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Module Study GuideAcademic Year 2017/18

Commercial Techniques 1

Location: The Creative Academy, 73a Stoke Poges lane, SLOUGH, SL1 3NY

Module Code: MU4FD14SLevel: 4Credits: 20

Version No 01 © UWL 2016

Form I – Module Study Guide template – April 2016 Page 1 of 31

Table of Contents

Commercial Techniques 1.........................................................................................11. Module Leader, Teaching Team and Module Administrator Details....................42. Key Contacts.......................................................................................................53. Further Information..............................................................................................64. Welcome to the Module.......................................................................................75. Timetable/Venue/Rooms.....................................................................................76. Aims of the Module..............................................................................................77. Learning Outcomes.............................................................................................88. Content of the Module.........................................................................................89. Learning Resources............................................................................................910. Reading List.........................................................................................................911. Assessment: General Information....................................................................1012. Details of Assessment.......................................................................................10

Assessment 1..........................................................................................................10Assessment 2..........................................................................................................12Assessment 3..........................................................................................................14

13. Summative Assessment Grid............................................................................1614. External Examiner(s).........................................................................................1715. Statement on Plagiarism...................................................................................1716. Evaluation of the Module...................................................................................1817. Personal Development Plan (PDP)...................................................................1818. If You Have an Issue.........................................................................................1919. Drop-in Support Service....................................................................................1920. Guide to Learning Sessions..............................................................................20

Session number: 1..................................................................................................20Session number: 2..................................................................................................20Session number: 3..................................................................................................21Session number: 4..................................................................................................21Session number: 5...................................................................................................22Session number: 6...................................................................................................22Session number: 7...................................................................................................23Session number: 8...................................................................................................23Session number: 9...................................................................................................24Session number: 10.................................................................................................24Session number: 11.................................................................................................25


Session number: 12.................................................................................................25Session number: 13.................................................................................................26Session number: 14.................................................................................................26


1. Module Leader, Teaching Team and Module Administrator Details

Module Leader Chelsie Innes

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 01753 875 400

Location The Creative Academy

Name George Kirkham

Job title The Creative Academy Manager


Phone 01753 875 400


Name Jagdev Khatkar

Job title Quality Assurance and Business Manager


Phone 01753 875 400


Administrator Vacant

Job title Academic Administrator

Email

Phone 01753 875 400



mailto:[email protected]


2. Key Contacts

The key contacts for your course are set out below:

The Course Leader responsible for this module is George Kirkham, and can be contacted at [email protected]

The Head of Subject responsible for this module is David Henson, and can be contacted at [email protected]

The Head of School/College/Dean of College responsible for this module is Sara Raybould, and can be contacted at [email protected]

The Academic Partner Link Tutor responsible for this module is Marcia Carr, and can be contacted at [email protected]






3. Further Information

Due Dates:Assessments for this module are due on the following dates: - Please see time-plan


Total Guided Learning Hours 200

Consisting of:

Teaching Contact Hours 42

Independent Study Hours 158

Placement Hours N/A

Assessment:Percentage of final marks assessed by:

Blog 30%

Continual Technical Assessment 40%

Performance 30%

Section

Overview and Content4. Welcome to the Module

Welcome to Commercial Techniques 1. Over the next semester students will learn a great deal about commercial dance, specific commercial techniques and practitioners including Jerome Robbins. Most of the important information students require for this module is contained in this document. Students should familiarise themselves with this document to ensure that they successfully meet the requirements of this module.

The main focus of this module is for the student to gain a clear physical understanding of the technique and vocabulary of movement in various commercial techniques including street, jazz, break-dance and Bollywood. Students will participate in technique classes and workshops underpinned with academic lectures exploring the dance practitioners and the philosophy behind the creation of their work.

