installation and theatrical performance and
brings them together on different levels, regularly in collaboration with video artists. In order to take full advantages of the
possibilities a computer can provide he develops his own software. Since a few years he runs the radio program 'UCON'
with Tom Tlalim which features live broadcasts of electronic and computer music. In search for new sounds Jan started
to use electronics and computers at a young age. He received training in classical piano and electronic guitar and
founded the experimental band 'das Wahnsinn' (1990-1994), in which electronics took on a strong part. Jan studied
Media Design at Bauhaus University, Weimar, with a focus on sound installation under Robin Minard. In 2005 he
graduated from the Institute for Sonology, Royal Conservatory The Hague (MM), under Paul Berg, Kees Tazelaar, Joel
Ryan, Konrad Boehmer and Richard Barrett.
Dave Krooshof is working as a sound technician and teacher in the Theaterschool since 1999. He studied sonology at
the Royal Conservatory in The Hague, mainly with Clarence Barlow and Joel Ryan, and is especially interested in real
time interactive computer music and psycho-acoustics. Most people he works for are dancers, for whom he makes and
edits music. For the electronics that he makes, he's looking for a strong and clear coupling between movement and
sound, as to widen the expression of the performers. He can also help you to use internet as a channel for expression or
to present your work on it.
Thomas Lehmen attended the School for New Dance Development in Amsterdam from 1986-1990, where in addition to
dance he pursued interests in music and kung fu. During his training, he soon took charge of the concept, choreography,
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and music composition for various solo, duet and group pieces. Since 1990 he has been living in Berlin and working as a
dancer, choreographer, theater and film performer, light designer, teacher, and carpenter. After finishing his studies,
Lehmen danced with Yoshiko Chuma, Pauline de Groot, Sasha Waltz & Guests, Detektor, Mark Tompkins, and others.
In 1997, he created his first solo and has been making his own work since then. All of Lehmen's performances show a
concern with transcending conventional forms of dance performance and in questioning the roles of and communication
between choreographer, performer and the audience. For example, in the creation of the choreographic experiment
Schreibstück (2002), Lehmen acted as the "author" of a dance script that is presented to three choreographers to
interpret.
Susan Rethorst has been creating dances out of New York City since 1975. Since 1995, she has divided her time
between New York and Amsterdam, teaching choreography throughout Europe and Scandinavia and continuing to make
work in both Europe and America. Rethorst's work has been presented by The Museum of Modern Art; The Kitchen
Center, Dance Theater Workshop, Danspace Saint Marks, The Downtown Whitney Museum, among others, as well as at
various dance theaters, universities, and festivals throughout the U.S. Internationally her work has been produced by The
Holland Festival, Spazio Zero Rome, The Kunsthalle Basel, The Aix-en-Provence Festival, among others. She has
ongoing teaching relationships with Dansens Hus in Copenhagen, at Dartington College in England, and at Firkin Crane
in Cork, Ireland. This past year she initiated, along with three others, a post graduate choreography program for the
Amsterdam School of the Arts. In 1999, she was the recipient of a fellowship from the John Simon Guggenheim
Memorial Foundation. Rethorst's involvement with teaching, particularly at the master level, and research into the nature
of the form of choreography has taken her to a variety of institutions, including SEAD (Salzburg Experimental Academy
of Dance) and Dance Theater Workshop's Research Fellowship Program for Media and Dance. It has also led to the
initiation of SUPA (studio Upson in Pennsylvania), a program dedicated to choreography; how it is thought of and taught,
and what of its knowledge is applicable to other fields. Rethorst is regularly invited to initiate new courses for
choreographic research in several areas of choreographic overlap, particularly that of media and most recently, in area of
the relation of language and reflection to making dance.
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