· web viewversion no 01 © uwl 2016 . table of contents. neo-classical performance1. 1.module...

Module Study GuideAcademic Year 2017/18

NEO-CLASSICAL PERFORMANCE

Location: The Creative Academy73a Stoke Poges lane, SLOUGH, SL1 3NY

Module Code: MU60160OLevel: 6Credits: 20

Version No 01 © UWL 2016

Table of Contents

NEO-CLASSICAL PERFORMANCE.........................................................................11. Module Leader, Teaching Team and Module Administrator Details......................22. Key Contacts..........................................................................................................33. Further Information................................................................................................44. Welcome to the Module.........................................................................................55. Timetable/Venue/Rooms.......................................................................................56. Aims of the Module................................................................................................67. Learning Outcomes................................................................................................68. Content of the Module............................................................................................79. Learning Resources...............................................................................................710. Reading List.........................................................................................................511. Assessment: General Information.......................................................................612. Details of Assessment.........................................................................................6

Assessment 1............................................................................................................6Assessment 2............................................................................................................8

13. Summative Assessment Grid.............................................................................1114. External Examiner(s).........................................................................................1215. Statement on Plagiarism....................................................................................1216. Evaluation of the Module...................................................................................1317. Personal Development Plan (PDP)....................................................................1518. If You Have an Issue..........................................................................................1519. Drop-in Support Service.....................................................................................1520. Guide to Learning Sessions...............................................................................16

Form I – Module Study Guide template – April 2016 Page 1 of 33

1. Module Leader, Teaching Team and Module Administrator Details

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

Module Leader CAROLINE BRIDGES

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 01753 875 400

Location The Creative Academy

Name George Kirkham

Job title The Creative Academy Manager


Phone 01753 875 400


Name Jagdev Khatkar

Job title Quality Assurance and Business Manager


Phone 01753 875 400


Administrator Vacant

Job title Academic Administrator

Email

Phone 01753 875 400



mailto:[email protected]



2. Key Contacts

The key contacts for your course are set out below:

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

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

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

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






3. Further Information

Due Dates:Assessments for this module are due on the following dates: Please see Annual Time Plan for exact due dates.

Assessment 1 occurs in Week 7 of Semester 1.

Assessment 2 occurs in Week 14 of Semester 1.


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:

Group Presentation 10%

Practical Performance 90%

Section

Overview and Content4. Welcome to the Module

Welcome to the Neo-Classical Performance module. Over the next semester you will learn a great deal about Neo-Classical Performance – the methodologies applied by various Neo-Classical choreographers, the contemporary and classical techniques used and the study of various Neo-Classical Performance 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

Timetables are emailed to students PRIOR to the beginning of the semester. Please see timetable and time-plan.

First Point of Contact

If you need to discuss any issue with this module, the first point of contact is the Module Leader, who is named at the start of this guide. If the Module Leader is unable to deal with the problem, you should then raise it with your Course Leader, and then with your Head of School. The Head of School responsible for this module is George Kirkham and can be contacted at [email protected]


A

6. Aims of the Module

To enable students to create a Neo-Classical Performance piece; 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 the differences in Classical and Neo-Classical choreographic styles;

To increase the use of the creative imagination, physical skills, and intellectual judgement of each student whilst furthering performance skills; and

To display innovative approaches and openness to experimentation in realising a creation

7. Learning Outcomes

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

Knowledge and understandingLO6 1 Demonstrate a comprehensive awareness and understanding of the

conceptual issues relating to the production of Neo-Classical Performance and the choreographic processes used;

LO6 2 Professionally replicate and present a range of key components of Neo-Classical dance with professional performance discipline;

Intellectual (thinking)LO6 3 Critically evaluate form, content and process of the production of Neo-

Classical Performance pieces and to critically analyse the content and process of professional Neo-Classical Performance pieces;

Subject practical skillsLO6 4 Practically demonstrate the ability to produce a Neo-Classical

Performance 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 Communicate effectively.


