Page 1
Item No 416 Bachelor of Performing Arts Dance Choreography_1 Syllabus Mumbai University by munotes
Page 2
Copy to : -
1. The Deputy Registrar, Academic Authorities Meetings and Services
(AAMS),
2. The Deputy Registrar, College Affiliations & Development
Department (CAD),
3. The Deputy Registrar, (Admissions, Enrolment, Eligibility and
Migration Department (AEM),
4. The Deputy Registrar, Research Administration & Promotion Cell
(RAPC),
5. The Deputy Registrar, Executive Authorities Section (EA),
6. The Deputy Registrar, PRO, Fort, (Publi cation Section),
7. The Deputy Registrar, (Special Cell),
8. The Deputy Registrar, Fort/ Vidyanagari Administration Department
(FAD) (VAD), Record Section,
9. The Director, Institute of Distance and Open Learni ng (IDOL Admin),
Vidyanagari,
They are requested to treat this as action taken report on the concerned
resolution adopted by the Academic Council referred to in the above circular and
that on separate Action Taken Report will be sent in this connection.
1. P.A to Hon’ble Vice -Chancellor,
2. P.A Pro -Vice-Chancellor,
3. P.A to Registrar,
4. All Deans of all Faculties,
5. P.A to Finance & Account Officers, (F.& A.O),
6. P.A to Director, Board of Examinations and Evaluation,
7. P.A to Director, Innovation, Incubation and Linkages,
8. P.A to Director, Board of Lifelong Learning and Extension (BLLE),
9. The Director, Dept. of Information and Communication Technology
(DICT) (CCF & UCC), Vidyanagari,
10. The Director of Board of Student Development,
11. The Director, Department of Students Walfare (DSD),
12. All Deputy Registrar, Examination House,
13. The Deputy Registrars, Finance & Accounts Section,
14. The Assistant Registrar, Administrative sub -Campus Thane,
15. The Assistant Registrar, School of Engg. & Applied Sciences, Kalyan,
16. The Assistant Registrar, Ratnagiri sub -centre, Ratnagiri,
17. The Assistant Registrar, Constituent Colleges Unit,
18. BUCTU,
19. The Receptionist,
20. The Telephone Operator,
21. The Secretary MUASA
for information.
Page 3
(Appendix ‘B’)
New Ordinances 6546 & 6547 relating to
the Bachelor of Performing Arts (Dance & Choreography)
1. Necessity of starting Bachelor of Performing Arts (Dance & Choreography) course:
India has witnessed the emergence of various new -age courses that are gathering momentum, as students
increasingly pursue courses that fuel their passion and open up job opportunities. A recent demand for educated
and qualified professionals was discovered in the field of Dance & Choreography . Even the world is looking
closely at Indian Dancers & Choreographers for different Programmes, Movies, Newsreels, Commercials,
Music videos, etc. leading to rising employment opportunities for professionals. Further t o highlight that due to
the extensive presence of the Film, Entertainment & Television industry in Mumbai, it's been considered as
capital for it, making it a preferred destination for professional education in this sector. University of Mumbai
by offering structured course for this Industry shall open up opportunities for multiple aspiring students to
pursue their career in this rising sector.
2. Whether UGC has recommended to start the said Course:
The basis to start the course is our indegenious understandi ng about its requirement and not primarily as per the
recommendation from UGC.
3. Whether the course have commenced from the academic year 2019 -20:
Bachelor of Performing Arts (Dance & Choreography) course is now planned to start from next academic
year 2021 -22.
4. The courses started by University are Self -Financed, whether adequate number of eligible permanent
Faculties are available:
Bachelor of Performing Arts (Dance & Choreography) course is planned to start from the academic year
2021 -22 and the identi fication and appointment of Eligible Faculties is under progress.
5. To give details regarding duration Bachelor of Performing Arts (Dance & Choreography) course
and is it possible to compress the Course:
The duration of the Course is for 3 years which is tak en-up after considering the optimal duration needed to
complete the syllabus requirement of the course.
6. The intake capacity of Bachelor of Performing Arts (Dance & Choreography) course and no. of
admissions given in the current academic year (2019 -20):
The course is to start from the academic year 2021 -22 and hence admissions has still not started. The Intake of
this course is 60 students.
7. Opportunities of Employability / Employment available after undertaking Bachelor of Performing
Arts (Dance & Choreogra phy) course:
The training methodology of the course has a high emphasis on the industry oriented approach. Students are to
be part of live projects, internships and other extracurricular activities with the Industry during their educational
journey to ensu re their industry readiness. Along with the collaborations and associations with key industry
practitioners, a dedicated placement cell will facilitate different forms of employment opportunities for the
students. In the growth of the Film & Entertainment sector in India, Mumbai city has played a significant role in
the past century. It houses many of the leading corporates, production houses and organisations of this Industry,
opening the untapped employment opportunities for learned professionals, underta king such courses recognised
by the University of Mumbai department.
