Overview
In this unit, you will learn about how a popular or non-western dance form fits into its national and international creative industries. You will continue to develop your dance abilities in your regular dance, ballet, and conditioning classes and in public performance.
Details
Pre-requisites or Co-requisites
Prerequisite: CART11005 Contemporary Dance 1: The Fundamental Craft
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 2 - 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.
- Explain how a popular or non-western dance form integrates with its national and international creative industries
- Apply ballet and contemporary dance skills, technique and aesthetics
- Publicly perform a collaborative dance piece.
Alignment of Assessment Tasks to Learning Outcomes
| Assessment Tasks | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Practical Assessment - 30% | |||
| 2 - Practical Assessment - 30% | |||
| 3 - In-class Test(s) - 20% | |||
| 4 - 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 - 30% | ||||||||||
| 2 - Practical Assessment - 30% | ||||||||||
| 3 - In-class Test(s) - 20% | ||||||||||
| 4 - Written Assessment - 20% | ||||||||||
Textbooks
Rethinking dance history: issues and methodologies
(2018)
Authors: Morris, G & Nicholas, L
Routledge
London London , UK
ISBN: 9781134827633
Binding: eBook
Additional Textbook Information
The above is the ebook version of the text. However, if you prefer, there is a paper text available at the CQUni Bookshop here |
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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.
j.brown@cqu.edu.au
Module/Topic
Ballet and Contemporary Dance: Technique class - Placement, alignment, spatial awareness, movement vocabulary and terminology.
Music Appreciation: Choreomusicology -The relationship between Dance and Music.
Origins and Principles of Dance: Topic 1 - Revisiting dance genre, historical periods and geographical area.
Chapter
- Collaborative, Choreomusical Relationships within Contemporary Performance: A Practical and Theoretical Enquiry into the Distinct Contributions of a Collaboriative, Co-creative Approach pdf
- Rethinking Dance History: Issues and Methodologies Introduction to Part 2: Researching and Writing
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class - Expressing musical meter.
Music Appreciation: Duration Part 1 - Beat, rhythm and metre.
Origins and Principles of Dance: Topic 2 - What is included and excluded from the historical narrative?
Chapter
- Choreographers Tool Box url
- Rethinking Dance History: Issues and Methodologies Chapter 9: Destablising the Tradition.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class - Efficiency and economy in transferring weight and coordination.
Music Appreciation: Duration Part 2 - Tempo, accent, improvising with rhythm, cross phrasing.
Origins and Principles of Dance: Topic 3 -Deconstructing the binary notion of East and West within the historical narrative.
Chapter
- Basic tempo markings url
- Rethinking Dance History: Issues and Methodologies Chapter 10: Decolonising Dance History.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class - Pathways and planes, line and allongé.
Music Appreciation: Structure and Texture - Music and dance forms. Exploring layers in music for choreography.
Origins and Principles of Dance: Topic 4 -Multiplicity and the collective influence that structure historical narratives.
Chapter
- How to structure a dance url
- Texture: Finding Character and Story in Music url
- Rethinking Dance History: Issues and Methodologies Chapter 11: Many Sources, Many Voices.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class - Dynamics, style and energy.
Music Appreciation: Timbre/Tone Colour and Texture - Mood and dynamics.
Origins and Principles of Dance: Topic 5 - Archiving, Preserving and Extending - Examining repertoire and legacy in combination with access.
Chapter
- Choreographers Discuss Music and Dance url
- Rethinking Dance History: Issues and Methodologies Chapter 12: 'Dream no small dreams!": impossible archival imaginaries in dance community archiving in a digital age
Events and Submissions/Topic
Module/Topic
Origins and Principles of Dance: Topic 6 - Frontier approaches and decentralisation - localising practice and expanding locations of practice.
Due to a scheduled public holiday in Week 12, all subsequent Origins and Principles of Dance 2 Topics from this point on will be presented one week in advance, with the 12th and final Topic presented in Week 11.
Chapter
- Rethinking Dance History: Issues and Methodologies Chapter 13: When Place matters: provincializing the 'global'.
Events and Submissions/Topic
Origins and Principles of Dance: Topic 6 - Recorded lecture will be made available on moodle for access on demand.
Module/Topic
Ballet and Contemporary Dance: Technique class - Communicating Intention.
Music Appreciation: Classical music styles and dance steps.
Origins and Principles of Dance: Topic 7 - Agency versus Conditions - Political consciousness, social advocacy and community mobilisation.
Chapter
- Inside the Score: Adolphe Adam’s “Giselle” url
- Rethinking Dance History: Issues and Methodologies Chapter 14: Considering causation and conditions of possibility: practitioners and patrons of new dance in progressive-era America.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class - Body isolations, articulation and sequencing.