8. Content of the Module

This module will explore the technique and vocabulary of movement of the Neo-Classical genre of dance, identifying and analysing the socio-cultural issues and techniques demonstrated and developed within the choreography of this genre. The student will learn and perform sequences of movement choreographed by their Course Leader, by themselves and by their peers, engage creatively with the material and explore movement principles professionally as an individual and in groups.

Students will study with one primary dance teacher during the course with visits from others to focus on specific aspects of choreography, Neo-Classical Performance 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 Neo-Classical Performance and the underlying theoretical issues and choreographic devices. Each student will replicate the movement of specific Neo-Classical Performance techniques in the creation of their own material.

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 ballet and choreography within the creation of a Neo-Classical Performance piece.

When it is appropriate, students will be required to obtain external 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 workshops and practical sessions.

Students will identify Neo-Classical ballets and draw conclusions from the historic elements of the socio-political and cultural context in which they have been created. Students will engage creatively with the material and demonstrate their understanding of the movement associated with the specific genre of Neo-Classical Performance.

Each tutor will bring to the classes his or her particular knowledge and experience of Neo-Classical training and performance.

Structure of Learning Resources for Open Learning and E-Learning


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

Email between staff and students; Electronic bulletin boards; Course information; Learning materials; and Access to the Internet for research and independent learning.

This will be through the University of West London students’ intranet ‘Blackboard’ where appropriate; the Creative Academy website; Slough Borough Council; and UK Online centres.

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. Hand outs will be provided in some of the lectures and there will be background reading to do some weeks. Students will be expected to undertake significant independent study to complete assignments, requiring them to familiarise themselves both with the LRC resources and additional Creative Academy resources.

It is anticipated that electronic bulletin boards and e-mail correspondence will be used to facilitate the exchange of information between students and staff on a regular basis.

The Internet will also be a useful source of information for students when they come to completing assignments. However, information found on the net must be handled with extreme caution: there is no evidence to demonstrate how valid or accurate it is.

Learning Activities:

The approach taken to the acquisition of knowledge and understanding will


make use of a blended learning approach. The range of teaching and learning methods on this course will include:

Tutor input during classroom sessions i.e. lectures and practical workshops with one primary tutor and visiting practitioners. The module will provide students with the opportunity to analyse selected film material and pictorial imagery underpinned with practical demonstrations and replication. Students will be provided with selected reading to supplement individual library based/internet research;

Self directed learning through work-place learning and independent research;

Visiting practitioners and speakers, including representatives from national and local business;

Student input in seminars and lectures; Student group and individual presentations and practical demonstrations;

and Guided reading.


NEO-CLASSICAL PERFORMANCE – LEVEL 6 - MODULE STUDY GUIDE

10. Reading List

The reading list for your module is displayed below. You are expected to purchase the core texts listed below and are recommended to purchase the additional texts. .

All additional texts, viewing lists and copies of issues of The Dancing Times are available through the Creative Academy office for reference or free two-week loan. Late returns incur a charge.

Core text: Gottlieb, R (2005) George Balanchine: The Ballet Maker, Harper Collins

Books.

Additional texts:

Parry, J (2010) Different Drummer: The Life of Kenneth MacMillan, Faber and Faber Ltd.

Jackson, F (2010) They Make Tomorrow's Ballet - A Study of the Work of Jack Carter, Michael Charnley, John Cranko, Iyer Press.

Grigoriev, G (2010) The Diaghilev Ballet, London, Dance Books

Other Learning Resources (journals, databases, Websites)

Dancing TimesDance NowDance Today



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, an individual presentation and the performance of a Neo-Classical piece. Students will be required to work to deadlines both independently and within teams. 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. The presentation assessment will demonstrate the student’s own investigation of the cultural framework in which dance theatre has developed with reference to a particular dance theatre director/choreographer or company. An understanding of the socio-political and cultural issues that shaped the development of dance theatre, particularly in Western Europe, apply to all areas of this work.

