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Module Study GuideAcademic Year 2018-2019

Commercial Techniques 1

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

Module Code: MU4FD14SLevel: 4Credits: 20

Version No 01 © UWL 2016

Form I – Module Study Guide template – April 2016 Page 1 of 34

Table of Contents

Section A Overview and Content

1 Welcome and Introduction to the Module

2 Timetable/Venue/Rooms

3 Aims of the Module

4 Learning Outcomes

5 Content of the Module

6 Learning Resources

Section B Assessment and Feedback

7 Assessment: General Information

8 Details of Assessment

9 Summative Assessment Grid

10 Statement on Plagiarism

11 Evaluation of the Module

12 Personal Development Plan (PDP)

Section C Module Course

13 Guide to Learning Sessions


1. Module Leader, Teaching Team and Module Administrator Details

Include the full details of Module Leader, Module Tutors, and Administrator

Module Leader Chelsie Innes

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 01753 875 400

Location The Creative Academy

Name George Kirkham

Job title The Creative Academy Manager


Phone 01753 875 400


Name Jagdev Khatkar

Job title Quality Assurance and Business Manager


Phone 01753 875 400


Administrator 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

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


Total Guided Learning Hours 200

Consisting of:

Teaching Contact Hours 42

Independent Study Hours 158

Placement Hours N/A

Assessment:Percentage of final marks assessed by:

Blog 30%

Continual Technical Assessment 40%

Performance 30%

Section

Overview and Content4. Welcome to the Module

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

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

5. Timetable/Venue/Rooms

Please see timetable and time-plan


A

6. Aims of the Module

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

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

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

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

7. Learning Outcomes

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

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

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

3. Successfully replicate commercial dance techniques;

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

5. Develop ability to communicate both physically and orally; and

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

Key Skills

Students will achieve a minimum level 2 key skills in:


* Communication

* Application of number

* Use of information technology

* Problem solving

* Working with others

* Improving own learning and performance

8. Content of the Module

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

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

9. Learning Resources

Students must purchase the core text, although one copy is available for reference purposes through the Creative Academy administration office. All additional texts,


viewing list and The Dancing Times are available through the Creative Academy office for reference or a free two week loan. Late returns incur a charge.

Core text:

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

Other Learning Resources (journals, databases, Websites):

Dance Today

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

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

* Email between staff and students;

* Course Information;

* Learning materials; and

* Access to the Internet for research.

10. Reading List

The reading list for your module is displayed above. 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.


Section

B

Assessment and Feedback11. Assessment: General Information

A variety of Assessment methods will be used, however the primary vehicle for assessment will be through on-going tutor observation with a supporting portfolio of learning evidence. Students will be required to work to deadlines, both within teams and independently. The work will be assessed using a variety of methods including:Tutor observation – Online blogs - PerformanceIndividual progress in class will be continuously monitored and fed back to students by the module tutor, with input from visiting tutors. The portfolio of learning will demonstrate the student’s own investigation of the cultural framework within which the technique has evolved. Students will need to perform specific dances to explore the physical and presentational aspects of commercial technique.The particular requirements of various commercial techniques will be considered when assessing student performance in class. An understanding of the socio-cultural issues that shaped the development of commercial dance will be identified through portfolio work and the student’s own research.

12. Details of Assessment

Assessment 1

Assessment task: Online Blog

Weighting: 30%

Date/time/method of submission: Week 14

Word count or equivalent: N/A

Assessment criteria:


(80-100) Demonstrates an exceptional degree of commitment, creativity and innovation. Represents absolute professional quality that is beyond reproach in every aspect. Exceptional skill and ability is exercised equally with regard to form, content and

function. The work is so robust that it is almost impossible to find weaknesses in any area. The work engages the imagination, spirit and emotions of the recipient.

(70-79) Exceptional Blog - exciting and innovative. Outstanding in its concept - perceptive, articulate, imaginative. Clearly structured, maintains a high level of interest. Very successful on both informative and emotional levels. All elements combine to create the required finished product. Technically very assured. Wholly appropriate use of the medium. Must have 100% attendance for the whole module.