5. Timetable/Venue/Rooms

Please see timetable and time-plan

6. Aims of the Module

The aims of this module are

-To enable students to acquire a critical understanding of the technique and vocabulary of movement in commercial dance techniques including the pioneers of commercial dance, including Jerome Robbins and Bob Fosse;

-To encourage students to study commercial dance techniques and gain a clear understanding through physical replication;

-To enable students to use commercial movement in their own choreography; and

-To enable students to develop a critical appreciation and informed understanding of commercial dance and its ongoing relevance within the dance industry.


A

7. Learning Outcomes

By the end of the module students will be able to:

LO1 Have a good understanding and knowledge of various commercial dance technique/standards and the commercial dance work environment;

LO2 Critically analyse commercial choreographers while beginning to demonstrate a conceptual understanding of the creative and cultural relevance of their practice;

LO3 Successfully replicate commercial dance techniques;

LO4 Work and apply technical dance standards within an industry environment in the creation of a commercial dance piece;

LO5 Develop ability to communicate both physically and orally; and

LO6 Demonstrate commitment to their practice and to fellow students by complying with dance professional practices within health and safety regulations.

8. Content of the Module

Students will participate in physical technique classes with one primary tutor; visiting practitioners will facilitate specific techniques and company repertoire. Students will gain a physical understanding and experience the devices and methods used by commercial practitioners. The students will gain an understanding and experience of the technique and vocabulary of movement in various commercial techniques.

Students will explore the principles; dance techniques and choreography of selected commercial dance practitioners, and will be encouraged to assess the cultural context which shaped their vision. Students will experiment with various techniques ensuring that students can make effective use of a range of appropriate genres of movement in their own creative work.


9. Learning Resources

Students must purchase the core text, although one copy is available for reference purposes through the Creative Academy administration office. All additional texts, viewing list and The Dancing Times are available through the Creative Academy office for reference or a free two-week loan. Late returns incur a charge.

10. Reading List

The reading list for your module is displayed below. Any core texts that you will be expected to purchase will also be indicated.

You can also login to the Student Portal and select My Blackboard to see an online version of the reading list shown below for your module maintained by Library Services. This shows real-time availability of books in our library catalogue and direct links to recommended online resources to save your time. Special online support guides (LibGuides) for the subject are also available to help you find relevant information for assignments, with contact details of the Academic Support Librarian for your subject.

Core text:Conrad, C (2000) Jerome Robbins That Broadway Man, That Ballet Man, London, Booth-Clibborn Editions

Other Learning Resources (journals, databases, Websites):Dance Today

Structure of Learning Resources for Open Learning and E-Learning:

The foundation degree will offer an electronic learning environment for all students on the course. Students enrolled on the foundation degree will be part of an electronic community and will have access to a virtual learning environment through:

* Email between staff and students;

* Course Information;

* Learning materials; and

* Access to the Internet for research


Section

B

Assessment and Feedback11. Assessment: General Information

A variety of Assessment methods will be used, however the primary vehicle for assessment will be through on-going tutor observation with a supporting portfolio of learning evidence. Students will be required to work to deadlines, both within teams and independently. The work will be assessed using a variety of methods including:Tutor observation – Online blogs – Performance

Individual progress in class will be continuously monitored and fed back to students by the module tutor, with input from visiting tutors. The portfolio of learning will demonstrate the student’s own investigation of the cultural framework within which the technique has evolved. Students will need to perform specific dances to explore the physical and presentational aspects of commercial technique.

The particular requirements of various commercial techniques will be considered when assessing student performance in class. An understanding of the socio-cultural issues that shaped the development of commercial dance will be identified through portfolio work and the student’s own research..

12. Details of Assessment

Assessment 1

Assessment task: Online Blog Weighting: 30% Date/time/method of submission: Week 14 Word count or equivalent: N/A

Assessment criteria: Students will be expected to keep a record of the creative process by creating a blog to show their journey up until the performance

Marking scheme:


80-100 The work excels in all or most of the following: intelligence; performance; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, correct and carefully constructed, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography, performance and the dance industry. The student has attended 100% of the practical workshops throughout the semester.

