STUDY AND EXAMINATION REGULATIONS · 2016. 10. 19. · 18 of the General Provisions for...

STUDY AND EXAMINATION

REGULATIONS

Study and Examination Regulations

for the

Bachelor’s Degree in

Dance

This is a translation of the original German document, published as Amtliche Bekanntmachungen Nr.

50/2016. Only the German version is legally binding.

Official Notices by the Frankfurt University of Music and Performing Arts

Publication number: 50/2016 Effective from: 25/3/2016

Faculty 3

2

Specific Study and Examination Regulations for the Bachelor’s Degree in

Dance

On 19/1/2016, the Council for Faculty 3 agreed the following Study and Examination Regulations for the Bachelor’s Degree in Dance.

Table of Contents

§ 1 Scope ...............................................................................................................................3

§ 2 Academic title ...................................................................................................................3

§ 3 Standard study period ......................................................................................................3

§ 4 Course start ......................................................................................................................3

§ 5 Course objectives .............................................................................................................3

§ 6 Course structure ...............................................................................................................3

§ 7 Examinations ....................................................................................................................4

§ 8 Final module .....................................................................................................................4

§ 9 Assessment of examination performances, formulating the final grade.............................6

§ 10 Coming into effect and transitional provisions .................................................................6

Appendix 1: Module descriptions ............................................................................................8

Appendix 2: Course plan ...................................................................................................... 54

Appendix 3: Examination plan .............................................................................................. 55

3

§ 1 Scope

These Study and Examination Regulations govern the content, qualification objectives and structure of

the Bachelor’s Degree in Dance as well as its examinations. It applies in conjunction with the respective

current version of the General Provisions for Bachelor’s and Master’s Degree Courses at the Frankfurt

University of Music and Performing Arts.

§ 2 Academic title

Following successful completion of the Bachelor’s Degree in Dance, the Frankfurt University of Music

and Performing Arts awards the academic title “Bachelor of Arts” (BA).

§ 3 Standard study period

(1) The Bachelor’s Degree in Dance has a standard study period of eight semesters.

(2) The course covers 240 credit points (CPs).

§ 4 Course start

The course can only be started in the winter semester.

§ 5 Course objectives

(1) The aim of the course is to train and individually promote creative, expressive dancers who possess

a wide range of dance techniques in both classical and contemporary dance, and who can use their

skills confidently. Students develop competencies that allow them to make a creative contribution to the

design of artistic work processes and are able to reflect both on themselves and dance in an

interdisciplinary, historical and social context. During the course, they are encouraged and helped to

develop social and political engagement, to participate in groups self-confidently and responsibly, and

to make a positive contribution to the design of group processes.

(2) Successful completion of the course qualifies graduates to work as professional dancers. Students

have also developed solid foundations for additional qualifications that allow them to work as dance

teachers, choreographers, training directors and physical and movement therapists, and to transfer their

knowledge to other fields.

§ 6 Course structure

(1) In the third year of the course, students select a focus, either Classical Dance (Klassischer Tanz

(KT)) or Contemporary Dance (Zeitgenössischer Tanz (ZT)).

(2) The following modules have to be completed in the Bachelor’s Degree in Dance:

Compulsory modules:

- M1: Classical Dance I, 18 CPs

- M2: Contemporary Dance I, 16 CPs

- M3: Folklore I, 3 CPs

- M4: Body I, 10 CPs

- M5: Theory I, 5 CPs

- M6: Projects I, 8 CPs

- M7: Classical Dance II, 19 CPs

- M8: Contemporary Dance II, 17 CPs

- M9: Folklore II, 4 CPs

- M10: Body II, 4 CPs

- M11: Theory II, 7 CPs

- M12: Projects II, 9 CPs

- M 16: Body III, 4 CPs

4

- M17: Theory III, 9 CPs

- M18: Projects III, 11 CPs

- M19: Dance Practice, 23 CPs

- M20: Vocational Orientation, 22 CPs

- M21: Bachelor’s Thesis, 8 CPs

- M22: Projects IV, 7 CPs

Compulsory elective modules:

Focus on Classical Dance:

- M13_KT: Classical Dance III, 21 CPs

- M14_KT: Contemporary Dance III, 11 CPs

- M15_KT: Individual Work, 4 CPs

Focus on Contemporary Dance:

- M13_ZT: Classical Dance III, 14 CPs

- M14_ZT: Contemporary Dance III, 17 CPs

- M15_KT: Individual Work, 5 CPs

(3) Interdisciplinary competencies and key qualifications are acquired in M4, M10, M11, M15, M16, M17,

M19, M20, M21 and M22 in particular.

(4) The degree course including examinations will be conducted in German and English. The language

rules will be determined by the respective tutors.

(5) Class formats include those listed in the General Provisions for Bachelor’s and Master’s Degree

Courses at the Frankfurt University of Music and Performing Arts as well as workshops.

§ 7 Examinations

(1) Module examination formats or partial module examination formats include those listed under Article

18 of the General Provisions for Bachelor’s and Master’s Degree Courses at the Frankfurt University of

Music and Performing Arts as well as DVD, video or website formats.

(2) For modules with partial examinations, students must pass all partial modules in order to complete

the module successfully.

(3) Students who do not pass the module examinations for M1, M2, M3, M7, M8, M9, M13 and M14

must attend a compulsory consultation.

§ 8 Final module

(1) The final module can be completed using the following format options (a alone or in conjunction with

b, c or d):

a_ Written work: around 22–24 pages (1,650 characters per page) of pure running text, which amounts

to 33,000–36,000 characters including spaces and corresponds to a workload of 240 hours. The

submitted text may exceed the required number of characters by a maximum of 10%. Headings,

illustrations, footnotes, bibliography etc. do not form part of the required number of characters stipulated

above.

b_ Oral presentation / lecture performance: a maximum of 20 minutes in length, which corresponds

to a workload of 72 hours.

c_ DVD / video production: a maximum of 20 minutes in length, which corresponds to a workload of

5

72 hours.

d_ Website: developing a concept, creating an index and collecting material. The website must include

a scientific article researched and written by the student from a dance-theory viewpoint, and which

discusses a sub-problem from the selected range of topics. This corresponds to a workload of 72 hours.

If options b, c or d are used with a, the scope of the written work is reduced by a maximum of 30%. The

workload for the written work then corresponds to 168 hours.

The same form and content guidelines apply.

In the final module, students are expected to show their ability to select a dance-specific topic and use

various sources in their research. They are expected to draw their own conclusions, to substantiate

them in an appropriately differentiated manner, and to present the entire work process in written form.

Students are also expected to be able to show their ability to acknowledge other people’s research

results and to quote them correctly.

For the Bachelor’s Thesis, students must conduct and document a research project from one of the

three theoretical areas: anatomy, dance-specific music theory or dance history. The Bachelor’s Thesis

is either an individual project or a group project whose individual sections are commensurate with an

individual project. Approval for a group thesis will only be granted if can be demonstrated that the

examination performances of the individual students involved will be clearly distinguishable for

assessment purposes. Assessment is conducted on this basis alone.

The Bachelor’s Thesis can be produced in either German or English. If options c or d are used, the written Bachelor’s Thesis and the supplementary format are to be

submitted together.

If option b is used: the oral presentation / lecture performance can be given a maximum of two weeks

before or after the submission date, the date being agreed at the start of the semester.

(2) The processing time for the written Bachelor’s Thesis is three months.