Music Appreciation: Contemporary music styles and influences on dance.
Origins and Principles of Dance: Topic 8 - Condensed narratives and the contribution of sociocultural history to Dance.
Chapter
- Music as Dance’s Muse: How Music Influenced the Steps of Four American Choreographers url
- Rethinking Dance History: Issues and Methodologies Chapter 15: 'Dancin' in the Street': street dancing on film and video from Fred Astaire to Michael Jackson.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class and Collaborative workshop 1 - devising ideas.
Music Appreciation: World music styles and influence on dance.
Origins and Principles of Dance: Topic 9 - Porousness - allowing the past to speak to us in the present.
Chapter
- 5 Artists who bring the music and dance of west Africa to American campuses url
- Rethinking Dance History: Issues and Methodologies Chapter 16: Judson: Redux and Remix.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class and Collaborative workshop 2 - creative development.
Music Appreciation: Sourcing and selecting music for dance - Finding appropriate music for choreography and class.
Origins and Principles of Dance: Topic 10 - How can we decolonise dance history?
Chapter
- Brief Discussion on the Significance of Music in Dance Creation pdf
- 3 Choreographers Share How to Choose Music That Enhances the Work
- Rethinking Dance History: Issues and Methodologies Chapter 17: Ruth Page, feminine subjectivity, and generic subversion.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class and Collaborative workshop 3 - creative solutions.
Music Appreciation: Working with music and musicians - Sheet music, working with musicians and editing music.
Origins and Principles of Dance: Topic 11 - Gendering - Non-dyadic versions and stereotypes.
Chapter
- What makes a good dance score? url
- Here’s what teachers need to know to make live music successful for dance class url
- Rethinking Dance History: Issues and Methodologies Chapter 18: Extensions: Alonso King and Ballet's Lines.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Technique class and Collaborative workshop 4 - critical feedback.
Music Appreciation: Music Licensing and Copyright - Laws regarding the use of music for dance.
Origins and Principles of Dance: Topic 12 - Perspectives and interpretations of dance context.
Chapter
- Copyright for the dance industry url
- Rethinking Dance History: Issues and Methodologies Chapter 19: Giselle and the Gothic: Contesting the Romantic idealisation or the woman.
Events and Submissions/Topic
Module/Topic
Ballet and Contemporary Dance: Projecting and aplomb, spatial rehearsals and performance procedures.
Chapter
Events and Submissions/Topic
Module/Topic
Rehearsal for the performance event.
Chapter
Events and Submissions/Topic
Module/Topic
Technical and dress rehearsal for the performance event.
Chapter
Events and Submissions/Topic
Origins and Principles of Dance Due: Exam Week Monday (15 Oct 2018) 11:55 pm AEST
Teaching Staff for this unit are, Music Appreciation and Ballet lecturer Martinique Foley on m.foley@cqu.edu.au, and Rebecca Youdell on r.youdell@cqu.edu.au is Origins and Principles of Dance and Contemporary Dance lecturer.
1 Practical Assessment
Students will be assessed on their demonstrated improvement in core dance skills over the course of the 12 week Unit, which comprises twelve hours in total each week of developing body condition, ballet, contemporary dance and stagecraft technique. The appraisal will evaluate the students progressive competence with execution accuracy, applied level of energy in the studio, commitment to daily development, and improvement in technique, expressive coordination, anatomical alignment, aplomb and assurance. The Progressive practical assessments are weighted at Ballet 15% and Contemporary Dance 15%, which total 30% of the overall mark.
Review/Exam Week Friday (12 Oct 2018) 5:00 pm AEST
Exam Week Friday (19 Oct 2018)
· Progress - Effort and progression of standard. (50%)
· Comprehension - Dance terminology, positions, steps and directions. (20%)
· Techniques - Memory retention, responding to feedback, and considered execution of movement. (20%)
· Engagement - Attendance, participation and safety. (10%)
- Apply ballet and contemporary dance skills, technique and aesthetics
- Publicly perform a collaborative dance piece.