Page 4
Bachelor of Performing Arts
(Dance & Choreography)
Page 5
O.6546 Title of the Course Bachelor of Performing Arts
(Dance & Choreography)
O.6547 Eligibility for Admission Have passed 10+2 / HSC examinations
from any stream;
Have successfully passed the evaluation
rounds including interview.
R.9292 Passing Marks 40% passing marks
Ordinances / Regulations
(if any) As attached
No. of Years / Semesters Three years full time/ 6 semesters
Level Bachelor
Pattern Semester
Status New
To be implemented from
Academic Year From academic year 2020 -21
R.9293 Intake Capacity 60
Page 6
Objectives of Bachelor of Performing Arts (Dance & Choreography)
The Bachelor of Performing Arts (Dance & Choreography) degree course will provide
Students a variety of learning objectives designed to give them a well -rounded
education in all facets of dance and intersecting industries, thus allowing them to take
their training and experience and become leaders in the field of dance.
● Training
Developing hybr id dance artists through rigorous studio training in various dance
styles, with a focus on how diverse dance techniques intersect with one another.
Also, expanding somatic and kinesthetic understanding as well as
improvisational and compositional skills. I n addition, providing extensive,
informative experiences through learning and performing seminal and new dance
repertory by influential choreographers.
● Foundational Knowledge
Tracing the history and evolution of dance through multidisciplinary courses whi le
blending theory and the practice of dance in studio course work. Areas of study
such as dance history, culture and community as well as music, media arts,
writing, science and business, provide context and a sense of place from which
to collaborate, cre ate and innovate.
● Collaboration
Understanding the importance of collaboration in the artistic process through
projects with fellow dancers, students and faculty from other disciplines at the
university, and visiting artists.
● New Media
Knowledge of cinema tic arts and new media through workshops on topics such
as filmmaking, editing, virtual reality and web -based platforms, coupled with an
understanding of how digital technologies will continue to impact dance.
● Strategic Venture Skills
Providing practical business and strategic leadership tools for career success, as
well as an understanding of the workings of the dance industry.
● Performance Project
Application of what is learned through a self -directed project in the final year,
completed under the guidan ce of a faculty mentor.
Page 7
Ordinances & Regulations
Bachelor of Performing Arts (Dance & Choreography)
General Guidelines
The Credits are defined in terms of the learner’s hours which are divided into two
parts such as Actual and Notional. The value of a particular course can be
measured in number of Credit Points.
The scheme of Examination shall be divided into two parts i. e. Internal
Assessment includes Assignments, Seminars, Case Studies and Unit Tests which
will be of 60 marks and the Semester End Examinations which will be of 40 marks.
The semester wise Credit Points will be varied from program to program but the
value o f Credits for Under Graduate Programmes shall be of 120 Credits and for
Post Graduate Degree programmes it will be 96 credits
Credit Based Evaluation System Scheme of Examination
For all 6 semesters, the performance of the learners shall be evaluated in to two
components. The first component shall carry 60% marks which will be an internal
assessment while the second component shall carry 40% marks at semester end
examination.
The allocation of marks for the Internal Assessment 60% and Semester End
Examin ations 40% are as shown below:
a) Structure of Internal Assessment - 60% = 60 marks
Sr.
No. Particulars Marks
1 One periodical class test held in the given semester 20 Marks
2 Subject specific Term Work Module/assessment modes –
atleast two as decided by the department in the beginning of the
semester (like Extension/field/experimental work, Short Quiz;
Objective test, lab practical, open book test etc and written
assignments, Case study, Projects, Posters and exhibits etc for
which the assessment is to be based on class presentations
wherever applicable) to be selflessly assessed by the teacher/s
concerned 30 Marks
3 Active participation in routine class instructional deliveries (and
in practical work, tutorial, field work etc as the case may be ) 05 Marks
Page 8
4 Overall conduct as a responsible learner, mannerism and
articulation and exhibit of leadership qualities in organizing
related academic activities 05 Marks
b) Semester End Examinations - 40% = 40 Marks
i. Duration – These examinations shall be of 2 Hours duration.
ii. Theory Question Paper Pattern:
● Q1 - Answer in Brief ( Any 5 out of 7) - 15 marks
● Q2 - Answer in detail ( Any 3 out of 5) - 15 marks
● Q3 - Descriptive question/case study (Compulsory) - 10 marks
Question may be subdivided into sub -questions a, b, c… and the allocation of marks
depends on the weight -age of the topic. .