12. Details of Assessment

Assessment 1

Assessment task: Group presentation

Weighting: 10%

Date/time/method of submission: Week 7 of Semester One

Word count or equivalent: 5 minutes



Assessment Brief and preparation:

A group presentation of the students’ independent research into a Neo-Classical performance, Choreographer/Director or a Neo-Classical company. Each student will comprehensively analyse and interpret the choreographic devices and methodologies used by the Neo-Classical Choreographer/Director, placing it in the socio- political and cultural context in which it was created. Visual aids in the form of DVD footage, power point presentations or others are encouraged.

Assessment Criteria:

The presentation will demonstrate the student’s understanding of the development of Neo-Classical Performance technique and the cultural context in which it has been created. Although students should express their opinion as a matter of course, this should be supported by existing academic literature relating to the subject and be Harvard referenced. As well as demonstrating what students have learned, the presentation will demonstrate an understanding and knowledge of subject matter and the overall mark will be affected by presentation, literacy and communication skills.

Marking Scheme:

(80-100) The work excels in all or most of the following: intelligence; critical analysis; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; evaluation. It is the right length, pertinent, correct and carefully constructed, with an excellent realisation of the socio-political and cultural context in which the director/choreographer works. 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) The work excels in three or more of the following: intelligence; critical analysis; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; evaluation. It is the right length, pertinent, correct and carefully constructed, with an excellent realisation of the socio-political and cultural context in which the director/choreographer works. It is the right length, pertinent, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude towards the studied choreography and the dance industry.

(60-69) The work displays one or more of the following properties: intelligence; critical analysis; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; evaluation. It is the right length, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude towards the studied choreography and the dance industry.

(50-59) The work shows some evidence of involvement and analysis, with 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.

(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.

Referral (20-39)

The assignment fails when it is at least three of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length; not critically aware with bad interpretation and evaluation of the choreography studied.

Fail (0-19)

The work fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional Neo-Classical Performance piece and cannot interpret or critically analyse. 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.

Timing and methods of feedback:

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

Assessment 2

Assessment task: Group Neo-Classical Performance Choreography(Live performance)

Weighting: 90%

This weighting is divided into two parts:

a.) On-going assessment of student’s development and commitment throughout the semester: 45%

b.) Performance of dance theatre piece: 45%

Date/time/method of submission: Week 14 of Semester One

Word count or equivalent: 15 – 25 minutes



Assessment Brief and preparation:

At the start of the semester, students will be given an overview of the completion of choreography to create a Neo-Classical Performance piece.

The students will create a Neo-Classical Performance live performance piece as a group using stimuli and choreographic tasks agreed with the Course Leader. The piece must be no shorter than 15 minutes and no longer than 25 minutes, using Neo-Classical Performance 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.

Assessment Criteria:

The creation of the Neo-Classical Performance piece will demonstrate the student’s understanding of the development of Neo-Classical Performance technique, devices used in Neo-Classical Performance choreography and the cultural context in which it has been placed.

Marking Scheme:

(80-100) The work excels in all or most of the following: 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, correct and carefully constructed, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography 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 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 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.

Referral (20-39)

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

Fail (0-19)

The work fails (badly) when it is all, or all but one, of the following: very badly ordered; 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.

Pass requirements:

Students must achieve a minimum mark of 40% overall to pass this module. Students must attempt each component of the formal assessment above.

The marking criteria above are intended to assist students in the preparation for their module assignments. Students should refer to the criteria and the module learning outcomes regularly when working on their assignments. All written work must be typed.

Anonymous Marking:

The Creative Academy adopts the University policy of anonymous marking on all written assignments. However, within this module it is unfeasible to anonymously mark either Assignment 1 or Assignment 2 as they are both based on the student being present to be assessed. An external moderator, using a recording of each assessment for each student, will assess a selection of work.

Assessment feedback + timing for formative and Summative:

Summative feedback will be provided on an on-going basis from the Module Leader. Grades are posted on the student area at www.creativeacademy.org within 15 working days of the assessment and feedback is emailed to the students within 10 working days of the end of the semester.