(3) In addition to the regulations set out in Article 22 Paragraph 5 of the General Provisions for Bachelor’s

and Master’s Degree Courses at the Frankfurt University of Music and Performing Arts, acceptance onto

the final module is subject to successful completion of M13 to M18.

(4) In addition to three bound copies, the Bachelor’s Thesis must also be submitted to the Examinations

Office in electronic form (on a storage medium). When handing in their theses, students must also submit

a declaration that the electronic version is identical to the written originals.

(6) The assessment process for the written Bachelor’s Thesis / the written section of the final module

should not exceed eight weeks.

(7) Students who do not pass the final module must select a new topic for the Bachelor’s Thesis. The

same reviewers may be used. If the final module was completed using options b, c or d, only the section

that was not passed must be repeated.

(8) In calculating the grade for the final module, if students have selected an additional presentation

format alongside the written Bachelor’s Thesis then the overall grade for the Bachelor’s Thesis is formed

from the arithmetic mean of the grades for each part of the examination. The grade for the written part

of the examination and the grade for the additional presentation format will be considered subject to the

following weighting: a and b = 2:1; a and c = 2:1; a and d = 2:1.

6

§ 9 Assessment of examination performances, formulating the final grade

(1) In the assessment of study and examination performance, the following grades are to be used: 1 = Very good An excellent performance 2 = Good A performance well above average requirements 3 = Satisfactory A performance that meets average requirements 4 = Sufficient A performance that fulfils requirements despite deficiencies 5 = Insufficient A performance that no longer fulfils requirements due to considerable

deficiencies (2) For a differentiated assessment of examination performances, grades may be raised or lowered by 0.3 to achieve fractional grades. Grades 0.7, 4.3, 4.7 and 5.3 are not permitted.

(3) The overall grade for the Bachelor’s Degree in Dance is calculated from the average of the module

grades, which are weighted as follows:

M4 Body I [Anatomy]: 1x

M5 Theory I [Dance-Specific Music Theory]: 1x

M7 Classical Dance II: 1x

M8 Contemporary Dance II: 1x

M9 Folklore II: 2x

M11 Theory II [Dance-Specific Music Theory]: 1x

M17 Theory III [Dance History]: 1x

M18 Projects III [Performances]: 3x

M21 Bachelor’s Thesis: 4x

For the focus on classical dance:

M13_KT Classical Dance III: 4x

M14_KT Contemporary Dance III: 2x

M15_KT Individual Work: 1x

For the focus on contemporary dance:

M13_ZT Classical Dance III: 2x

M14_ZT Contemporary Dance III: 4x

M15_ZT Individual Dance: 2x

§ 10 Coming into effect and transitional provisions

(1) These Study and Examination Regulations come into effect the day after their publication in the

Official Notices (Amtliche Bekanntmachungen) of the Frankfurt University of Music and Performing Arts.

(2) These Study and Examination Regulations apply to all students who start the Bachelor’s Degree in

Dance after these Study and Examination Regulations come into effect or who continue with the

Bachelor’s Degree in Dance after changing university, course or subject.

(3) For students who started their course on the basis of a version of the Study and Examination

Regulations for the Bachelor’s Degree in Dance that was agreed earlier by the Faculty Council, this

version continues to apply.

7

Frankfurt, 3 March 2016

Signed

Prof. Ingo Diehl

Dean of Faculty 3

Frankfurt University for Music and Performing Arts

8

Appendix 1: Module descriptions

Abbreviations:

G – Group tuition E – Individual tuition B – Block seminars

First year of study

Classical Dance I

Module no.: Workload CPs Module duration

M1_a

For M1_a and _b: Total hours: 540 h

Contact hours: 420 h

Self-study: 120 h

M1_a and _b: 18

One semester

1 Qualification objectives

Students have a basic feeling for the body’s line, form and plasticity in the space as well as solid foundations for movement co-ordination. They master essential ballet terminology, the fundamentals of poise and positioning and technique e.g. for pirouettes, tours, tour lent in large poses, jumps with battu and big jumps.

2 Content 1. Training

As with the Russian teaching method, training is divided into exercises at the barre, work in the centre and

jumps.

2. Floor-Barre

There is less strain on the joints in floor-barre classes while floor work makes movement co-ordination

easier. These classes are a good way of noticing and correcting errors. Body structures can change, the

body becomes more defined, muscles can lengthen, movement en dehors is maximised and elasticity,

flexibility, posture, balance, alignment and perception are improved. Knowledge and experience acquired in

floor-barre classes are transferred into classical training.

3. Pointe Work (women)

Pointe work improves stability and strengthens the muscles of the legs and feet in exercises such as relevés

in first, second, fourth and fifth position, pas echappé with tours and endings on one leg. Technique

elements taught include pirouettes in fifth and fourth position en dehors and en dedans, tours on a diagonal

and relevés on one leg.

4. Men’s Training

In men’s training, particular emphasis is placed on development the strength and co-ordination needed for

the classical and contemporary repertoire – e.g. tours in big poses, several pirouettes en dehors and en

dedans with different preparations, grand tour à la seconde, battu on one and two legs and big jumps for

elevation and ballon.

5. Pas de deux (men)

Pas de deux training explores elements of classical and neo-classical partnering – such as supported poses, balance and off-balance, tours, lifts and the necessary co-ordination between two dancers – using examples from the classical and neo-classical repertoire.

3 Teachingevents of M1_a and_b

Name Teaching method

Contact hours + workload CPs Requirement for the awarding of CPs

1. Training

G Total hours: 330 h

Contact hours: 256 h Self-study: 74 h

11 Regular participation

9

2. Floor-Barre G Total hours: 90 h Contact hours: 90 h


3. Point Work (women) G Total hours: 120 h Contact hours: 74 h Self-study: 46 h


4. Men’s training G Total hours: 90 h Contact hours: 50 h Self-study: 40 h


5. Pas de deux

(men) G Total hours: 30 h



4 Requirements for participating in the module

Enrolment on the Bachelor’s degree in Dance

5 Applicability of the module

Bachelor of Arts: Dance

6 Module examination

Two partial module examinations:

For everyone: Classical Technique Training (90-minute practical examination)

For women: Pointe Work (15-minute practical examination)

For men: Men’s Training (15-minute practical examination)

The module examination is ungraded; it is marked either as a pass or fail.

7 Module frequency

Annual

8 Start

Winter semester

9 Study year, semester

First semester

10 Type of module

Compulsory module

11 Module manager Prof. Marc Spradling

10

Classical Dance I


M1_b



Self-study: 120 h

M1_a and _b: 18

One semester


Students have a basic feeling for the body’s line, form and plasticity in the space as well as solid foundations for movement co-ordination. They master essential ballet terminology, the fundamentals of poise and positioning and technique e.g. for pirouettes, tours, tour lent in large poses, jumps with battu and big jumps.

2 Content 1. Training

As with the Russian teaching method, training is divided into exercises at the barre, work in the centre and

jumps.

2. Floor-Barre

There is less strain on the joints in floor-barre classes while floor work makes movement co-ordination

easier. These classes are a good way of noticing and correcting errors. Body structures can change, the

body becomes more defined, muscles can lengthen, movement en dehors is maximised and elasticity,

flexibility, posture, balance, alignment and perception are improved. Knowledge and experience acquired in

floor-barre classes are transferred into classical training.


Pointe work improves stability and strengthens the muscles of the legs and feet in exercises such as relevés

in first, second, fourth and fifth position, pas echappé with tours and endings on one leg. Technique

elements taught include pirouettes in fifth and fourth position en dehors and en dedans, tours on a diagonal

and relevés on one leg.