(60-69) Overall, a successful presentation which fulfils its aim very well and with clarity. Cohesive in structure and impact. May have many of the qualities of a 70+ artefact, but without the excitement or innovation. There may be minor parts of the artefact which do not function to the utmost. Perhaps a convention used without thought, or a lack of attention to detail. Technically assured. Appropriate use of the medium.

(50-59) Successful in meeting its aim and overall meaning clear. There may, however, be problems with structure or execution which lead to some confusion in parts. Often lacking in imagination, uninspiring and conventional. Concept is limited, so that the final artefact may lack cohesion and integration. May omit some important (but not crucial) aspects of the subject matter. Overall, technically competent (the lower marks may have problems here, but even these will have their saving graces). Generally appropriate use of medium, but perhaps there is a better way of doing it.

(40-49) May communicate with difficulty, audience has to concentrate to draw out what it means. May have elements that are poorly structured, confused. Some work may show only a very limited ability to select, structure, prioritise information, omits some important aspects, and/or includes some irrelevant material. Lacks cohesion and may be scrappily presented. The artefact does communicate its message, but only partially. There may be some technical problems although overall the work shows a fair degree of competence. Has often used an inappropriate medium for the job.

Fail

(20-39) The body of work presented suggests that 200 hours of appropriate student involvement has not been completed. Fails to answer the key technical requirements of the brief. Fails to communicate a coherent message, perhaps through a mixture of lack of logical thought, poor organisation of material and/or technical ineptitude.


Conceptually flawed, the project has limited meaning. Technically incompetent (basic competence may be present but without application or meaning). Glimpses of technical or organisational skill may result in a mark in the higher reaches of this range.

Fail

(0-19) The body of work presented very strongly suggests that appropriate student involvement falls far short of 200 hours. There are significant problems associated with fulfilling the technical requirements of the brief. 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.

Marking scheme:

Timing and methods of feedback: Written feedback at the end of the module

Assessment 2

Assessment task: Continual technical assessment

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

Weighting: 40%

Date/time/method of submission: ongoing



(80-100) The work excels in all of the following: technical ability in commercial dance genres; criticality; rehearsal; thoroughness; performance; perspicacity;


professional replication of movement and class. It is the correct timing and length, and the student has attended 100% of module; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.(70-79) The work excels in three or more of the following: technical ability in commercial dance genres; criticality; rehearsal; thoroughness; performance; perspicacity; professional replication of movement and class. It is the correct timing and length, and the student has attended 100% of module; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.(60-69) The work displays one or more of the following properties: technical ability in commercial dance genres; criticality; rehearsal; thoroughness; performance; perspicacity. It is the right length, and the student must have attended more than 90% of module lectures and workshops; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.(50-59) The work shows some evidence of involvement and a little independence of thought from a range of sources. It is largely technically correct, pertinent and coherent, although the technical ability of the student may need to be developed further.(40-49) The work shows no independence of thought from its (perhaps very limited) technical development and performance, and no signs of any involvement. It might be poorly performed with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent, and the student has less than 90% attendance.Fail (20-39) The assignment fails when it is at least three of the following: very badly performed; no understanding of commercial dance techniques; the performer and performance are heavily redundant; incoherent; irrelevant; lacking energy and the student demonstrates an un-professional attitude.Fail (0-19) The work/replication fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; technically incoherent; irrelevant; lacking in energy and the student demonstrates an un-professional attitude; timekeeping is constantly bad and the studentmisses less than 80% of class (requirements of Health and Safety of a dancer/performer).

Marking scheme:

Students will be marked against trueness of replication of technique and choreography within class and rehearsals. Students will be assessed on time keeping and participation in physical workshops on an ongoing basis.



Assessment 3

Assessment task: Performance

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

Weighting: 30%

Date/time/method of submission: ongoing



(80-100) The work excels in all of the following: technical ability in commercial dance genres; criticality; rehearsal; thoroughness; performance; perspicacity; professional replication of movement and class. It is the correct timing and length, and the student has attended 100% of module; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.(70-79) The work excels in three or more of the following: technical ability in commercial dance genres; criticality; rehearsal; thoroughness; performance; perspicacity; professional replication of movement and class. It is the correct timing and length, and the student has attended 100% of module; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.(60-69) The work displays one or more of the following properties: technical ability in commercial dance genres; criticality; rehearsal; thoroughness; performance; perspicacity. It is the right length, and the student must have attended more than 90% of module lectures and workshops; pertinent, correct and well performed, with a good sense of continuity and a coherent overall structure.(50-59) The work shows some evidence of involvement and a little independence of thought from a range of sources. It is largely technically correct, pertinent and coherent, although the technical ability of the student may need to be developed further.


