€¦ · Web viewModule Study Guide. Academic Year 2018-2019. Commercial Techniques 3. Location:...

Module Study GuideAcademic Year 2018-2019

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

Module Code: MU60051SLevel: 6Credits: 20

Version No 01 © UWL 2016

Form I – Module Study Guide template – April 2016 Page 1 of 28

Table of Contents

Commercial Techniques 3.........................................................................................11. Module Leader, Teaching Team and Module Administrator Details......................32. Key Contacts..........................................................................................................43. Further Information................................................................................................5Overview and Content..................................................................................................64. Welcome to the Module.........................................................................................65. Timetable/Venue/Rooms.......................................................................................66. Aims of the Module................................................................................................67. Learning Outcomes................................................................................................78. Content of the Module............................................................................................89. Learning Resources...............................................................................................810. Reading List...........................................................................................................9Assessment and Feedback........................................................................................1011. Assessment: General Information.......................................................................1012. Details of Assessment.........................................................................................10

Assessment 1..........................................................................................................10Assessment 2..........................................................................................................12

13. Summative Assessment Grid...............................................................................1514. External Examiner(s)...........................................................................................1615. Statement on Plagiarism......................................................................................1616. Evaluation of the Module.....................................................................................1717. Personal Development Plan (PDP)......................................................................1718. If You Have an Issue............................................................................................1719. Drop-in Support Service.......................................................................................18

20. Guide to Learning Sessions.................................................................................19Session number: 1...................................................................................................19Session number: 2...................................................................................................19Session number: 3..................................................................................................20Session number: 4...................................................................................................20Session number: 5...................................................................................................21Session number: 6...................................................................................................21Session number: 7..................................................................................................22Session number: 8...................................................................................................22Session number: 9...................................................................................................23


Session number: 10.................................................................................................23Session number: 11................................................................................................23Session number: 12.................................................................................................24Session number: 13.................................................................................................24Session number: 14.................................................................................................24


1. Module Leader, Teaching Team and Module Administrator Details

Module Leader Joshua Pilmore

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 Cassia Rudge

Job title Academic Administrator


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 David Henson, and can be contacted at [email protected]

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





3. Further Information

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:

Pratical Exam 70%

Audition 30%

Due Dates:

Assessments for this module are due on the following dates: Week 14 Please see time-plan


Overview and Content4. Welcome to the Module

Welcome to the Commercial Techniques 3 module. Over the next semester you will learn the methodologies applied by various Commercial Techniques choreographers, the contemporary techniques used and the study of various Commercial Techniques pieces. Most of the important information you 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 and achieve the learning outcomes.

5. Timetable/Venue/Rooms

Please see timetable and time-plan

6. Aims of the Module

Aims of the Module

• o engage the students in a professional working environment to create two pieces of choreography ;

• To embed in the student’s dance practice a professional working knowledge and clear understanding of the use of choreographic devices within a creative process;

• To ensure students are able to recognise and discuss commercial choreographic styles;

• Students will be able to use a variety of techniques including Ballet and Contemporary dance within the choreographic commercial process

• To increase the use of the creative imagination, physical skills, and intellectual judgement while in addition developing performance skills further; and

• To display innovative approaches and openness to experimentation in realising creation.


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7. Learning Outcomes

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

Knowledge and understanding

LO6 1 Demonstrate a comprehensive awareness and understanding of the conceptual and cultural issues relating to the production of commercial dance and the choreographic processes used;

LO6 2 Professionally replicate and present a range of key components of commercial dance performance such as dynamic, musicality, individuality with professional performance discipline;

Intellectual (thinking)

LO6 3 Critically evaluate form, content and process of the production of commercial dance and to critically analyse the content and process of pieces of commercial dance;

Subject practical skills

LO6 4 Practically demonstrate the ability to produce a commercial piece using creative, technical and collaborative skills;

LO6 5 Demonstrate a level of professionalism to their work by attending all lectures and practical sessions. (Failure to do so will result in breach of health and safety both to the student and to the group and as such will be reflected in the student’s final assessment);

Key transferable skills

LO6 6 Work professionally and effectively in a team;

LO6 7 Solve problems with choreography and the use of choreographicdevices

LO6 8 Demonstrate appropriate levels of organisational skill in terms of planning, time management and problem solving.

LO6 9 Communicate effectively.