4. Men’s Training

In men’s training, particular emphasis is placed on development the strength and co-ordination needed for

the classical and contemporary repertoire – e.g. tours in big poses, several pirouettes en dehors and en

dedans with different preparations, grand tour à la seconde, battu on one and two legs and big jumps for

elevation and ballon.

5. Pas de deux (men)

Pas de deux training explores elements of classical and neo-classical partnering – such as supported poses, balance and off-balance, tours, lifts and the necessary co-ordination between two dancers – using examples from the classical and neo-classical repertoire.




1. Training




2. Floor-Barre G Total hours: 90 h Contact hours: 90 h






11

5. Pas de deux

(men) G Total hours: 30 h








None. The awarding of CPs is contingent on regular participation in the teaching events.

7 Module frequency

Annual

8 Start

Summer semester


Second semester

10 Type of module

Compulsory module


12

Contemporary Dance I


M2_a



Self-study: 137 h

M2_a and _b: 16

One semester


Students have: − Developed an understanding of the basic elements of contemporary dance technique − Established solid foundations in contemporary dance − Gained experience with release techniques, different forms of modern dance and other dance

styles − Sharpened their awareness of space, presence, use of strength and energy, music, and changes

in dynamic They also have a basic knowledge of improvisation and contact improvisation, are familiar with process-oriented and multi-disciplinary work and are able to assimilate and interpret prescribed movement material.

2 Content 1. Contemporary Dance

Contemporary dance is a mix of tradition and innovation. It has many roots and is nurtured by numerous

trends and current developments. The training goal is to give students a solid foundation in contemporary

dance technique based on physical experience and reflections on the working process.Training is generally

divided into three phases – floor work, standing exercises and combinations in the space. It combines

different contemporary approaches with expressionist, modern and post-modern dance principles, and

knowledge of somatic disciplines. The focus is on release and alignment-based techniques. Other dance

styles such as street dance, hip-hop or extra-European dance forms are taught in workshops.

2. Improvisation

Teaching is based on different movement concepts and methodical approaches and includes perception

training, researching different body systems, explorations into themes such as presence, space, time,

dynamic or rhythm, and the use of light and props. Tasks have to be worked on as solo, duet or group

pieces and in the form of either structured or free improvisation. Other aspects of training include the

development of creativity and spontaneity, recognising movement structures and verbalising experiences

and their associated reflection processes.

3. Contact Improvisation

The scope for communication that arises from “touch and being touched” is explored when two people move,

roll, walk, wrestle, fall or carry each other, at the same time remaining in constant contact – spatially,

physically and in relation to energy. Students develop a basic knowledge of partnering and its associated

vocabulary, learn new techniques and experience energy flow. The seminar also covers breathing and

tension modulation in the body. Students also explore physical forces such as mass, impulse, friction,

impetus or lever rules. Both physical and emotional aspects play a role in the working process.




1. Contemporary Dance

G Total hours: 330 h Contact hours: 238 h Self-study: 92 h


2. Improvisation G Total hours: 60 h Contact hours: 45 h Self-study: 15 h





13







Contemporary Technique Training (90-minute practical examination)

Improvisation (20-minute practical examination)


7 Module frequency

Annual

8 Start

Winter semester


First semester

10 Type of module

Compulsory module

11 Module manager Prof. Dieter Heitkamp

14

Contemporary Dance I


M2_b



Self-study: 137 h

M2_a and _b: 16

One semester


Students have: − Developed an understanding of the basic elements of contemporary dance technique − Established solid foundations in contemporary dance − Gained experience with release techniques, different forms of modern dance and other dance

styles − Sharpened their awareness of space, presence, use of strength and energy, music, and changes

in dynamic They also have a basic knowledge of improvisation and contact improvisation, are familiar with process-oriented and multi-disciplinary work and are able to assimilate and interpret prescribed movement material.

2 Content 1. Contemporary Dance

Contemporary dance is a mix of tradition and innovation. It has many roots and is nurtured by numerous

trends and current developments. The training goal is to give students a solid foundation in contemporary

dance technique based on physical experience and reflections on the working process.Training is generally

divided into three phases – floor work, standing exercises and combinations in the space. It combines

different contemporary approaches with expressionist, modern and post-modern dance principles, and

knowledge of somatic disciplines. The focus is on release and alignment-based techniques. Other dance

styles such as street dance, hip-hop or extra-European dance forms are taught in workshops.

2. Improvisation

Teaching is based on different movement concepts and methodical approaches and includes perception

training, researching different body systems, explorations into themes such as presence, space, time,

dynamic or rhythm, and the use of light and props. Tasks have to be worked on as solo, duet or group

pieces and in the form of either structured or free improvisation. Other aspects of training include the

development of creativity and spontaneity, recognising movement structures and verbalising experiences

and their associated reflection processes.


The scope for communication that arises from “touch and being touched” is explored when two people move,

roll, walk, wrestle, fall or carry each other, at the same time remaining in constant contact – spatially,

physically and in relation to energy. Students develop a basic knowledge of partnering and its associated

vocabulary, learn new techniques and experience energy flow. The seminar also covers breathing and

tension modulation in the body. Students also explore physical forces such as mass, impulse, friction,

impetus or lever rules. Both physical and emotional aspects play a role in the working process.












15







7 Module frequency

Annual

8 Start

Summer semester


Second semester

10 Type of module

Compulsory module


16

Folklore I


M3_a


Contact hours: 66 h

Self-study: 24 h

M3_a and _b 3

One semester


Students master basic techniques and steps from folklore dances from different countries.

2 Content

Students learn rhythms, steps and dances from different countries and discover the diversity of dance styles and forms (circle, line and partner dances). Students learn how to play with the original steps, which are used to create choreographies.




1. International folklore

G Total hours: 90 h








Practical Examination (60 minutes)


7 Module frequency

Annual

8 Start

Winter semester


First semester

10 Type of module

Compulsory module

11 Module manager Prof. Susanne Noodt

17

Folklore I


M3_b


Contact hours: 66 h

Self-study: 24 h

M3_a and _b 3

One semester


Students master basic techniques and steps from folklore dances from different countries.

2 Content

Students learn rhythms, steps and dances from different countries and discover the diversity of dance styles and forms (circle, line and partner dances). Students learn how to play with the original steps, which are used to create choreographies.




1. International folklore

G Total hours: 90 h









7 Module frequency

Annual

8 Start

Summer semester


Second semester

10 Type of module

Compulsory module


18

The Body I


M4

Total hours: 300 h


Self-study: 141 h

10 Two semesters


Students have basic knowledge of anatomy and training science, and have gained experience in body awareness methods and movement techniques.

2 Content

1. Anatomy

Students learn about the form and structure of movement apparatus and examine its function (physiology)

and practical use in movement (applied anatomy). The seminar covers:

1. The fundamental principles of training

2. Dealing with injuries/first aid

3. Nutrition for dancers

4. Functional anatomy of the movement apparatus (bones, tendons, ligaments, joints, muscles)

5. Neurophysiology of muscles and dysfunctions

6. Movement apparatus systems (cardiovascular system, nervous system)

7. Physiological aspects

8. Psychological aspects

2. Perception of the Body

In-depth knowledge of the body and strong perceptive skills form the basis of dance and movement tuition.

Students’ perceptive faculties are trained using examples of different approaches and methods (e.g.

