Overview
In this unit, you will develop fundamental ballet and contemporary dance skills. You will develop public performance skills as you prepare and perform a group work composed by your tutor. You will undertake classes in stagecraft, learning the terminology and technology of the theatre.
Details
Pre-requisites or Co-requisites
There are no requisites for this unit.
Important note: Students enrolled in a subsequent unit who failed their pre-requisite unit, should drop the subsequent unit before the census date or within 10 working days of Fail grade notification. Students who do not drop the unit in this timeframe cannot later drop the unit without academic and financial liability. See details in the Assessment Policy and Procedure (Higher Education Coursework).
Offerings For Term 1 - 2018
Attendance Requirements
All on-campus students are expected to attend scheduled classes – in some units, these classes are identified as a mandatory (pass/fail) component and attendance is compulsory. International students, on a student visa, must maintain a full time study load and meet both attendance and academic progress requirements in each study period (satisfactory attendance for International students is defined as maintaining at least an 80% attendance record).
Recommended Student Time Commitment
Each 6-credit Undergraduate unit at CQUniversity requires an overall time commitment of an average of 12.5 hours of study per week, making a total of 150 hours for the unit.
Class Timetable
Assessment Overview
Assessment Grading
This is a graded unit: your overall grade will be calculated from the marks or grades for each assessment task, based on the relative weightings shown in the table above. You must obtain an overall mark for the unit of at least 50%, or an overall grade of ‘pass’ in order to pass the unit. If any ‘pass/fail’ tasks are shown in the table above they must also be completed successfully (‘pass’ grade). You must also meet any minimum mark requirements specified for a particular assessment task, as detailed in the ‘assessment task’ section (note that in some instances, the minimum mark for a task may be greater than 50%). Consult the University’s Grades and Results Policy for more details of interim results and final grades.
All University policies are available on the CQUniversity Policy site.
You may wish to view these policies:
- Grades and Results Policy
- Assessment Policy and Procedure (Higher Education Coursework)
- Review of Grade Procedure
- Student Academic Integrity Policy and Procedure
- Monitoring Academic Progress (MAP) Policy and Procedure – Domestic Students
- Monitoring Academic Progress (MAP) Policy and Procedure – International Students
- Student Refund and Credit Balance Policy and Procedure
- Student Feedback – Compliments and Complaints Policy and Procedure
- Information and Communications Technology Acceptable Use Policy and Procedure
This list is not an exhaustive list of all University policies. The full list of University policies are available on the CQUniversity Policy site.
- Apply fundamental ballet and contemporary dance skills and aesthetics
- Perform a tutor-composed dance performance
- Explain the basic concepts of stagecraft and technical theatre as they relate to dance.
Alignment of Assessment Tasks to Learning Outcomes
| Assessment Tasks | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Practical Assessment - 40% | |||
| 2 - Practical Assessment - 40% | |||
| 3 - Written Assessment - 20% | |||
Alignment of Graduate Attributes to Learning Outcomes
| Graduate Attributes | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Communication | |||
| 2 - Problem Solving | |||
| 3 - Critical Thinking | |||
| 4 - Information Literacy | |||
| 5 - Team Work | |||
| 6 - Information Technology Competence | |||
| 7 - Cross Cultural Competence | |||
| 8 - Ethical practice | |||
| 9 - Social Innovation | |||
| 10 - Aboriginal and Torres Strait Islander Cultures | |||
Alignment of Assessment Tasks to Graduate Attributes
| Assessment Tasks | Graduate Attributes | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | |
| 1 - Practical Assessment - 40% | ||||||||||
| 2 - Practical Assessment - 40% | ||||||||||
| 3 - Written Assessment - 20% | ||||||||||
Textbooks
There are no required textbooks.