70-79 The work excels in three or more of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, written, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography, performance and the dance industry. The student has attended 100% of the practical workshops throughout the semester.

60-69 The work displays one or more of the following properties: intelligence; criticality; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography, performance and the dance industry. The student has attended 90% of the practical workshops throughout the semester.

50-59 The work shows some evidence of involvement and a little independence of thought from a range of sources. It is largely correct, pertinent and coherent, if not very well-ordered. It is the right length and relevant. The student has attended 90% of the practical workshops throughout the semester.

40-49 The work shows little independence of thought from its (perhaps very limited) sources, and limited signs of any involvement. It might be poorly ordered with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent and is performed well. The student has attended less than 90% of the practical workshops throughout the semester.

20-39 (Referral) The assignment fails when it is at least three of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. The student has attended less than 80% of the practical workshops throughout the semester.

0-19 (Fail) The work fails (badly) when it is all, or all but one, of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional attitude to the creation of choreography or the dance industry. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed Form I – Module Study Guide template – April 2016 Page 12 of 31

conceptually that the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment. The student has attended less than 50% of the practical workshops throughout the semester

Timing and methods of feedback Grades are posted on the student area at www.creativeacademy.org within 15 working days of the assessment and feedback is emailed to the students within 10 working days of the end of the semester.

Assessment 2

Assessment task: Continual Technical assessment

Weighting: 40% Date/time/method of submission: ongoing Word count or equivalent: N/A

Assessment criteria:

At the start of the semester students will be given an overview of the requirements of commercial dance and replication of technique and choreography. The student’s movement and physical understanding should demonstrate an understanding of appropriate commercial genre/style characteristics. Throughout the course studentswill be taught a set piece of choreography and techniques relevant to commercial dance. Students must arrive to class ready to work and time keeping is a very important element of this assessment. Failure to attend classes is a breach of Health and Safety for both the individual student and fellow students, and as such will be reflected in the overall mark for this part of the assessment.

Marking scheme:


70-79 The work excels in three or more of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, written, with a good sense of continuity and a coherent overall


structure. The student demonstrates a professional attitude to choreography, performance and the dance industry. The student has attended 100% of the practical workshops throughout the semester.


50-59 The work shows some evidence of involvement and a little independence of thought from a range of sources. It is largely correct, pertinent and coherent, if not very well-ordered. It is the right length and relevant. The student has attended 90% of the practical workshops throughout the semester.



0-19 (Fail) The work fails (badly) when it is all, or all but one, of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional attitude to the creation of choreography or the dance industry. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed conceptually that the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment. The student has attended less than 50% of the practical workshops throughout the semester



Assessment 3

Assessment task: Performance

Weighting: 30% Date/time/method of submission: ongoing Word count or equivalent: N/A

Assessment criteria:

At the start of the semester students will be given an overview of the requirements of commercial dance and replication of technique and choreography. The student’s movement and physical understanding should demonstrate an understanding of appropriate commercial genre/style characteristics. Throughout the course studentswill be taught a set piece of choreography and techniques relevant to commercial dance. Students must arrive to class ready to work and time keeping is a very important element of this assessment. Failure to attend classes is a breach of Health and Safety for both the individual student and fellow students, and as such will be reflected in the overall mark for this part of the assessment.Marking scheme:


70-79 The work excels in three or more of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, written, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography, performance and the dance industry. The student has attended 100% of the practical workshops throughout the semester.


50-59 Form I – Module Study Guide template – April 2016 Page 15 of 31

The work shows some evidence of involvement and a little independence of thought from a range of sources. It is largely correct, pertinent and coherent, if not very well-ordered. It is the right length and relevant. The student has attended 90% of the practical workshops throughout the semester.