Feldenkrais, Alexander Technique, Body-Mind Centering/BMC), the aim being to increase awareness and

efficiency in their movements. In addition, movement analyses enable students to recognise movement

patterns and the restructuring of them, which reduces the risk of injury.

3. Movement Studies

Different approaches and methods such as Gyrokinesis, Pilates, Yoga, Tai Chi, Laban Bartenieff, ideokinesis

or spiral dynamics (if available) are used to teach students how to train joints and muscles systematically and

safely, and to increase knowledge of the body. Experience gathered in seminars and workshops can be used

in other areas and integrated into daily training and individual warm-ups and cool-downs (workshop series

MSBL/KIT, msbl/kit am morgen, THE ARTIST’S BODY).

4. Training Science

The aim of this block seminar is to transfer established, current knowledge on training science to dance and

to prepare students for the demands of the dance degree and the professional dance world. The seminar

covers:

1. Training load management

2. Rest and stress management

3. Training methods and physiology

4. Functional power training

5. Agility and speed training

3 Teachingevents



1. Anatomy

G Total hours: 90 h



2. Perception of the

Body



19

3. Movement Systems G, B Total hours: 60 h Contact hours: 42 h Self-study: 18 h


4. Training Science B Total hours: 30 h Contact hours: 12 h Self-study: 18 h








− Anatomy: presentation in the first semester (30 - 40 minutes)

− Anatomy: written exam in the second semester (60 minutes)

The presentation and written test are weighted 1:1 when forming the module grade.

7 Module frequency

Annual

8 Start

Winter semester


First year

10 Type of module

Compulsory module


20

Theory I


M5

Total hours: 150 h

Contact hours: 92 h

Self-study: 58 h

5 Two semesters


Students master the basics of music theory (specific to dance) and rhythm. They have become familiar with different dance forms and choreographic methods and are able to establish connections between music and dance.

2 Content

1. Music Theory Specific to Dance Students acquire the basics of music theory (notes, intervals, chords, scales) and rhythm (note values and

pauses, simple and compound time signatures). Reading scores and analysing music teaches students how

to understand musical and formal correlations.

2. Creative Writing Creative writing exercises encourage students to think and formulate in words and to construct mental

associations. The exercises help students develop their own themes and theses for later academic work.

3. Dance-Video-Film-New Media

The seminar presents a selection of dance videos/films, Internet platforms and extracts from recordings of

current and historical dance productions covering themes such as body images, gender issues, dance and

age, dance and sexuality, dance and music, dance and text, media art and the history of dance films. Links

are made between developments in dance and other areas (graphic art, performance, theatre, music and

science). The seminar also addresses aspects of documenting dance, new fields of application for dance

and choreography as well as new forms of dissemination.

4. Video Examples The seminar is organised by the students themselves. The videos shown help to prepare for the Dance

History seminars in the second and third years of study. Watching complete recordings of different

productions is intended to provide insights into the artistic work of relevant choreographers, give an overview

of key developments in dance history and expand students’ knowledge of the professional dance world.

Themes include the Imperial Russian Ballet, Romantic ballet, Noverre’s reforms and ballet du cour.

3 Teachingevents



1. Music Theory Specific to Dance



2. Creative writing B Total hours: 15 h Contact hours: 12 h Self-study: 3 h

0,5 Regular participation


G Total hours: 30 h Contact hours: 30 h


4. Video Examples G Total hours: 15 h Self-study: 15 h




21




Music Theory Specific to Dance: 60-minute written exam in the first semester

7 Module frequency

Annual

8 Start

Winter semester


First year

10 Type of module

Compulsory module

11 Module manager Tatjana Varvitsiotis

22

Projects I


M6

Total hours: 240 h


Self-study: 40 h

8 Two semesters


Students gain further experience of movement research in choreographic and process-oriented projects with different guest lecturers. They also learn new forms of choreographic practice and are increasingly able to adapt themselves quickly and flexibly to different ways of working as well as complex demands. Students gather comprehensive stage experience in several performance series they can use to test different performance strategies as well as ways of dealing with presence.

2 Content

1. Artistic and Process-oriented Projects

Project work embraces very different approaches that can be technique-based, aimed at developing

choreographies, or include other forms of artistic, process-oriented movement research. The work with

internationally renowned guest teachers, choreographers and dancers from municipal or national theatres, or

the independent scene, establishes direct links with the professional dance world. Students learn different

working methods, become familiar with new dance techniques and forms of communication, and have

experience of group processes. Many of these projects are conducted with the support of the Hessian

Theatre Academy and in co-operation with partners from the Frankfurt Dance Network.

2. Performances Students take part in public presentations of choreographies, performances, pieces or installations.

Performances take place on different-sized stages or at site-specific venues.

3 Teachingevents




B Total hours: 150 h Contact hours: 120 h Self-study: 30 h


2. Performances B Total hours: 90 h Contact hours: 80 h Self-study: 10 h

3 Participation in three performance series






None. The awarding of CPs is contingent on regular participation in the teaching events

7 Module frequency

Annual

8 Start

Winter semester


First year

10 Type of module

Compulsory module

23


24

Second year of study

Classical Dance II


M7

Total hours: 570 h


Self-study: 198 h

19 Two semesters


Students are able to use improved movement co-ordination to implement difficult elements of classical dance technique and execute complex movement combinations while the same time displaying artistic expression. They also have a broader understanding of differentiated movement qualities.

2 Content

1. Training

Building on the material learned in M1.1, movement combinations become more complex, paces increase

and students work on grand allegro combinations. Technique elements taught include tours in big poses,

pirouettes with different preparations in place and while moving, and battu ending on one leg.

2. Floor-Barre

Expansion and more in-depth study of the knowledge learned in M1.2.

3. Pas de Deux

Specific elements of partnering such as supported balance and off-balance poses, tours, lifts and co-

ordination between two dancers are explored using extracts from the classical and neo-classical repertoire.

For men: expansion and more in-depth knowledge of the elements learned in M1.5.

4. Pointe Work / Variation (women)

Increased stability en pointe, strengthening the leg and foot muscles using the grande sissonne ouverte in all

directions, poses with progression and pas tombé from one pose and into another at 90° etc. Students are

also taught the tour piqué dehors and dedans on a diagonal, tours fouettés, jumps en pointe and their first

variations of the classical repertoire.

5. Men’s Training

Students improve their tours in big poses, multiple pirouettes and battu technique. The range of big jumps is

expanded with emphasis on movement volumes and attacks.

6. Strength Training (men)

Specialised strength training complements dance training and prepares students for the demands of pas de

deux.

3 Teachingevents



1. Training




2. Floor-Barre G Total hours: 60 h Contact hours: 45 h Self-study: 15 h


3. Pas de deux G Total hours: 30 h Contact hours: 25 h Self-study: 5 h


4. Point work (women) G, E Total hours: 30 h Contact hours: 25 h Self-study: 5 h


25



6. Strength training

(men) G, E Total hours: 30 h




Successful completion of module M1




None. The awarding of CPs is contingent on regular participation in the teaching events Two partial module examinations:

− For everyone: Classical Technique Training (90-minute practical examination)

− For women: Pointe Work (15-minute practical examination)

− For men: Men’s Training (15-minute practical examination)

The partial module examinations in classical training and either pointe work or men’s training are weighted

2:1 when forming the module grade.

7 Module frequency

Annual

8 Start

Winter semester


Second year

10 Type of module

Compulsory module


26

Contemporary Dance II


M8

Total hours: 510 h


Self-study: 186 h

17 Two semesters


Building on the basics acquired in M2, students have refined their dance technique, expanded their range of movement and increased their interpretive capacities. They have learned to appreciate their creative potential and can develop and vary movement material independently.