The assessment of Part ‘A’ i.e. Internal Assessment and Part ‘B’ i.e. Semester End
Examination as mentioned above for the Semesters I to IV shall be processed by
the Colleges - ‘Institutions of their learners’ and issue the grade cards to them after
the co nversion of marks into grade as per the procedure mentioned bellow.
The assessment of Part ‘A’ i.e. Internal Assessment as mentioned above for the
Semesters V & VI shall be processed by the Colleges / ’Institutions of their
learners’ admitted for the pro gramme.
For part B that is semester end examination of the semesters V & VI, the
University shall conduct the assessment. The Internal Assessment marks of
learners appearing for Semesters V & VI shall be submitted to the University by
the respective coll eges/ Institutions before the commencement of respective
Semester End Examinations. The Semester End Examinations for Semesters V &
VI shall be conducted by the University and the results shall be declared after
processing the internal assessment and the m arks awarded to the learners. The
grade card shall be issued by the University after converting the marks into
grades.
❖ R – Passing Standard
The learners to pass a course shall have to obtain a minimum of 40% marks
in aggregate for each course where the course consists of Internal
Assessment & Semester End Examination. The learners shall obtain
minimum of 40% marks (i.e. 24 out of 60) in the Internal Assessment and
40% marks in Semester End Examination (i.e. 16 Out of 40) separately, to
Page 9
pass the course a nd minimum of Grade D in each project, wherever
applicable, to pass a particular semester. A learner will be said to have
passed the course if the learner passes the Internal Assessment & Semester
End Examination together.
Marks Grade Points Grade Performance
Less than 40 0 F Fail
40 - 44.99 4 D Pass
45 - 49.99 5 C Average
50 - 54.99 6 B Above Average
55 - 59.99 7 B+ Good
60 - 69.99 8 A Very Good
70 - 79.99 9 A+ Excellent
80 & Above 10 O Outstanding
❖ CARRY FORWARD OF THE MARKS IN CASE IF THE LEARNER GETS
‘D’ GRADE IN ONE OR MORE SUBJECTS:
1. A learner who PASSES in the Internal Examination but FAILS in the
Semester End Examination of the course shall reappear for the
Semester End Examination of that cour se. However his/her marks of
the Internal Examinations shall be carried over and he/she shall be
entitled for grade obtained by him/her on passing .
2. A learner who PASSES in the Semester End Examination but FAILS in
the Internal Assessment of the course sh all reappear for the Internal
Examination of that course. However his/her marks of the Semester
End Examination shall be carried over and he/she shall be entitled for
grade obtained by him/her on passing.
❖ ALLOWED TO KEEP TERMS (ATKT):
As per University rules and regulations
Page 10
Additional Examinations :
A. INTERNAL ASSESSMENT: As per University rules and regulations Class
test or assignment for Internal Assessment as per University rules and
regulations
B. SEMESTER END EXAMINATIONS
As per University rules and regulations
ELIGIBILITY TO APPEAR FOR ADDITIONAL SEMESTER END EXAMINATION:
As per University rules and regulations
MODE OF CONDUCT OF SEMESTER END ADDITIONAL EXAMINATION:
As per University rules and regulations
Evaluation of Projects (Wherever Applicable)
1. A learner who PASSES IN ALL THE COURSES BUT DOES NOT secures
minimum grade of E in project as applicable has to resubmit a fresh project
till he/she secures a minimum of grade E. His/her marks in the theory papers
that the l earner has passed will be carried forward and he/she shall be
entitled for grade obtained by them on passing.
2. The evaluation of project and viva -voce examination shall be by awarding
grade in the seven point scale.
3. A learner shall have to obtain minimum of grade E (or its equivalent marks) in
project evaluation and viva/voce taken together to obtain 40% marks in
project work.
Calculations of GPA & SGPA
As per University rules and regulations
O – Eligibility for Admission :
● Candidates for being eligib le for admission to the three -year course leading
to the Degree of Bachelor of Performing Arts (Dance & Choreography) ,
shall be required to have passed the Higher Secondary School Certificate
Examination (Academic or Vocational Stream) conducted by differe nt
Divisional Boards of Maharashtra State Board of Secondary and Higher
Secondary Education or an Examinations of any another University or Body
Page 11
recognized as equivalent thereof by the Senate of the University.
● Have successfully passed the evaluation rou nds including interview.
● Reservations as per University rules will be applicable.
1. Eligibility for the award of the degree:
A candidate shall be eligible for the award of the Degree only if he / she has
undergone the prescribed course of study in a College affiliated to the
University for a period of not less than three academic years, passed the
examinations of all the Six Semesters earning 120 credits, letter grade of at
least D or above.