0-19 (Fail) The work fails (badly) when it is all, or all but one, of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional attitude to the creation of choreography or the dance industry. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed conceptually that the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment. The student has attended less than 50% of the practical workshops throughout the semester



13. Summative Assessment Grid

Type of assessment

Module learning outcome(s)

Word count or equivalent

Due date and time

Threshold (if applicable)

Pass mark Weighting Date assignment feedback will be made available to student

Online blog LO2

LO4

LO6

N/A Week 14 40 30% 10 working days after semester end

Continual Technical Assessment

LO1

LO3

LO4

LO5

LO6

N/A Ongoing 40 40% 10 working days after semester end

Performance LO1

LO3

LO4

LO6

N/A January show 40 30% 10 working days after semester end


14. External Examiner(s)

The External Examiner is an independent academic staff member from another institution who provides assurance that the assessment system is fair and ensures that standards on the course are comparable to other institutions.

The External Examiner(s) for this module are listed below. Please note that this is provided for information only; students are not permitted to enter into any correspondence about their marks with External Examiners.

Name Jane White

Job Title Senior Lecturer & Course Leader -BA (Hons) Dance Course

Institution

AUB

15. Statement on Plagiarism

Plagiarism is defined as the practice of taking someone else’s work and/or ideas and passing it/them off as your own. It is the action of presenting someone else’s work as one’s own irrespective of intention. Close paraphrasing without adequate attribution; copying from the work of another person, including another student; using the ideas of another person without proper acknowledgement all constitute examples of plagiarism. In addition, the act of re-using work (whether in part or in whole) that you have previously submitted for graded assessment – at the University of West London or at another institution - without properly referencing yourself (known as ‘self-plagiarism’ ) shall also constitute plagiarism.

For further information please refer to the Student Handbook Section 3. University Regulations and Student Code of Conduct

For further advice on plagiarism go to the UWL website:

http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism


http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism

16. Evaluation of the Module

i) Evaluation framework

Towards the end of the module you will be invited to provide some feedback to the module leader. This will be through an online or paper survey and you will be given a few minutes in a taught session to complete it. Please think carefully about the feedback you provide. Constructive feedback will help your module leader understand your experience and help inform the development of the module. If you have concerns about individual members of staff, these should be taken to your module or course leader whose details are in Section 2 of this guide rather than expressed through the survey.

ii) Improvements made in response to student feedback

N/A

17. Personal Development Plan (PDP)

Students are responsible for recording notes from weekly lectures either via written or electronic means. Students are encouraged to undertake self-directed learning through independent research of dance theatre companies and choreographers and their methodologies. Students are encouraged to see live performances of dance theatre companies where available at theatres such as The Place Theatre or Sadler’s Wells, amongst others. All information gathered will inform each student for both assessments in this module.

Self-directed learning, analysis and interpretation of the materials recorded will inform each student’s personal development. Self-reflection between creative tasks and after rehearsals will also add to each student’s PDP.

18. If You Have an Issue


If you have an issue with the module or course you should speak to your personal tutor or Module Leader in the first instance. You could also speak to your Course Representative who will be able to raise it at a Course Committee which take place once each semester. You can also raise issues with your Course Leader. It is important that you raise matters as soon as possible so that they can be resolved.

If you have a complaint about the course you should raise this informally in the first instance with the Course Leader. If you are unable to resolve it informally, you should use the Complaints Procedure which is outlined in the Student Handbook. You are also encouraged to contact the Students’ Union about it. The University aims to ensure that most issues are resolved informally but the Complaints Procedure is there to help you resolve issues if this is not the case.

19. Drop-in Support Service

Opportunities to gain support are available daily through bookable sessions run by the wellbeing team. Between them, the wellbeing team have experience in all the courses taught at the Creative Academy. Wellbeing staff are there to offer guidance and support on a one-to-one basis, whether academic or personal - Appointment is needed, every Tuesday.

If you want to contact the service please email [email protected] to book an appointment.

*Please note that the service is un-available between June and September.



Section

C20. Guide to Learning Sessions

Session number: 1

Venue: The Creative Academy

Understanding generic commercial danceKey concepts/issues: To develop an understanding into what commercial dance is. Introduction to the module.