2 Content

1. Contemporary Dance Students gain more in-depth knowledge of the material learned in module M2.1 while movement sequences

and combinations become more complex. Particular emphasis is placed on refining dance technique as well

as the interpretation and configuration of prescribed movement material. Familiarity with other dance forms

expands students’ understanding of movement and dance.

2. Improvisation

Building on the basics of improvisation acquired in M2.3, students expand their skills and range of

possibilities in performances, research or the development of movement material in choreographic

processes. Students explore the use of voice, sound and language, look at texts or gestures, or try out

different spaces, unusual environments and site-specific locations outside of dance studios or theatres.


Using the basic knowledge gathered in the module M2.4, students’ movement vocabulary is expanded by

acrobatic elements such as lifts or catching jumps, their sensitivity for duo or group work is refined, and they

are taught how to observe and appreciate on several levels at the same time.

3 Teachingevents




G, B Total hours: 330 h














− Contemporary Technique Training (90-minute practical examination)

− Improvisation (15-min practical examination)

The partial module examinations Contemporary Technique Training and Improvisation are weighted 2:1

when forming the module grade.

27

7 Module frequency

Annual

8 Start

Winter semester


Second year

10 Type of module

Compulsory module


28

Folklore II


M9

Total hours: 120 h

Contact hours: 66 h

Self-study: 54 h

4 Two semesters


Students have knowledge of steps from the Spanish cultural diaspora and are able to shape the material.

2 Content

Students learn dances with castanets, typical step material from Spain and Mexico as well as the basics of flamenco with its special foot technique – zapateado – and polyrhythmic movements. Choreography is developed in which students contribute their own material based on the material they have learned in the module.

3 Teachingevents



1. International Folklore









Practical exam (60 minutes)

7 Module frequency

Annual

8 Start

Winter semester


Second year

10 Type of module

Compulsory module


29

The Body II


M10

Total hours: 120 h

Contact hours: 84 h

Self-study: 36 h

4 Two semesters


Students have refined their perception of the body and gained comprehensive experience of individual body-awareness methods. They are able to apply knowledge of the body (embodied knowledge) in their everyday training as well as movement research.

2 Content


Expansion and more in-depth knowledge of the material learned in M4.2.

2. Movement Studies

In order to expand the experience gathered in module M4.3 as well as learn new approaches to movement,

students choose from a range of regular courses in different movement techniques and methods (yoga,

gyrokinesis, pilates, tai chi, etc.) or from workshops that form part of the MSBL/KIT or THE ARTIST’S BODY

projects.

3 Teachingevents




G, E Total hours: 90 h Contact hours: 60 h Self-study: 30 h


2. Movement Studies G, B Total hours: 30 h Contact hours: 24 h Self-study: 6 h








7 Module frequency

Annual

8 Start

Winter semester


Second year

10 Type of module

Compulsory module


30

Theory II


M11

Total hours: 210 h


Self-study: 93 h

7 Two semesters


Students master dance-related and non-dance related musical forms, have a basic range of techniques for academic work and are aware of the key developments in dance from the 20th century up to the present day.

2 Content

1. Music Theory Specific to Dance

The focus is on musical forms. Dance-related and non-dance forms are developed, analysed and translated

into movement, at the same time taking the dance historical context into account.

2. Dance History

The focus is on the various manifestations of dance since 1900 with a particular emphasis on the social and

aesthetic upheavals of the 20th century as reflected in modern and post-modern dance, contemporary dance,

ballet, dance theatre and performance. Social and philosophical questions, research technique issues and

adopting a critical approach to the use of historical material form the background to the seminar.


Continuation of M5.3

4. Video Examples


Themes: expressionist dance, Ballets Russes, modern dance, pre-postmodern dance, post-modern dance,

dance theatre and concept dance.

5. Academic Work

The basic techniques for academic work are taught. Students create and classify academic texts as well as

literary and Internet research. They tackle self-selected issues in a scientific manner and develop a close

relationship with the subject. Students are encouraged to work with their own themes alongside existing

research.

3 Teachingevents



1. Music Theory

Specific to Dance



2. Dance History B Total hours: 60 h Contact hours: 25 h Self-study: 35 h


3. Dance-Video-Film-

New Media



4. Video Examples G Total hours: 15 h Self-study: 15 h


5. Academic Work B Total hours: 15 h Contact hours: 12 h Self-study: 3 h


31






Three partial module examinations:

− Dance-specific Music Theory (written paper, 60 minutes)

− Dance-specific Music Theory (oral examination, 60 minutes)

− Dance History (written paper, 60 minutes)

The written and oral partial examinations are weighted 1:2 when forming the grade for the Dance-specific

Music Theory module. The Dance History and Dance-specific Music Theory grades are weighted 1:1.

The dance history presentation can be given in this module provided the relevant agreement has been

made with the head of teaching for seminar M11.2. The mark then used in forming the grade for module

M17.

7 Module frequency

Annual

8 Start

Winter semester


Second year

10 Type of module

Compulsory module


32

Projects II


M12

Total hours: 270 h


Self-study: 40 h

9 Two semesters


Students gain additional experience of movement research in choreographic and process-oriented projects with different guest lecturers, learn new forms of choreographic practice and are increasingly able to adapt themselves quickly and flexibly to different ways of working and complex demands. Students accumulate more stage experience in several performance series.

2 Content


The work with different teachers in module M6.1 is intensified. Interdisciplinary projects as well as joint

workshops and seminars with students from other fields and universities as part of the Hessian Theatre

Academy project give students the opportunity to encounter different artistic and presentational forms as well

as alternative opinions and interpretations of the material seen, heard or experienced. Co-operation is tested

and knowledge exchanged.

2. Performances Students can use the experience they have gathered developing technique and creativity with concomitant

awareness of the body on the one hand, and combining theory and practice in project work and

interdisciplinary processes on the other, in numerous performances on stage or at other venues, at the

same time expanding their artistic skills and qualities as performers in very different choreographies and

styles.

3 Teachingevents



1. Artistic & Process-

oriented Projects











7 Module frequency

Annual

8 Start

Winter semester


Second year

10 Type of module

Compulsory module

33


34

Third year of study

In their third year of study, students have the opportunity to focus on either classical dance (Klassicher Tanz / KT) or contemporary dance Zeitgenössischer Tanz / ZT). The focus is reflected in modules M13, M14 and M15. Students must inform the training management department (Ausbildungsdirektion) of their choice of focus in writing by the end of the fourth-semester.

Focus on Classical Dance_KT

Classical Dance III


M13_KT

Total hours: 630 h


Self-study: 200 h

21 Two semesters


Students have more advanced, individual possibilities for movement co-ordination, movement quality and artistic expression. They have very good stamina and poise on half pointe in big poses and master big jumps in movement combinations, including in fast-paced sequences.

2 Content

1. Training Further development of the elements learned in the module M7.1 and improvement of the movement co-

ordination with emphasis on the development of students’ individual skills and their ability to shape movement

material artistically. Students learn several tours in big poses with different preparations as well as an

expanded form of adagio. Battu technique becomes more complex while big jumps are added into movement

combinations and paces quicken. Particular emphasis is placed on movement quality and musicality.

2. Technique & Repertoire Lab

The Technique & Repertoire Lab gives students an opportunity to conduct detailed research into specific

elements of the classical and neo-classical dance vocabulary, and to look at different movement qualities and

compositional concepts as well as the scope for applying different repertoires.