8. Content of the Module

This module will explore the technique and vocabulary of movement identifying and analysing the socio-cultural issues and techniques developed for choreography within the commercial genre. The students will learn and perform sequences of movement choreographed by the lecturer paired with group discussion and input of ideas. They will engage creatively with the material and explore movement principles professionally as an individual and in groups.

Students will study with two primary dance teachers during the course with visits from others to focus on specific aspects of choreography, commercial history and technique. Each teacher will bring to the classes his or her particular knowledge and experience of dance training and performance. Students will engage in debate and discussion around Commercial Techniques theoretical issues and choreographic devices. They will replicate the movement of specific commercial techniques in the creation of their own material.

Students will learn from two primary tutors with visiting practitioners. Students will explore how to use and apply choreographic devices and the use of dance and text within workshops/seminars and lectures guided by the tutor.

All students will be expected to use self directed time to investigate, create and explore the creative self before they begin assignment work.

All students will be encouraged to reflect and evaluate how they apply their knowledge and understanding of dance and choreography within the creation of a Commercial Techniques 3 piece.

Lectures and seminars/workshops will reinforce the need for 'audience feedback' to enable the creator to understand how the Commercial Techniques 3 piece that the student is creating is being received by the audience. When it is appropriate, students will be required to obtain audience feedback to enable them to see their work more objectively.

9. Learning Resources

The majority of the module will be delivered through lectures with regular workshop/practical sessions.

Students will identify sub genres of commercial dance and draw conclusions from the historic elements of the socio- political and cultural context in which it has been created. Students will engage creatively with the material and demonstrate their understanding of the movement associated with these sub genres learnt in Commercial Techniques 3 and physical theatre.

Each tutor will bring to the classes his or her particular knowledge and experience of contemporary Commercial Techniques 3 training and performance. This will demonstrate the importance of physical training and adaptability within the dance industry and the role that dance plays in commenting and reflecting on contemporary culture.


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:

Fitzgerald.T (2008) Hip Hop and Street Dance, 1st edition – Heinemann Library

Essential texts:

Sunderland.M & Pickering.K (2008) Choreographing the stage musical, 2nd Edition – Players Press

Bloom.K & Vlastnik.F (2010) 101 Greatest Shows of All Time, Illustrated and revised – Black Dog and Leventhal Publishers

Other relevant reading:

Tomko.L.J (1999) Dancing Class, Gender, Ethnicity and Social Divides in American Dancer 1890-1920, United States of America – Indiana University

Viewing List:

• Beyonce ‘Formation’ Tour

• Royal Family Megacrew

• Parris Goebel

• Centre Stage - Turn It Up

• Make it happen

• Step Up : The Streets

• Sticky and Sweet Tour

• Showgirl : Homecoming

• Velvet Rope Tour

• Michael Jackson : HIStory


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. Teaching will be delivered through weekly lectures, practical workshops and considerable use will be made of recorded resources. These will be supported by group seminars in which students will discuss specific issues relating to each topic. Handouts will be provided in some of the lectures and there will be background reading to do some weeks.

The work will be assessed using a variety of methods including:

• Tutor marking and observation;

• Double marking; and

• External verification.

Individual progress in class will be continuously monitored and fed back to students by the module tutor, with input from visiting tutors. Assessment 1 will be second marked by external practitioner Chris Manoe (Director at Dancers Inc) who will offer students individual feedback to help achieve their personal goals. Assessment 2 will test the student’s ability to perform two varying pieces of commercial dance. This assessment will be performed in front of a live audience.

12. Details of Assessment

Assessment 1

Assessment task: Audition

Weighting: 30%

Date/time/method of submission: Week 7 (Dependent on Industry partners’ schedule)

Word count or equivalent: 30 minute class4 minute routine demonstration1 minute freestyle

Assessment criteria:


Section

B

The students will demonstrate readiness to work and run through a mock audition based on the 3 criteria (Class/Short Routine/Freestyle). Each area will be marked as 10% of the overall grade. Students will be assessed as to how they prepare and perform throughout the selection process and whether they would be selected for this job opportunity, with reasons for the auditioners’ decision given.

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, 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 (Referal)


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 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 feedbackGrades 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: Group Commercial Techniques 3 Choreography ( live performance )

Weighting: 70%

Date/time/method of submission: End of term show (week13/14)

Word count or equivalent: Two 5 minute performances

Assessment criteria: At the start of the semester students will be given an overview of the completion of choreography to create a Commercial Techniques 3 piece.