- Communication
- Problem Solving
- Critical Thinking
- Information Literacy
- Team Work
- Information Technology Competence
2 Practical Assessment
Publicly perform a collaborative dance piece. Facilitated by the lecturer through creative workshops where ballet and contemporary dance convention are foundational, students will traverse the familiar and the unknown to devise two discrete five-minute performances based on each dance genre. Through a group setting students will harness dance and stagecraft technique, and use imagination to engage as an ensemble in an end of term performance event. Each student will undertake task-based exercises, improvisation and choreographic devising to contribute to the compositional score. Students will be expected to contribute to group discussions and performance tasks to actively produce the works in consultation with the lecturer. The students will collectively make creative choices about the elements to be used in each performance work, which includes style, music and costumes. Together students will share stories, skills and experiences to discover an inventive choreographic language that will engage the audience through the performance piece. Each performance is worth 15% with a combined assessment total of 30%. Write a 500-word reflective analyse about your process as a performer post-performance. Identify and discuss elements relevant to your execution of the work for example communication, interpretive skills, audience reception, benefits of performing, improvements for next time, and upload the analysis to Moodle.
Format:
Provide a clear introduction and conclusion. Include a Reference list on the last page and use in-text referencing as appropriate to the content of the analysis to show where you have sourced your information. References can include the textbook for the unit as well as other readings you have used including all books, journal articles (including electronic journal articles from databases), newspaper articles, scores, scripts, music recordings, video recordings and references from electronic sources as appropriate. The referencing style is the APA Style, 6th Edition. The reflective analysis should be written in the following format: A4, 4cm margin, 1.5 line spacing, 12 point font, numbered pages, justified paragraph alignment and a standard cover page nominating the Unit Code and Title, Assessment Number, Student Name and Student Number.
Exam Week Wednesday (17 Oct 2018) 6:30 pm AEST
24/10/2018
· Content - Inventive theme, choreography and structure contributing to the meaning, style and mood of the work. (40%)
· Treatment - Effective use of technical stagecraft ie. music, costume, props, lighting (20%)
· Collaboration - Negotiation of the group process, creative solutions and individual contribution. (20%)
· Stage Presence - Quality of expression and communication. (10%)
· Reflective Analysis - Evaluation of stagecraft strategies and role within the collaboration. Clear and concise writing. Fluent, accurate and grammatically correct language. (10%)
- Apply ballet and contemporary dance skills, technique and aesthetics
- Publicly perform a collaborative dance piece.
- Communication
- Problem Solving
- Critical Thinking
- Information Literacy
- Team Work
3 In-class Test(s)
Complete a one-hour in-class test that will examine the content learnt over the 12 week unit. The test will consist of short answer questions and a listening section with short answer questions.
Week 12 Friday (5 Oct 2018) 5:00 pm AEST
Review/Exam Week Friday (12 Oct 2018)
· Knowledge - Demonstrate music theory (50%)
· Identification - Effective listening and interpretive skills (25%)
· Proficiency - Ability to apply music for dance (25%)
- Explain how a popular or non-western dance form integrates with its national and international creative industries
- Communication
- Problem Solving
- Critical Thinking
- Information Literacy
- Cross Cultural Competence
4 Written Assessment
Write and upload a 1500 word essay with references to Moodle. Consider how dance genre, historical periods and geographical area influence historical narratives. Choose one of two questions to reflect on where critical perspectives and critical theory intersect, and discuss and contextualise your reasoning as justification.
Question One: How do historical narratives shape dance history? The essay should draw upon the critical perspective of 'bias' - what is included and excluded in a historical narrative, and the critical theory of postmodernism.
or
Question Two:
Cultural values are inherent in a geographic region. In relation to historical narratives, how do cultural narratives differ when located in the 'centre' and on the 'periphery'? The essay should draw upon the critical perspective of social and political power, and the critical theory of postcolonialism.
Format:
Provide a clear introduction and conclusion. Include a Reference list on the last page and use in-text referencing as appropriate to the content of the essay to show where you have sourced your information. References can include the textbook for the unit as well as other readings you have used including all books, journal articles (including electronic journal articles from databases), newspaper articles, scores, scripts, music recordings, video recordings and references from electronic sources as appropriate. The referencing style is the APA Style, 6th Edition. The essay should be written in the following format: A4, 4cm margin, 1.5 line spacing, 12 point font, numbered pages, justified paragraph alignment and a standard cover page nominating the Unit Code and Title, Assessment Number, Student Name and Student Number.
Exam Week Monday (15 Oct 2018) 11:55 pm AEST
29/10/2018
· Comprehensive evidence of research and synthesis of ideas. (40%)
· Accuracy of information and clarity of meaning. (20%)
· Sound structure, logical development and coherent organisation in the writing. (20%)
· Fluent, accurate and grammatically correct language with attention to spelling, word choice, punctuation, sentence structure and economy of words. (10%)
· Presentation - Consistent and correct referencing of sources and citation. (10%)
- Explain how a popular or non-western dance form integrates with its national and international creative industries
- Communication
- Problem Solving
- Critical Thinking
- Information Literacy
- Cross Cultural Competence
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?