3. Pas de Deux

Elements of classical and neo-classical partnering such as supported poses, balance and off-balance, tours

and lifts are taught while co-ordination and the demands for co-operation skills become more complex.

Students work on the classical and neo-classical repertoire (Petipa, Balanchine, Forsythe, etc.).

4. Variation

Students learn the stylistic features of the classical and neo-classical repertoire. Special attention is paid to

the virtuoso execution of movement.


Further development of the content of module M7.4, e.g. grand sissonne ouverte in all directions and poses

with progression, grand fouetté en tournant, grand tour dehors/dedans, combinations with turns on diagonals

and in a circle with complex movement transitions as well as jumps on one leg and other elements of the

technique.

6. Men’s Training

The course builds on the content of the module M7.5. The technique for tours in big poses and multiple

pirouettes is improved further, the battu technique refined and the range of big jumps expanded with

emphasis on movement volumes and attacks.

35

3 Teachingevents



1. Training



2. Technik & Repertoire Lab



3. Pas de deux G Total hours: 30 h Contact hours: 25 h Self-study: 5 h


4. Variation G, E Total hours: 30 h Contact hours: 25 h Self-study: 5 h




6. Men’s Training G Total hours: 90 h Contact hours: 50 h Self-study: 40 h







Three partial module examinations:

− For everyone: Classical Technique Training (60-minute practical examination)

− For everyone: Solo Variation (5-minute practical examination)

− For women: Pointe Work (15-minute practical examination)

− For men: Men’s Training (15-minute practical examination)

The partial module examinations Classical Technique Training, Solo Variation and Pointe Work are

weighted 2:1:1 in forming the module grade.

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module

Compulsory elective module

11 Module manager Prof. Andrea Tallis

36

Contemporary Dance III


M14_KT

Total hours: 330 h


Self-study: 126 h

11 Two semesters


Students have refined their dance technique and are able to respond creatively in their interpretation of different choreographic demands in varying styles. They can develop movement material, work on it independently, transpose it into other forms and arrange it while at the same time taking compositional issues into account.

2 Content

1. Training Refining of the skills learned in the module M8.1 and further development of these in relation to movement co-

ordination, the adoption and execution of movement material, the differentiation of movement qualities (with

emphasis on the development of individual interpretation) and artistic composition.

2. Composition Students learn and explore different concepts concerning the compositional arrangement of themes and

material. They look at concept development, movement research and issues relating to content, presentational

and representational forms, and social references.

3. Digital Tools & Materials

Examples are used to give students an introduction to the work with interactive digital media as well as

methods for using other materials.

3 Teachingevents



1. Training



2. Composition G Total hours: 60 h Contact hours: 36 h Self-study: 24 h










- Contemporary technique training (60-minute practical examination)

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module


37


Individual Work


M15_KT

Total hours: 120 h

Contact hours: 22 h

Self-study: 98 h

4 Two semesters


Students are able to conduct movement research on a self-selected theme. They can develop and implement concepts as well as develop movement material and arrange them taking artistic, compositional and choreographic aspects into account.

2 Content

Individual work is the independent formulation, development and implementation of projects. Students discover themes and look at movement research and choreographic considerations. They develop and shape material, process experience and explore working methods and forms of presentation. Students present their interim results in a colloquium during the work process and receive and give each other feedback. Individual work can also be carried out as an interdisciplinary project in co-operation with students from other departments and universities (including in association with the Hessian Theatre Academy).

3 Teachingevents



1. Individual Work

self-organised project work

Total hours: 90 h Contact hours: 2 h Self-study: 88 h

3

2. Colloquium B Total hours: 30 h Contact hours: 20 h Self-study: 10 h



Enrolment on the Bachelor Degree in Dance




- Presentation of the individual work in performance series or in informal studio presentations

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module



38

Focus on Contemporary Dance_ZT

Classical Dance III


M13_ZT

Total hours: 420 h


Self-study: 110 h

14 Two semesters


Further development of the material learned in M7. Students are able to use their skills while at the same time taking the artistic interpretation of the material into account.

2 Content

1. Training

Further development of the elements learned in M7.1 and improvement of movement co-ordination with

emphasis on the development of students’ individual skills and their ability to arrange material artistically.

Students learn how to perform multiple tours in big poses with various preparations as well as an expanded

form of adagio. Battu technique becomes more complex, big jumps are added into movement combinations

and paces quicken. Particular attention is paid to movement quality and musicality.

2. Pas de Deux (men)

Elements of classical and neo-classical partnering such as supported poses, balance and off-balance, tours,

lifts and the co-ordination and co-operation skills of the two dancers become more complex. The classical

and neo-classical repertoire (including Petipa, Balanchine and Forsythe) is used.

3. Strength Training (women)

Women receive specific strength training to prepare them for the demands of contemporary dance

partnering.

3 Teachingevents



1. Training



2. Pas de deux (men) G Total hours: 30 h Contact hours: 25 h Self-study: 5 h


3. Strength training

(women) G, E Total hours: 30 h








− Classical Technique Training (60-minute practical examination)

7 Module frequency

Annual

8 Start

Winter semester

39


Third year

10 Type of module



40

Contemporary Dance III


M14_ZT

Total hours: 510 h


Self-study: 172 h

17 Two semesters


Students have refined their dance technique and are able to respond creatively in their interpretation of different choreographic demands in varying styles. They can develop movement material, work on it independently, transpose it into other forms and arrange it while at the same time taking compositional issues into account. They have also gained experience of contemporary dance partnering, applying digital tools, playing with drama and using the voice

2 Content

1. Training

Further development of the skills learned in modules M8.1 and M8.2 relating to co-ordination, the adoption and

implementation of movement material, the differentiation of movement qualities with emphasis on the

development of individual interpretation and the artistic arrangement of the material.

2. Composition

Students learn and explore different concepts concerning the compositional arrangement of themes and

material. The look at concept development, movement research and issues relating to content, presentational

and representational forms, and social references.


Examples are used to give students an introduction to the work with interactive digital media as well as

methods for using other materials.

4. Improvisation, Partnering, Research, Performance

Continuation, consolidation and more in-depth knowledge of the material learned in modules M8.2, M8.3 and

M8.4 at the same time integrating scores and elements of contemporary partnering.

5. Dramatic Play

Students are given an introduction into theatrical working methods and gain experience with movement

techniques that allow for dramatic play.

6. Vocal Composition for Dancers

Students familiarise themselves with the vocal apparatus and the formation of voice and speech.

3 Teachingevents



1. Training



2. Composition G, B Total hours: 60 h Contact hours: 36 h Self-study: 24 h





4. Improvisation,

Partnering,

Research,

Performance

G, B Total hours: 120 h Contact hours: 80 h Self-study: 40 h


41

5. Dramatic Play B Total hours: 30 h Contact hours: 24 h Self-study: 6 h


6. Vocal Composition

for dancers









− Contemporary Technique Training (60-minute practical examination)

− Improvisation (15-min practical examination)

The partial module examinations Contemporary Technique Training and Improvisation are weighted 2:1 in

forming the module grade.

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module



42

Individual Work


M15_ZT

Total hours: 150 h

Contact hours: 22 h

Self-study: 128 h

5 Two semesters


Students are able to conduct movement research on a self-selected theme. They can develop and implement concepts as well as develop movement material and arrange it while at the same time taking artistic, compositional and choreographic aspects into account.

