MODULE CODE
DRA2013
MODULE LEVEL
2
MODULE TITLE
Dance: Choreography
LECTURER(S)
Pam Woods
CREDIT VALUE
30
ECTS VALUE
15
PRE-REQUISITES None
CO-REQUISITES
None
DURATION OF MODULE
1 semester
TOTAL STUDENT STUDY TIME
300 hours (including 6 contact hours per week)
AIMS
The overall aim of the module is to help the student find and/or develop their own choreographic voice.
Specifically, it aims to develop students’ skills, knowledge and understanding of dance as a performing art
through the inter-related process of:
a) performance - developing expressive and technical expertise in movement as a language
b) composition - using a variety of stimuli as starting points for improvisation, exploration, selection
and refinement of movement content
c) critical study and appreciation of dance composition and choreography, with reference to their
own work and exemplars of professional dance.
Although not exclusively so, the emphasis of study is, for pragmatic reasons, on the practice, history and
development of the genre of contemporary dance (including dance-theatre).
INTENDED LEARNING OUTCOMES (ILO’s)
On successful completion of this module, students should be able to:
Module Specific Skills:
1. demonstrate physical performing skills in a range of styles;
2. demonstrate development in personal movement vocabulary;
3. utilise a range of dance compositional skills (including space, time, relationship, dynamics, phrasing);
4. demonstrate an understanding of the choreographic process with reference to choice of movement
content, style and accompaniment;
5. demonstrate understanding and appreciation of choreography within an historical and cultural context.
Discipline Specific Skills:
1. The ability to relate to others in theatrical processes and performances; to work effectively with others
in small task-orientated groups and to initiate and sustain creative, analytic and interpretative work within
strict time limits and basic technical competence;
2. The ability to utilise research tools effectively and to translate theory into practice.
3. The ability to apply library and IT skills in independent additional research.
4. The ability to contribute research to small groups in effective presentations, to evaluate visual evidence
and analyse, critique and manipulate complex material.
5. The ability to engage critically and analytically with physical discipline; the development of thoughtful
creative processes and understanding of physicalisation in performance.
6. The ability to explore theoretical concerns through practice, and vice versa, and to synthesise findings
in practical and written tasks. The ability to interpret research into physical practice and vice versa.
Personal and Key Skills:
1. To develop personal research skills using personal initiative; to set personal objectives and to identify
and evaluate personal learning strategies;
2. To develop group cooperation skills, including the ability to give and receive constructive critical
feedback and to improve communication skills and analytic abilities in discussions;
3. To develop confidence in performance skills and public presentation, both of dramatic practice and
researched material;
4. The ability to express and communicate creative ideas and images; ability to initiate and sustain
creative work, both group and solo;
5. The ability to collaborate in various groups and group sizes, to learn elements of teamwork and
presentation;
6. The ability to balance between self-direction and collaborative work; self-management, collaborative
working skills, problem solving, critical analysis and valuing own and others’ ideas and beliefs.
LEARNING/TEACHING METHODS
Details of Learning and Teaching Methods:
The course will be delivered through practical studio sessions, which will include: including movement
awareness classes; improvisations; basic introductions to a range of dance techniques and styles; dance
composition and choreography tasks; seminars and discussions; and research and practical
presentations.
In week to week preparations for classes and assignments students will be required to take on
independent studio practice and study hours. These will include: preparation/development of practical
tasks; visits to live performances; outside/guest workshops (as appropriate and available); research, as
appropriate, through reading, analysis of performances, live and recorded, and use of web-based
resources.
ASSIGNMENTS & ASSESSMENTS
Formative or %
Contribution:
Form of
Assessment:
35%
Continuous
Assessment
35%
Seminar presentation
and
Solo choreography
30%
Portfolio
Size of the
assessment e.g.
duration/length
Various practical
and research tasks
and presentations
in class of varying
lengths for the
duration of module
12-15mins
5mins
4,000 words
(maximum)
ILO’s assessed
by this
assessment:
MSS: 1-5, DSS:
1-6, PKS: 1-5
Feedback method:
MSS: 4,5, DSS:
2,3, PKS:1,4
MSS: 1-4, DSS:
2,5,6, PKS:
1,3,4
MSS:4,5, DSS:
2,3,5,6, PKS: 1
Verbal feedback
Written feedback
Verbal feedback in
sessions. Written
feedback at end of
module.