Delivery method: Seminar and workshopFormative/summative assessment opportunities: CTA

Essential reading for this session: N/A

Recommended reading for this session: N/A

Independent study: N/A

Session number: 2


Movements in commercial danceKey concepts/issues:

Explore the movements within street dance * What kind of themes and types of movement develop the technique? * How has American culture fed into the development of commercial dance?

Delivery method: Seminar and workshopFormative/summative assessment opportunities: All assessments

Essential reading for this session

- Conrad, C (2000) Jerome Robbins That Broadway Man, That Ballet Man, London, Booth-Clibborn Editions


Independent study

- Internet resources

- Dance magazine


Session number: 3


Movements in commercial danceKey concepts/issues:

Continue to explore street dance principals * What common themes come through various commercial dance techniques? * Why is soundtrack important to commercial dance?

Delivery method: Seminar/workshop

Formative/summative assessment opportunities: All assessments

Essential reading for this session : N/A


Independent study:


- Dance magazine

Session number: 4


Jamie King and Wade RobsonKey concepts/issues:

Continue to explore commercial technique * Why do the popular music industry and commercial dance sector rely on each other? * What are the comparisons which can be drawn between cultural development and commercial dance?

Delivery method: workshop/seminar




Independent study


- Dance magazine


Session number: 5


Jazz and Modern Theatre Dance:

Key concepts/issues:

Explore de development of Jazz dance technique * What kind of movement themes inform jazz technique? * How has jazz influenced commercial dance techniques and style?

Delivery method: Workshop/seminar




Independent study:


- Dance magazine

Session number: 6


All that Jazz and Chicago


Explore how Jazz technique has influenced street, break and musical theatre * How have Bob Fosse and Jerome Robbins influenced contemporary commercial choreographers? * How can you identify the interplay between various commercial dance techniques?

Delivery method (e.g. lecture, seminar, tutorial, workshop, visit) workshop/seminar




Independent study

- All that Jazz, Bob Fosse

- Chicago


Session number: 7


Bollywood


Explore the traditions of Bollywood dance technique * How has Bollywood informed the technique within mainstream commercial techniques?


Formative/summative assessment opportunities

Essential reading for this session

- Tutor hand out on genealogy of Bollywood


Independent study:


- Dance magazine

Session number: 8


B’BoyKey concepts/issues:

Explore the traditions of Break dance * Compare and contrast the themes which develop in street art, Hip Hop and b’boying. * What cultural issues on the East and West coasts of America informed the development of street culture during the late 70’s and early 80’s?




Recommended reading for this session

Independent study:

– The Freshest Kids DVD


Session number: 9


Break continued


Continue to explore commercial dance specifically Krumping. * How can the body represent the cultural issues which affect disadvantaged young people in urban areas?





Independent study:

- Rize DVD

Session number: 10


Music VideosKey concepts/issues:

Explore the role of music videos and TV in the development of commercial dance. * How has commercial dance developed through music/video? * How has the development of technology influenced commercial dance?

Delivery method: Seminar/Workshop




Independent study:


- Dance magazine

Session number: 11

Venue: The Creative AcademyForm I – Module Study Guide template – April 2016 Page 26 of 31

Tap and Charleston


Explore the influence of Tap and Charleston * How has Tap dance influenced break dance? * How is American youth dance culture is influencing European practitioners.





Independent study:


- Dance magazine

Session number: 12


FusionKey concepts/issues:

Explore how various commercial dance sectors merge to create a fusion of dance techniques * How has Capoeira, Cheerleading and Gymnastics informed the development of break dance. * How has the relationship between competitive sport and the development of new commercial techniques changed over the past 5 years?




Recommended reading for this session:

- The complete guide to cheerleading

Independent study:


- Dance magazine

Session number: 13


Rehearsal



Rehearse choreographed piece






Session number: 14


RehearsalKey concepts/issues:

Rehearse choreographed piece







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