2 Content

Individual work is the independent formulation, development and implementation of projects. Students must discover themes and deal with movement research and choreographic considerations. They develop and shape material, process experience and explore working methods and forms of presentation. Students must present interim results in a colloquium during the work process and receive and give each other feedback. Individual work can also be carried out as an interdisciplinary project in co-operation with students from other departments and universities (including in association with the Hessian Theatre Academy).

3 Teachingevents



1. Individual Work

self-organised project work

Total hours: 120 h Contact hours: 2 h Self-study: 118 h

4

2. Colloquium B Total hours: 30 h Contact hours: 20 h Self-study: 10 h



Enrolment on the Bachelor Degree in Dance




- Presentation of the individual work in performance series or in informal studio presentations

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module



43

Joint modules for all students regardless of the choice of focus

The Body III


M16

Total hours: 120 h

Contact hours: 84 h

Self-study: 36 h

4 Two semesters


Students have acquired basic knowledge of various body-awareness methods and gained a deeper insight into individual methods.

2 Content 1. Perception of the Body

Expansion and more in-depth study of the content from M10.1

2. Movement Studies

Expansion and more in-depth study of the content from M10.2 (e.g. workshops as part of MSBL/KIT and

THE ARTIST’S BODY)

3 Teachingevents



1. Perception of the

Body

G, E Total hours: 90 h Contact hours: 60 h Self-study: 30 h


2. Movement Studies B Total hours: 30 h Contact hours: 24 h Self-study: 6 h



Successful completion of the module M10





7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module

Compulsory module


44

Theory III


M17

Total hours: 270 h


Self-study: 140 h

9 Two semesters


Students have broadened their knowledge of dance history and gain their first experience of handling sources in a critical fashion and developing research questions independently. They have basic knowledge of dance dissemination and have learned about self-management, theatre law, contracts, insurance issues and other organisational matters.

2 Content 1. Dance History

Pre-1900 dance concepts are compared using video samples, images and historical, text-based sources.

The journey takes in Romanticism, Noverre’s ballet reforms, Louis XIV, the beginnings of ballet and dance in

the Middle Ages. The knowledge acquired in M11.2 is used for critical investigations and working creatively

with historical sources. Students ultimately work on their own themes, inspired by dance history, with an eye

on the upcoming Bachelor’s thesis.



3. Dance Dissemination

Students become familiar with fundamental issues relating to the dissemination of dance as well as

principles for planning and developing dance classes.

4. Theory & Aesthetic of Dance and TheatreMost of the seminar is made up of the Hessian Theatre

Academy’s lecture series dealing with cultural science issues relating to acting, directing, dance and

choreography.

5. Management

Students gain experience in self-management, learn how to develop their own organisational structures and

become familiar with areas such as theatre law, contracts, insurance, social insurance for artists, taxes and

funding applications.

3 Teachingevents



1. Dance History






3. Dance Dissemination B Total hours: 60 h Contact hours: 30 h Self-study: 30 h


4. Theory & Aesthetic of Dance and Theatre



5. Management G, B Total hours: 30 h Contact hours: 20 h Self-study: 10 h


45






Dance History: 15-20 minute presentation

The Dance History presentation can be given in the second year of study provided the relevant agreement

has been made with the head of teaching in seminar M11.2. In this case, the mark for the presentation is

used to form the overall grade for module M17.

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module

Compulsory module


46

Projects III


M18

Total hours: 330 h


Self-study: 45 h

11 Two semesters


Working with guest choreographers and lecturers, students have gained further experience of choreographic working methods and are increasingly able to adapt themselves quickly to a broad range of demands as well as play a part in projects. They have acquired further stage experience working with various styles and refined their stage presence.

2 Content

1. Dance & Stage

Students gain an insight into areas such as light or costume design, or make-up.

2. Artistic & Process-oriented Projects

Working with guest lecturers, choreographers and dancers from theatres and the independent scene,

students have the possibility to familiarise themselves with the latest developments in the professional dance

world. They gain experience in relevant new dance techniques and different artistic practices, including in

workshops staged in co-operation with the Hessian Theatre Academy.

3. Performances

Students can use the experience gained in different projects on stage or in other performance locations in

various performance series throughout the year. This also gives them an opportunity to improve their

performance skills and qualities as performers in very different choreographies and styles.

3 Teachingevents



1. Dance & Stage

B Total hours: 30 h













Performances: artistic achievement in all performances during the academic year

7 Module frequency

Annual

8 Start

Winter semester


Third year

10 Type of module

Compulsory module

47


48

Fourth year of study

The structure of modules M19 – M22 in the fourth year of study is fundamentally different to that of modules M1 –

M18 in the first three years of study. Modules M1 – M18 are completed with the passing of exams in the practical

subjects Classical Dance (years one to three), Contemporary Dance (years one to three) and Folklore (first and

second years), the theory subjects Anatomy (first year), Music Theory Specific to Dance (years one and two) and

Dance History (years two and three) as well as with assessments of dance and performance achievements (third

year).

Year four bridges the gap between university and the professional dance world and makes different demands on

both students and tutors. Having gathered specific knowledge on either classical or contemporary dance in year

three, students can now focus more on the individual paths they wish to take in the professional dance world. They

are supported in this by their own choice of tutors and are coached intensively. Year four of study focuses on

students’ individual interests and skills and offers more scope for choice as well as different formats so that

students gain practical experience while at the same time leaving enough room for questions and individual

research. Students are required to show more of their own initiative and independence – particularly in relation to

concept development, planning, research, communication, analysis, reflection or teaching/dissemination and

helping to shape modules M19 to M22 – and they are supported in this. Students learn to take responsibility for

themselves and their decisions and are tasked with documenting their experiences and student accomplishments,

including the digital archiving of documents on the university intranet.

Dance Practice


M19

Total hours: 690 h


Self-study: 265 h

23 Two semesters


Students have a broader knowledge of movement. This includes comprehensive experience of different

dance styles and body perception methods, solid technique in various dance styles and refined technique

skills in particular areas. They can handle dance technique demands confidently, convey movement material

and interpret it individually, and conduct movement research.

2 Content 1. Training Training is a key aspect of everyday life as a professional dancer, is the best way to prepare dancers for

specific demands in dance practice and is concerned with rehearsals, movement research, performances or

teaching. Students are free to choose between classical or contemporary training, or training in another

movement technique, depending on their work situation.

2. Embodied Knowledge

Another relevant aspect of dance practice and artistic training is “embodied knowledge” – experience-based

knowledge of the human body and different body systems that in turn contributes to knowledge of, and

experience with, different movement methods and practices, the aim being to refine perception of the body

and increase body awareness. Students are free to choose their preferred movement methods as well as

their preferred way of acquiring more in-depth knowledge of them.

3. Knowledge in & about movement

Students expand their range of movement and their knowledge in and about movement via movement

research in workshops. Students are free to choose workshops from other cross-discipline teaching events

either at the university itself or made use of offers for professional dancers made by other

institutions/organisations.

4. Laboratory The laboratory is an exchange forum students organise themselves. Students share experiences of

internships, projects or workshops.

49

3 Teachingevents



1. Training



14 Participation in training sessions and the writing of two different training descriptions (one per semester) on a session taken in the course of the fourth year of study (2,000 characters incl. spaces) as well as the digital archiving of the documents on the university intranet.

2. Embodied Knowledge

G, B Total hours: 60 h Contact hours: 20 h Self-study: 40 h

2 Participation in body-perception classes, workshops or seminars and the writing of a report about experiences with a specific body awareness method (4,000 characters incl. spaces) as well digitally archiving the document on the university intranet.