The students will create a Commercial Techniques 3 live performance piece as a group using a variety of fused techniques agreed with the course tutor. The piece must be no shorter than seven minutes and no longer than ten minutes, using commercial methodologies as the primary source of innovation. The tutor will assess the development and progression of each student through practical exercises each week and the attendance of each student.

The creation of the Commercial Techniques 3 piece will demonstrate that the student understands the development of commercial techniques, the devices used in this piece of commercial choreography and the cultural context in which it has been created.


http://www.creativeacademy.org/

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, 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 (Referal) 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 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 feedbackGrades 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.

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


http://www.creativeacademy.org/

Audition 1-9 30 minutes

Week 7 40 30% 10 working days after semester end

2 Live Performances

1-9 5 minutes each

Week 13/14

40 70% 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 Course Leader

Institution Arts University Bournemouth

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

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.

Improvements made in response to student feedback

The Audition process is now lead by Dancers Inc founder Chris Manoe.One on one feedback is now available after the audition to provide tailor made goals/aims for each student.Each performance pieces will be choreographed by a different industry expert along with the students input.

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 commercial dance performances and choreographers. Students are encouraged to see live commercial dance performances where appropriate as well as researching and making note of things they see day to day. 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.



20. Guide to Learning Sessions

Session number: 1

Venue: The Creative Academy

Introduction to the module

Key concepts/issues: Introduction to the requisites of the module. Explanation of what is expected over the course of the module.

Delivery method: Seminar/Workshop

Formative/summative assessment opportunities: Audition and Live Performance

Essential reading for this session: N/A

Recommended reading for this session: Viewing three from the learning resources list from section 10

Independent study: N/A

Reference to resources www.youtube.com

Session number: 2


Basic Principles of Commercial Techniques 3

Key concepts/issues: What is Commercial Techniques 3?

What are the principle functions of Commercial Techniqes 3?




Recommended reading for this session: Fitzgerald.T (2008) Hip Hop and Street Dance, 1st edition – Heinemann Library


Reference to resources: http://www.abebooks.co.uk/Hip-Hop-Street-Dance-Jane-Bingham/15772376663/bd


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e

http://www.youtube.com/

Session number: 3


Concepts explored in Commercial Techniques 3

Key concepts/issues: What are some of the concepts/ issues raised in Commercial Techniques 3?







Session number: 4


Concepts explored in Commercial Techniques 3 (Continued)

Key concepts/issues: What are some of the concepts/issues raised in Commercial Techniques 3?








Session number: 5


Choreography

Key concepts/issues: Explore concepts of commercial choreography and fusion

Delivery method: Seminar Workshop



Recommended reading for this session: N/A


Reference to resources: N/A

Session number: 6


Music Concerts

Key concepts/issues: How had dance fused in popular music concerts

Delivery method: Seminar/Workshops


Essential reading for this session: View Beyonce, Janet Jackson, Missy Elliott, Madonna and Kylie Minogue live performances.



Reference to resources www.youtube.com


http://www.youtube.com/

Session number: 7


ASSIGNMENT 1

Key concepts/issues: Audition Process with external panel (Dancers Inc founder Chris Manoe)







Session number: 8


Choreographer swap (Stream 1 and 2 teachers swap to create new piece)

Key concepts/issues: Explore the relationship between contemporary choreographers and commercial dance

Delivery method: Seminar/Workshops

Formative/summative assessment opportunities: Live Performance






Session number: 9


MTV:

Key concepts/issues: How has MTV changed commercial dance


Formative/summative assessment opportunities: Live Performance

Essential reading for this session: Watch Music videos e.g. Madonna - Vogue, Beyoncé- Formation


Independent study: Rehearse routines

Reference to resources: www.youtube.com

Session number: 10


Choreography

Key concepts/issues: Rehearsals for live performance

Delivery method: Workshop

Formative/summative assessment opportunities: Live performance



Independent study: Rehearse live performance routines


Session number: 11


Choreography









Session number: 12


Choreography








Session number: 13


Choreography








Session number: 14


ASSIGNMENT 2 (LIVE PERFORMANCE)

Key concepts/issues: Performance to a live performance









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