(40-49) The work shows no independence of thought from its (perhaps very limited) technical development and performance, and no signs of any involvement. It might be poorly performed with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent, and the student has less than 90% attendance.Fail (20-39) The assignment fails when it is at least three of the following: very badly performed; no understanding of commercial dance techniques; the performer and performance are heavily redundant; incoherent; irrelevant; lacking energy and the student demonstrates an un-professional attitude.Fail (0-19) The work/replication fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; technically incoherent; irrelevant; lacking in energy and the student demonstrates an un-professional attitude; timekeeping is constantly bad and the studentmisses less than 80% of class (requirements of Health and Safety of a dancer/performer).

Marking scheme:

Students will be marked against trueness of replication of technique and choreography within class and rehearsals. Students will be assessed on time keeping and participation in physical workshops on an ongoing basis.



13. Summative Assessment Grid

Type of assessment

Module learning outcome(s)

Word count or equivalent

Due date and time

Threshold (if applicable)

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

Online Blog LO2

LO4

L06

N/A Week 14 40 30% 2 weeks after completion of the module

Continual Technical Assessment

LO1

LO3

LO4

LO6

N/A Ongoing 40 40% 2 weeks after completion of the module

Performance LO1

LO3

LO4

L06

N/A January show 40 30% 2 weeks after completion of the module


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

i) Evaluation framework

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

ii) Improvements made in response to student feedback

17. Personal Development Plan (PDP)

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

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

18. If You Have an Issue


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

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

19. Drop-in Support Service

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

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

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



Section

C20. Guide to Learning Sessions

Session number: 1

Venue: The Creative Academy

Understanding generic commercial danceKey concepts/issues

Delivery method (e.g. lecture, seminar, tutorial, workshop, visit) Seminar and workshopFormative/summative assessment opportunities: CTA

Essential reading for this session

Recommended reading for this session

Independent study

Reference to resources

Links to Blackboard

Session number: 2


Movements in commercial danceKey concepts/issues

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

Delivery method (e.g. lecture, seminar, tutorial, workshop, visit) Seminar and workshopFormative/summative assessment opportunities


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



Independent study

- Internet resources

- Dance magazine


Links to Blackboard

Session number: 3


Movements in commercial danceKey concepts/issues

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

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

Formative/summative assessment opportunities



Independent study


- Dance magazine


Links to Blackboard

Session number: 4


Jamie King and Wade RobsonKey concepts/issues

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


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




Independent study


- Dance magazine


Links to Blackboard

Session number: 5


Jazz and Modern Theatre Dance:

Key concepts/issues

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

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




Independent study


- Dance magazine


Links to Blackboard

Session number: 6


All that Jazz and ChicagoKey concepts/issues


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





Independent study

- All that Jazz, Bob Fosse

- Chicago


Links to Blackboard

Session number: 7


BollywoodKey concepts/issues

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




- Tutor hand out on genealogy of Bollywood


Independent study


- Dance magazine


Links to Blackboard


Session number: 8


B’BoyKey concepts/issues

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





Independent study

– The Freshest Kids DVD


Links to Blackboard

Session number: 9


Break continuedKey concepts/issues

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





Independent study

- Rize DVD


Links to Blackboard

Session number: 10



Music VideosKey concepts/issues

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

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




Independent study


- Dance magazine


Links to Blackboard

Session number: 11


Tap and CharlestonKey concepts/issues

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





Independent study


- Dance magazine


Links to Blackboard

Session number: 12



FusionKey concepts/issues

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





- The complete guide to cheerleading

Independent study


- Dance magazine


Links to Blackboard


Appendix

RESEARCH ETHICS AND INTEGRITYResearch Ethics Guidance for Students

What is research ethics? Why it mattersYou will be asked to seek ethical approval for all your research projects undertaken in the course of your studies at UWL. Research ethics provides a framework for conducting research that might range from a short questionnaire devised by an undergraduate student through to a multi-million pound project carried out by a group of professional researchers. All researchers, across all disciplines, should be mindful of ethical questions when planning, conducting, and reporting on their work. Research ethics works to preserve the safety and rights of research participants in addition to safeguarding the well-being and integrity of the researcher, and the trustworthiness of the research. We do not adhere to the principles of research ethics in order to prevent research taking place but to facilitate good research, respecting the interests of all parties, mitigating risks, and delivering research outcomes that are robust.

