Assessment 1- Performance (80%)
The presentation of negotiated dance pieces to camera (minimum of 3), demonstrating versatility across a range of dance forms and an ability to tailor performance for media capture. Your presentation should be supported by evidence of research and developmental work (Learning outcome 1, 2, 3).

Assessment 2 – Reflective Journal (20%)
Well-documented reflection on your journey through the process, including evaluative and persuasive arguments for the approaches you have taken to develop your skills (Learning outcome 1, 4).
Formative assessment
Observation of dance styles and approaches demonstrated through participation in workshops for the purpose of informing personal development

This level 5 module which adopts a structured dance training approach, is designed to develop your confidence, ability and stamina to respond to the challenges of dancing in a professional capacity. It builds on the learning that took place throughout level 4, particularly through the modules of ‘Skills for the Professional Dance Practitioner’ and ‘Dance and Movement’. It will extend your training in dance beyond the disciplines of ballet, jazz and tap that you have previously studied and requires you to integrate and refine your techniques in order to reproduce contrasting work for specific commercial outcomes.

You will explore in greater detail the techniques and applications of ballet, jazz and tap and will be introduced to a range of additional styles and approaches associated with contemporary dance forms, such as hip-hop and street. You will experiment with choreography and improvisation and understand their purpose in professional situations. You will be expected to demonstrate an increasing sense of alignment, control, flexibility, strength and musicality and your continued engagement in physical exercise and rehearsal will be evident in your levels of energy and confidence as you present your work.

Additionally this module will introduce you to the wide range of applications for dance in recorded media, such as music videos, film and TV, and promotional and training materials. Therefore you will explore the varied creative and technical requirements of performing to camera, (single or multi-camera), comparing and contrasting the demands of working within this field with those of live performance. You will experiment, individually and with others, in the art of performing to camera, and develop an understanding of the collaborative involvement of choreographer, composer, cinematographer, editor and director.

You will apply an autonomous approach to selecting material that is suitable to you as a performer and that demonstrates your versatility and prowess. In your screen performances you will seek to demonstrate skills within the technical medium in relation to placement, shot-sizes, movement and expression, and holistically present your piece in a manner suited to its original intentions.

Weekly workshops and screenings will allow you to receive feedback from peers and lecturers that will support your development within this advanced level of dance training and also your screen dance study, strengthening your ability to combine existing disciplines, develop new disciplines and broaden your repertoire as a dancer in order to increase your employment potential.

You will be required to reproduce contrasting work to a professional standard through rehearsals and performance to camera, working with cast and crew in a coherent and supportive manner, reflective of industry practice and resulting in a compilation of recorded dance pieces.

Learning in this module should build on the knowledge and skill that you developed at level 4 of your studies and the emphasis is placed on practical work, in order that you can explore techniques and processes with greater breadth and depth. You will learn by doing, and will have the opportunity to explore and experiment so that you may discover ways of working with equipment and methods that not only suit the task, but also suit your individual needs and work best for you in an increasingly professional capacity.

Active learning will be facilitated through workshops including demonstrations and studio tutorials, with teachers and visiting practitioners. However, there will be an increasing expectation that you work imaginatively, with independence and responsibility. There will be a mix of individual and collaborative learning, in-class and outside of timetabled sessions.

Therefore learning activities will typically include:
• Structured dance training sessions, i.e. skills development workshops and problem solving exercises
• Health and safety recap
• Seminars
• Individual and group rehearsal and performance to camera
• Reflective practice and target setting
• Group discussion
• Tutorials including negotiation of performance material
• Group critique

Arendell. T.D. & Barnes, R. (2016) Dance’s Duet with the Camera: Palgrave Macmillan
Blom, L. A & Tarin Chaplin, L. (2010) The Intimate Act of Choreography: Dance Books Ltd
Bremser, M. (2011) Fifty Contemporary Choreographers: Routledge*
Burrows, J. (2010) A Choreographer’s Handbook: Routledge
Franklin, E. (2004) Conditioning for Dance: Human Kinetics*
Mitoma, J. (2003) Envisioning Dance on Film and Video: Dance for the Camera. Routledge
Porter, J (2010) Dance with Camera: Institute of Contemporary Art, University of Pennsylvania
Smith-Autard, J.M. (2010) Dance Composition: A Practical Guide to Creative Success in Dance Making. Methuen Drama

*Core Text on Foundation Degree Dance Performance and Industry – Newcastle-under-Lyme College

WEBSITES AND ONLINE JOURNAL
Dance Education in Practice: available at www.tandfonline.com
DANCE – Arts Journal: available at www.artsjournal.com
Dance Research Journal: available at www.cambridge.org

PERIODICALS
Dance Magazine
Dancing Times

Dance Studio
Camera
Tripod
Sound recording equipment
Monitor
Professional screen performance to view
Whiteboard
Technical personnel
VLE

1. UNDERSTAND THE LIMITS OF YOUR ABILITY, AND ACCESS OPPORTUNITIES TO DEVELOP YOUR DANCE SKILLS ACROSS A VARIETY OF PERFORMANCE PIECES WHEN WORKING WITH DIFFERENT CAMERA SETUPS. (Learning)

2. EXPERIMENT WITH STYLES AND APPROACHES WHEN PERFORMING DANCE TO CAMERA IN ORDER TO ADVANCE PRACTICAL SKILLS AND BE ABLE TO OVERCOME TECHNICAL CHALLENGES ASSOCIATED WITH DIFFERENT CAMERA SETUPS. (Application, Problem Solving)

3. RECOGNISE INDIVIDUALS’ SKILLS AND WORK EFFECTIVELY WITH CAST AND CREW MEMBERS, RESPECTING OTHERS PEOPLE’S POINTS OF VIEW AND DIFFERENT APPROACHES TO WORKING, IN ORDER TO DELIVER A PRODUCT FOR A SPECIFIC PURPOSE. (Working with Others)

4. ASSESS OWN STRENGTHS AND LIMITATIONS MAKING SOUND DECISIONS WITH REGARDS TO WHERE TO IMPROVE, IN ORDER TO MAXIMISE POSITIVE IMPACT ON PRACTICAL WORK. (Reflection)