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

Presentation 1, 3, 5, 6 & 7 5 minutes Week 7 Yes 40% 40 10% Ten working days after the end of semester.

Performance 1, 2, 3, 4, 5, 6 & 7

15 – 25 minutes Week 14 Yes 40% 40 90% Ten working days after the end of semester.



14. External Examiner(s)

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

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

Name Jane White

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

Institution AUB

15. Statement on Plagiarism

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

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

For further advice on plagiarism go to the UWL website:

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


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


16. Evaluation of the Module

i) Evaluation framework

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

ii) Improvements made in response to student feedback

- The Module Leader will have input into the choreography of the live performance, with some creative tasks given to the cohort.

Students will elect a student representative who will be given the opportunity to anonymously feedback individual issues with programme/module specification/tutoring. The Creative Academy will ensure that student feedback, where appropriate, feeds into individual lecture/workshop development, session planning and will be brought up and discussed at team meetings. Annually, students’ written and verbal feedback will be fed into the development of all modules to ensure that they remain relevant, although this will be assessed against industry need and academic rigour.



End of Semester evaluation

Neo-Classical Performance

Please tick the appropriate response

Content:

appropriate inappropriate too little

about right too much

Theory/Practical balance:

too much theory about right too much practical

Pace:

too slow about right too fast

Lectures (tutor-led sessions):

poor average good

Workshop / Tutor support:

poor average good

Three things students like about the module:

1.

2.

3.

Three things students dislike about the module:

1.

2.

3.

Other comments:



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 Neo-Classical companies and choreographers and their methodologies. Students are encouraged to see live performances of Neo-Classical companies where available at theatres such as Sadler’s Wells or the Queen Elizabeth Hall, amongst others. All information gathered will help to 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 that 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 that 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: One

Topic Introduction to ModuleKey Concepts/Issues Introduction to the requisites of the module.

Explanation of presentations and choreographic work required over the course of the module.

Teaching/Learning Seminar and workshopRelevance to Assessments This module applies to both assignmentsLinks to LSDS/Key Skills Activities

CommunicationAttendanceApplication of numberProblem solvingWorking with othersImproving own learning and performance

Brief bibliographySession Preparation; Independent Learning Activities; pre-reading, post-reading etc.Reference to tutor hand-outs

Watch an excerpt of Marius Petipa’s Swan Lake and compare/contrast to Matthew Bourne’s Swan Lake.

Session number: Two

Topic Basic Principles of Neo-Classical PerformanceKey Concepts/Issues What is Neo-Classical Performance?

What are the principle functions of Neo-Classical Performance?How does Neo-Classical Performance differ from Classical ballet?

Teaching/Learning Seminar/WorkshopRelevance to Assessments Both AssignmentsLinks to LSDS/Key Skills Activities

CommunicationAttendanceProblem solvingWorking with othersImproving own learning and performance

Brief bibliographySession Preparation; Watch an excerpt of Alberto Alonso’s Carmen and



Independent Learning Activities; Pre-reading.

compare/contrast to Matthew Bourne’s Car Man.

Session number: Three

Topic Ballet Russes and Vaslav NijinskyKey Concepts/Issues Tutorial: The history of Ballet Russes and the

development of Nijinksy’s choreographic works in this environment.Practical session: Creation of Neo-Classical Performance choreography.




Read handouts on Ballet Russes and Vaslav Nijinsky.

Watch the National Ballet of Canada’s recreation of Rite of Spring.

Session number: Four

Topic Mikhail FokineKey Concepts/Issues Tutorial: Analysis of Fokine’s works and how they

inform the Neo-Classical genre of ballet.Practical session: Creation of Neo-Classical Performance choreography.




Read handouts on Mikhail Fokine.

Watch Les Sylphides by Fokine. Is this NeoClassical?

Watch The Dying Swan by Mikhail Fokine and prepare an analysis.