Surely some types of research raise more ethical issues than others?Yes. Typically, research that involves human subjects, vulnerable individuals or groups, personal data, any type of clinical/physical intervention, or which is conducted in a sensitive or potentially dangerous location would raise ethical issues which require appropriate planning in the design of the research to mitigate those factors. The preceding list is indicative, not exhaustive. Interviewing your peers or friends on certain issues to do a research project, is for example a typical case where ethical approval is required. Desk-based research centred on journal articles and books would be unlikely to pose acute ethical issues, except in relation to the way the researcher might select the articles, and report on their findings.

In any case, no research should be undertaken without research ethics approval.

How will UWL help me understand and apply research ethics?First and foremost, Research Ethics will be addressed by your tutor as part of your teaching. It may also figure in your recommended reading. Different disciplines conduct a range of research using a variety of approaches, so your teaching will cover ethical issues that are most likely to apply to your chosen field of study. If you have any questions about the design or conduct of research you are planning then you should seek the guidance of the tutor responsible for that module.

Secondly, UWL operates an Online Research Ethics Risk Assessment system that you are required to complete before commencing your project. This easy-to-use assessment helps the University to identify and improve research projects that might raise ethical issues, but just as importantly it exists to help you work through the potential ethical dimensions of your research in a structured step-by-step way.


Further guidanceThis guidance should be read in conjunction with the Research Governance Policy and University Research Ethics Code of Practice, and the Data Protection Act

http://www.uwl.ac.uk/research/supporting-research/research-strategy-and-codes-practice

Applying for ethics approval - link to online assessment form:PLEASE ADD HERE THE SCHOOL/COLLEGE LINK

10 easy steps to Ethical Approval1. Remember, the ethics application form must be submitted and approved before

any research project starts and before any potential participants are approached2. Make sure you have discussed any possible ethical issues with your supervisor

before submitting your application. You need your supervisor’s approval before getting started with the online approval

3. All ethics applications are completed online. Here is the link to the School/College:XXX ADD HEREXXX

4. You don’t have to complete the form in one go – you can save and finish it later5. Take a look at the short video explaining how to apply, available on Blackboard

At various points you will be asked to upload documents. Your application cannot be processed without these. You are advised to first type your project description in a Word Document (this is good practice for all applications and research proposals generally). Make sure you include the following where your project utilizes these research methods and instruments (A and B compulsory for all projects):

A. A completed risk assessment formB. A completed Project Proposal C. A participant information sheetD. A informed consent form E. A copy of interview questions and/or the questionnaires/instruments you

intend to use or, if you do not have these questionnaires/instruments, a statement of what will be used (in Word, with your application ID at the top) – e.g. “a standardised questionnaire measure of anxiety, perhaps one out of the STAI, HAD’s or BAI (tbc)”

F. A data management and storage statement (available on Blackboard – simply add your name and application ID at the end)

6. Once submitted, a copy of your application will be sent via email to you and your supervisor

7. The School/College Ethics Panel will then review your application – this is normally within two weeks of submission


Discuss these with your supervisor since details may vary according to project



8. You and your supervisor will be informed of the outcome by email9. Outcomes will be one of the following categories:

Conditional approval subject to review and re-submission (you must make the changes specified by the panel before you can start)

Provisional approval subject to additional information and re-submission (you can start your project but you will need to provide further information at a date determined by the School/College Ethics Panel)

Final approval (the approval is final and you do not need to re-submit unless you make subsequent changes to the project)

Rejection (you must discussed issues raised with your supervisor)

Referral to University Research Ethics Committee where risk is identified that requires such referral.


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