Written feedback
SYLLABUS PLAN
Through practice and research students will be introduced to key individuals and companies in the field of
contemporary dance (including dance-theatre), and the movement styles, dance techniques and
approaches to choreography which have informed the development of ‘modern’ dance in Europe and
USA and ‘contemporary’ dance in Britain.
Each week there will be reading and practical dance composition tasks. Students will work in supportive
group situations (small groups and pairs) and on short solo tasks, gradually building towards a final solo
choreography. Fundamental to practical sessions will be the development of movement awareness,
based on sound anatomical principles, and facilitating students to develop their own movement potential
and expressive vocabulary.
During the first half of the module, through and alongside practical sessions, students will become familiar
with key choreographers and Independent Dance practitioners (past and current) including: Rudolph
Laban, Mary Wigman, Pina Bausch, Wim Vandekeybus, Anne Teresa de Keersmaeker and others
(Europe); Isadora Duncan, Martha Graham, Doris Humphrey, Merce Cunningham, Trisha Brown, Steve
Paxton, William Forsythe and other (USA); Robert Cohan, Christopher Bruce, Richard Alston, Siobhan
Davies, Lea Anderson, Lloyd Newson, and others (Britain).
The second half of the module will continue to develop students’ dance composition and choreographic
skills, with a greater focus on solo. Each student will research for and give a seminar presentation on a
selected practitioner or style of professional dance work (selected according to the individual’s area of
interest and enthusiasm), which will inform their solo process. A written portfolio (critical and reflective) will
draw together research, studio practice and solo process.
INDICATIVE LEARNING RESOURCES
Indicative basic reading list:
*Preston-Dunlop, V. (1998) Looking at Dance: a choreological perspective on choreography, Verve
Publishing (* key book for dance composition class)
Adshead, J. (ed.) (1988) Dance Analysis: Theory and Practice, London: Dance Books
Albright, Ann Cooper (1997) Choreographing Difference, Wesleyan Press
Au, Susan (1988) Ballet and Modern Dance, Thames and Hudson
Benbow-Pfalzgraf, T. (1998) International Dictionary of Modern Dance, St James Press
Banes, S (1994) Terpsichore in Sneakers, Wesleyan University Press
Blom, L.A. and Chaplin L.T. (1982) The Intimate Act of Choreography, Pittsburgh: Uni. Pittsburgh Press
Bremser, M. (ed.) (1999) Fifty Contemporary Choreographers, London: Routledge
Copeland, R. (2004) Merce Cunningham: the modernizing of modern dance, London: Routledge
Cohen, Selma Jeanne (1992) Dance as a Theatre Art, Dance Horizons
Cunningham, M. (1968) Changes: notes on choreography, New York: Something Else Press
Ellfeldt, L. (1988) A Primer for Choreographers, Illinois: Waveland Press
Hodgson, J. (2001) Mastering movement: the life and work of Rudolf Laban, London: Methuen
Jordon, S. (1992) Striding Out: Aspects of Contemporary Dance in Britain, London: Dance Books
Mackrell, J. (1992) Out of Line: the story of British New Dance, London: Dance Books
Mazo, J. (1977) Prime Movers: the making of modern dance in America, London: Black
Morgenroth, J. (2004) Speaking of dance: twelve contemporary choreographers on their craft, London:
Routledge
Morrison-Brown, J. (1980) The Vision of Modern Dance, London: Dance Books
Partch-Bergson, I. (2003) The makers of modern dance in Germany: Rudolf Laban, Mary Wigman, Kurt
Jooss, N.J.: Princeton Book Company
Smith, J. (1976 ) Dance Composition, London: Lepus
Steinman, L. (1985) The Knowing Body, New York: Shambala
Todd, Mabel Elsworth (1997) The Thinking Body, Dance Horizons
Worth, L. and Poyner, H. (2004) Anna Halprin, Routledge
Journals:
Dance Theatre Journal,
Dance Now,
Performance Research
Indicative web based resources e.g. Webct:
JSTOR (online journal)
Various dance company websites
U-tube
Other resources:
Exeter Digital Archives
Video and DVD recordings (to be detailed during module)
DATE OF LAST REVISION
May 2009