3. Knowledge in & about movement


6 Participation in movement research sessions and/or classes, workshops or seminars, drawing up of a list of these events and archiving them digitally on the university intranet.

4. Laboratorium Total hours: 30 h Self-study: 30 h

1


Successful completion of either modules M13_KT and M14_KT or M13_ZT and M14_ZT




None. CPs are awarded for the production of non-graded work.

7 Module frequency

Annual

8 Start

Winter semester


Fourth year

10 Type of module

Compulsory module


50

Vocational Orientation


M20

Total hours: 660 h

Contact hours: 10 h

Self-study: 650 h

22 Two semesters


As a result of participation in performances and internships, students have gained insights into the vocational

dance world as well as into work processes and structures at theatres and/or on the independent dance

scene. They are able to plan and carry out projects independently and analyse dance, theatre and musical

theatre performances.

2 Content 1. Internship Students complete internships in theatres or on the independence dance scene in order to prepare them for

the transition to professional dance practice. They plan and organise the internships themselves, prepare

any necessary content in advance and document their experience in a written report.

2. Auditions Students provide evidence of their participation in at least four auditions each. If one of the first auditions

leads to a job or run-of-show contract, students can submit an application to the head of training asking to be

released from any remaining auditions.

3. Self-management In order to prepare students for organisation tasks in the professional dance world, they are required to

produce, on their own:

− 2 semester plans that are to be handed in at the start of the winter and summer semesters

− Plans for those weeks in which they are not involved in internships or productions.

4. Performance reports Students have to analyse eight performances (5 from dance, 1 from theatre, 1 from music theatre and 1

from the field of performance) in written form.

3 Teachingevents



1. Internship

internship Total hours: 450 h 15 Writing of a post-

internship report and publishing it digitally on the university intranet.

2. Auditions B, four auditions

Total hours: 60 h

2 Independent organisation and documentation of the auditions.

3. Self-management B Total hours: 90 h Contact hours: 10 h Self-study: 80 h

3 Independent compilation of semester and weekly plans as well as documenting the plans and archiving them digitally on the university intranet.

4. Performance reports Total hours: 60 h Self-study: 60 h

2 Writing of eight performance reports and archiving them digitally (and independently) on the intranet.


Enrolment on the Bachelor’s Degree in Dance

51




None. CPs are awarded for the production of non-graded work.

7 Module frequency

Annual

8 Start

Winter semester


Fourth year

10 Type of module

Compulsory module


52

Bachelor’s Thesis


M21

Total hours: 240 h

Contact hours: 4 h

Self-study: 236 h

8 Two semesters


Students are able to conduct research projects independently, select and discuss an issue specific to dance,

draw their own conclusions and substantiate them in a differentiated fashion, and present the entire work

process in written form.

2 Content 1. Bachelor’s thesis

Students have to carry out a research project from one of three areas of theory: anatomy, music theory or

dance history. In addition to the written work required, students are also allowed to document their research

work in another presentational form, e.g. an oral presentation or lecture performance, a DVD/video

production or a website. In such cases, the amount of written work required reduces by a maximum of 30%.

3 Teachingevents



1. Bachelor’s Thesis

- Total hours: 240 h


8


Successful completion of the modules M13-M18




Bachelor’s thesis

7 Module frequency

Annual

8 Start

Winter semester


Fourth year

10 Type of module

Compulsory module


53

Projects IV


M22

Total hours: 210 h


Self-study: 70 h

7 Two semesters


Students have gained experience in choreographic and process-oriented projects and have a wide range of

stage experience.

2 Content 1. Artistic & Process-oriented Projects

Students acquire artistic experience in internal and extramural projects.

2. Performances Students take part in public presentations of choreographies, performances, pieces or installations shown on

stages or in site-specific locations.

3 Teachingevents







2 Participation in performances






None. CPs are awarded for regular participation in workshops, projects and performances.

7 Module frequency

Annual

8 Start

Winter semester


Fourth year

10 Type of module

Compulsory module


54

Appendix 2: Course plan

55

Appendix 3: Examination plan

Module

No.

Module title Admission requirements for

the module examination

Type, duration / processing time / scope of

examination and weighting (for partial module

examinations)

Grading Part of overall

grade (share)

M1_a Classical Dance I None Two partial module exams:

For everyone: Classical Technique Training (90 min. practical exam)

For women: Pointe Work (15 min, practical exam)

For men: Men’s Training (15 min. practical exam)

No No

M2_a Contemporary Dance I None Two partial module exams:

Contemporary Technique Training: 90 min. practical exam

Improvisation: 20 min. practical exam

No No

M3_a

Folklore I None Practical exam (60 minutes)

No No

M4

Body I None Two partial module exams:

Anatomy: oral presentation in the first semester, 30–40 minutes

Anatomy: written paper in the second semester, 60 minutes

The partial examinations are weighted 1:1 when calculating

the module grade.

Yes 1x

56

M5

Theory I None Dance-Specific Music Theory in the first semester, 60 minutes Yes 1x

M7

Classical Dance II None Two partial module exams:


For women: Pointe Work (15 min, practical exam)


The partial examinations Classical Training and either Pointe

Work or Men’s Training are weighted 2:1 when calculating the

module grade.

Yes 1x

M8

Contemporary Dance II None Two partial module exams:

Contemporary Technique Training: 90 min. practical exam

Improvisation: 15 min. practical exam

The partial examinations Contemporary Training and

Improvisation are weighted 2:1 when calculating the module

grade.

Yes 1x

M9 Folklore II None Practical exam (60 minutes)

Yes 2x

M11 Theory II None Three partial module exams:

Dance-Specific Music Theory: Written Paper, 60 minutes

Dance-Specific Music Theory: Oral Exam, 60 minutes

Dance History: Written Paper, 60 minutes

Yes 1x

57

The partial examinations Written Paper and Oral Exam are weighted 1:2 when calculating the Dance-Specific Music Theory grade. The grades from Dance History and Dance-Specific Music Theory are weighted 1:1.

An agreement can be made with the directors of seminar M11.2 to give the Oral Presentation in Dance History in this module. The grade is used in module M17.

M13_KT Classical Dance III None Three partial module exams:


For everyone: Solo Variation (5 min. practical exam)

For women: Pointe Work (15 min. practical exam)


The partial examinations Classical Technique Training, Solo

Variation and either Pointe Work or Men’s training are

weighted 2:1:1 when calculating the module grade.

Yes 4x

M14_KT Contemporary Dance III None Contemporary Technique Training (60 min. practical exam)

Yes 2x

M15_KT Individual Work None Presentation of the individual work in performances or in informal studio presentations

Yes 1x

M13_ZT Classical Dance III None Classical Technique Training (60 min. practical exam)

Yes 2x

M14_ZT Contemporary Dance III None Two partial module exams:

Contemporary Technique Training (60 min. practical exam)

Improvisation (15 min. practical exam)

Yes 4x

58

The partial exams Contemporary Technique Training and

Improvisation are weighted 2:1 when calculating the module

grade.

M15_ZT Individual Work None Presentation of the individual work in performances or in informal studio presentations

Yes 2x

M17 Theory III None Dance History: Oral Presentation, 15-20 minutes

Yes 1x

M18 Projects III None Performances: artistic achievement during all performances in the academic year

Yes 3x

M21 Bachelor’s Thesis None Bachelor’s Thesis

4x

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