IT Resources
- CQUniversity Student Email
- Internet
- Unit Website (Moodle)
All submissions for this unit must use the referencing style: American Psychological Association 6th Edition (APA 6th edition)
For further information, see the Assessment Tasks.
r.youdell@cqu.edu.au
Module/Topic
Basic skeletal components and alignment; Positions and poses; Somatics and natural response
Chapter
Inside Ballet Technique. Chapter 1: Getting It All Straight; and Chapter 2: What We Need to Know About Muscles
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Appendix B: Concepts Used in Fundamentals
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Practice, context, discipline; Safe dance
Chapter
Safe Dance ® Practice pdf
Ausdance. (2011, November 20). Safe Dance ® practice. Retrieved from http://ausdance.org.au/articles/details/safe-dance-practice
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 2: What Is Fundamental?
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Articulation, methods, patterns, patterning; Symmetrical and asymmetrical principles
Chapter
Inside Ballet Technique. Chapter 9: What We Say, And What We Mean
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 5: What Are Principles of Bartenieff Fundamentals?
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Core stability, folding, extending and joint rotation, and successional movement
Chapter
Inside Ballet Technique. Chapter 4: The Control Center
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 7: Core-Distal Connectivity
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Foot articulation and shifting weight
Chapter
Inside Ballet Technique. Chapter 8: The Bottom of It All
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 3: Why Return to Fundamental Patterns?
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Chapter
Events and Submissions/Topic
Module/Topic
Musicality, meter, rhythm, tempo
Chapter
Behind the scenes study guide pdf
Pacific Northwest Ballet. (2017). Behind the Scenes: For teachers and students. Retrieved from https://www.pnb.org/wp-content/uploads/Behind-the-scenes-study-guide-2017.pdf
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 6: Breath
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Coordination, intention, efficiency, parasitic movement
Chapter
Inside Ballet Technique. Chapter 5: Well Turned Out
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 8: Head-Tail Connectivity
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Approach to spatial awareness directions, planes, levels and pathways; Approach to method
Chapter
Producing a dance performance pdf
Ausdance. Ruffell, P. (1996). Producing a dance performance [Teaching factsheet #11]. Retrieved from http://ausdance.org.au/articles/details/producing-a-dance-performance
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 4: What Is Bartenieff Fundamentals?
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Connection through motion; motion of extremities
Chapter
Inside Ballet Technique. Chapter 6: Above the Waist
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 9: Upper-Lower Connectivity
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Energy; Locomotor and non-locomotor skills; Kinetic Chains; movement exploration
Chapter
Inside Ballet Technique. Chapter 7: A Modified Hinge
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 10: Body-Half Connectivity
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
épaulement and spirals; Mood, quality and intention
Chapter
Inside Ballet Technique. Chapter 3: The Stem of Aplomb
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 11: Cross-Lateral Connectivity
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Stage presence, rehearsal skills, intention, communication, energy
Chapter
Strategies to help you deal with performance anxiety pdf
Grieg, V. (1994). Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class. NJ: Princeton Book Company.
Making Connections: Total Body Integration Through Bartenieff Fundamentals. Chapter 12: Integration
Hackney, P. (2002). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Routledge
Events and Submissions/Topic
Module/Topic
Chapter
Events and Submissions/Topic
1. Progressive - Practical Assessment
2. Performance - Practical Assessment
3. Written Assessment - Best Practice Model
Progressive Practical Assessment Due: Review/Exam Week Friday (8 June 2018) 11:45 pm AEST
Ballet And Contemporary Dance Performance Due: Review/Exam Week Friday (8 June 2018) 5:00 pm AEST
Best Practice Model Due: Review/Exam Week Friday (8 June 2018) 5:00 pm AEST
Module/Topic
Chapter
Events and Submissions/Topic
1 Practical Assessment
Assessment of improvement in core dance skills through twelve hours each week of body conditioning, ballet, and contemporary dance workshops, and building upon stagecraft skills. The appraisal will factor in the students level of energy, accuracy, commitment, expressive coordination, anatomical alignment, aplomb and assurance. The Progressive practical assessments are weighted at Ballet 17.5% and Contemporary Dance 17.5%, which total 35% of the overall mark. Assessed: 8 June 2018