Session number: Five

Topic George BalanchineKey Concepts/Issues Tutorial: The history and development of Neo-

Classical technique through Balanchine’s works.Practical session: Creation of Neo-Classical Performance choreography.




Read hand-outs on Balanchine;

Prepare an analysis of one of Balanchine’s many works.

Session number: Six

Topic George BalanchineKey Concepts/Issues Tutorial: Continue from previous week.

Practical session: Creation of Neo-Classical Performance choreography.




Prepare an analysis of one of Balanchine’s many works and compare/contrast to that of last week.

Prepare for Assessment 1.



Session number: Seven

Topic PRESENTATION WEEK

Key Concepts/Issues Group presentations (5 mins) about a particular Neo-Classical Performance company or Director/Choreographer, outlining the differences between Classical ballets and Neo-Classical ballets by giving examples and analysis.

Teaching/Learning Seminar/WorkshopRelevance to Assessments ASSESSMENT 1 (10% OF OVERALL MARK)Links to LSDS/Key Skills Activities

CommunicationAttendanceIndividual research, analysis and interpretationImproving own learning and performance

Session number: Eight

Topic Kenneth MacMillanKey Concepts/Issues Tutorial: Analysing MacMillan’s works and

methodologies.Practical session: Creation of Neo-Classical Performance choreography.


CommunicationAttendanceChoreographic problem solvingExploration of Neo-Classical Performance methodologiesWorking with othersImproving own learning and performance


Read handouts on Kenneth MacMillan.

Analyse the final duet in MacMillan’s Manon.



Session number: Nine

Topic John CrankoKey Concepts/Issues Tutorial: Analysing Cranko’s works and

methodologies.Practical session: Creation of Neo-Classical Performance choreography.


CommunicationAttendanceApplication of numberChoreographic problem solvingExploration of Neo-Classical Performance methodologiesWorking with othersImproving own learning and performance


Read handouts on John Cranko.

Analyse the final duet from Cranko’s Onegin.

Session number: Ten

Topic Rambert Dance CompanyKey Concepts/Issues Tutorial: The history of Rambert and the analysis of

Rambert’s works by Artistic Directors throughout the company’s development.Practical session: Creation of Neo-Classical Performance choreography.


CommunicationAttendanceWorking with othersUse of information technologyImproving own learning and performance

Brief bibliographySession Preparation; Independent Learning Activities; pre-reading, post-reading etc.Reference to tutor hand-

Read handouts on Rambert Dance Company.

Analyse the first section of Christopher Bruce’s Ghost Dances. Compare and contrast to Mark Baldwin’s Constant Speed. Which is more Neo-Classical?



outs

Session number: Eleven

Topic Matthew BourneKey Concepts/Issues Tutorial: History and analysis of Bourne’s works.



CommunicationAttendanceExploration of Neo-Classical Performance methodologiesWorking with othersImproving own learning and performance


Watch Matthew Bourne’s Spirit of Diaghilev.Read handouts on Matthew Bourne.

Session number: Twelve

Topic La la la Human StepsKey Concepts/Issues Tutorial: History and analysis of La la la Human Steps.





Read handouts on La la la Human Steps and their work.



Session number: Thirteen

Topic Wayne McGregorKey Concepts/Issues Tutorial: Analysis of McGregor’s Neo-Classical work

with the Royal Ballet and the Paris Opera Ballet.Practical session: Creation of Neo-Classical Performance choreography.




Read handouts of McGregor and Random Dance.Watch and analyse a section of one of McGregor’s many works. Is it Neo-Classical?

Session number: Fourteen

Topic PERFORMANCE

Key Concepts/Issues Perform Neo-Classical choreography to a live audience

Teaching/Learning Seminar/WorkshopRelevance to Assessments ASSIGNMENT 2 (90% of OVERALL MARK)Links to LSDS/Key Skills Activities

CommunicationAttendancePerformance qualityPerforming with othersTechnical abilityProfessional conceptualisation of narrative


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