Review/Exam Week Friday (8 June 2018) 11:45 pm AEST
Exam Week Friday (15 June 2018)
- Class activity displays work ethic, standard and progress. (50%)
- Dance Terminology, positions, steps and directions. (20%)
- Combinations of dance technique. (20%)
-
Attendance, participation, and safety. (10%)
- Apply fundamental ballet and contemporary dance skills and aesthetics
- Perform a tutor-composed dance performance
- Communication
- Information Literacy
- Cross Cultural Competence
2 Practical Assessment
Learn a tutor-choreographed ballet and tutor-choreographed contemporary dance piece. Perform both disciplines as part of group performance events - each performance worth 20% with a combined assessment total of 40%. Write a 500-word reflective analyse of your contribution as a performer post-performance - communication, interpretive skills, audience reception, benefits of performing, improvements for next time, and upload the analysis to Moodle. Assessed: 8 June 2017
Review/Exam Week Friday (8 June 2018) 5:00 pm AEST
Exam Week Friday (15 June 2018)
- Performance displays sophistication, musical sensitivity and interpretive skills. (30%)
- Technical skills (40%)
- Stage Presence (20%)
- Written performance analysis(10%)
- Perform a tutor-composed dance performance
- Information Literacy
- Team Work
- Cross Cultural Competence
3 Written Assessment
Write a paper of 1000 words. Describe a Best Practice model that applies to how performers might utilise performance stagecraft strategies gleaned from Weeks 1-12. Consider these performance stagecraft strategies and elaborate on the procedures within the model. Upload the writing to Moodle, and reference material accordingly.
Format: A4, 4cm margin, 1.5 line spacing, 11 point font, numbered pages, use a standard cover page. You may like to illustrate your tutorial paper with up to six images. Please use low-resolution images to decrease file size. Include a list of references consistent with the APA format at the end of the paper. Please use the APA referencing guide available at: http://libguides.library.cqu.edu.au/content.php?pid=8771&sid=5469615
Review/Exam Week Friday (8 June 2018) 5:00 pm AEST
Exam Week Friday (15 June 2018)
- Employs performance stagecraft strategies. Use of appropriate procedures. Synthesis of ideas. (40%)
- Synergy between strategies and procedures. Explanation of defining features and degree of justification. (40%)
- Editing and grammatical correctness (10%)
- Referencing (10%)
- Explain the basic concepts of stagecraft and technical theatre as they relate to dance.
- Communication
- Critical Thinking
- Information Literacy
As a CQUniversity student you are expected to act honestly in all aspects of your academic work.
Any assessable work undertaken or submitted for review or assessment must be your own work. Assessable work is any type of work you do to meet the assessment requirements in the unit, including draft work submitted for review and feedback and final work to be assessed.
When you use the ideas, words or data of others in your assessment, you must thoroughly and clearly acknowledge the source of this information by using the correct referencing style for your unit. Using others’ work without proper acknowledgement may be considered a form of intellectual dishonesty.
Participating honestly, respectfully, responsibly, and fairly in your university study ensures the CQUniversity qualification you earn will be valued as a true indication of your individual academic achievement and will continue to receive the respect and recognition it deserves.
As a student, you are responsible for reading and following CQUniversity’s policies, including the Student Academic Integrity Policy and Procedure. This policy sets out CQUniversity’s expectations of you to act with integrity, examples of academic integrity breaches to avoid, the processes used to address alleged breaches of academic integrity, and potential penalties.
What is a breach of academic integrity?
A breach of academic integrity includes but is not limited to plagiarism, self-plagiarism, collusion, cheating, contract cheating, and academic misconduct. The Student Academic Integrity Policy and Procedure defines what these terms mean and gives examples.
Why is academic integrity important?
A breach of academic integrity may result in one or more penalties, including suspension or even expulsion from the University. It can also have negative implications for student visas and future enrolment at CQUniversity or elsewhere. Students who engage in contract cheating also risk being blackmailed by contract cheating services.
Where can I get assistance?
For academic advice and guidance, the Academic Learning Centre (ALC) can support you in becoming confident in completing assessments with integrity and of high standard.
What can you do to act with integrity?