Programme Structure
Se
m Sub
Code Subject Name Total
Credits Internal External TOTAL
Sem 1 BPAD01 Introduction to Performing Arts 4 60 40 100
Page 12
BPAD02 History of Dance & Choreography in
India 4 60 40 100
BPAD03 Movement in Performance 4 60 40 100
BPAD04 Dance Technique I 4 60 40 100
BPAD05 Repertory, Collaborations, Performance I 4 100 - 100
20
Sem 2 BPAD06 Dance Aesthetics 4 60 40 100
BPAD07 Principles & Elements of Dance
Choreography 4 60 40 100
BPAD08 Dance Technique II 4 60 40 100
BPAD09 Dance Technique III 4 60 40 100
BPAD10 Dance Beyond the Studio 4 100 - 100
20
Sem 3 BPAD11 Developing Skills and Techniques for
Live Performance 4 60 40 100
BPAD12 Dance Technique IV 4 60 40 100
BPAD13 Dance Technique VII 4 60 40 100
BPAD14 Repertory, Collaborations, Performance
II 4 100 - 100
BPAD15 Independent Study in Dance 4 100 - 100
20
Sem 4 BPAD16 Dance Choreography Process and
Devices 4 60 40 100
BPAD17 Final Live Performance to an Audience 4 60 40 100
BPAD18 Dance Technique VI 4 60 40 100
BPAD19 Dance Technique VII 4 60 40 100
BPAD20 Dance Technique VIII 4 60 40 100
BPAD21 Work Integrated Learning Opportunity 4 100 - 100
20
Sem 5 BPAD22 Preparing for a Performing Arts
Production 4 60 40 100
Page 13
BPAD23 Choreography for Live Performance 4 60 40 100
BPAD24 Folk Dances of India 4 60 40 100
BPAD25 Professional Development 4 60 40 100
BPAD26 Work Integrated Learning Opportunity 4 100 - 100
20
Sem 6 BPAD27 Performing Arts Production 4 60 40 100
BPAD28 Dance Health & Fitness 6 60 40 100
BPAD29 Usage of Technology in Dance 4 60 40 100
BPAD30 Performance Project 6 100 - 100
20
GRAND TOTAL 120
Semester I
Introduction to Performing Arts
Unit I
Explore roles and responsibilities in performing arts
● Types of performing arts event
Page 14
● Introduction to types of venue and performance space and how they impact on performers and
production arts practitioners:
● Exploring differ ent types of staging and professional environments.
● Introduction to responsibilities during performance and rehearsal.
● Introduction to design and realisation for performing arts.
● Understanding responsibilities of performing arts roles,
● Understanding the relationships and interactions with other associated roles
Unit II
Explore skills and techniques appropriate to role
● Warming -up/preparation.
● Safe working.
● Working as an ensemble or team.
● Understanding technical language and direction.
● Skills and techniques as appropriate to chosen role or discipline.
● Performance skills and techniques as appropriate to chosen role or discipline:
● Production skills and techniques as appropriate to chosen role or discipline:
Unit III
Working with others to create a performance
● Communicating with group members.
● Identifying needs of different group/team members.
● Sharing ideas and opinions.
● How to give and respond to constructive criticism in different ways
● How rehearsals are structured.
● Making collaborative decisions on how to progress.
Unit IV
Documenting experiences and evaluating personal contributions
Learners will learn how to document experiences, processes and evaluate personal contributions.
● Use of:
○ workshops
○ performance showings ○ small-scale productions.
● Detailing experience, personal contribution and development.
● Making judgements on contributions and their suitability for workshops.
● Debriefing workshops and sessions individually and as a group.
● Providing commentary on contributions and decisions.
● Methods of providing commentary: commentary over video, comments on websites, such as
SoundCloud or Tumblr, audio or video debrief, written notes.
● Storage and presentation methods: use of videos and audio, labelling and tagging content, web -
based presentations, such as Tumblr, Pinterest, YouTube, use of cloud storage, use of hard drive
History of Dance & Choreography in India
Unit I
Origin and history of Indian classical dance
Evolution, technique, costumes, music, Gurus and pioneers of Bharatanatyam, Kathak, Kathakali,
Kuchipudi, Manipuri, Mohiniattam, Odissi and Sattriya General understanding of major Talas of
Hindustani and Carnatic music traditions
Unit II
A brief study of Composers/Vaggeyakaras and their works including Jayadeva, Narayanateertha,
Surdas, Meera Bai, Tulasidas, Vanamalidas, Kshetrayya, Srimanta Shankar Deva, Govindadas,
Page 15
Vidyapati, and others. Study of the role of Rabindranath Tagore, Rukmini Devi Arundale, Vallathole
Narayana Menon, Madame Menaka and others in the revival and reconstruction of classical dance
Unit III
The new wave in Indian dance - Its development through the works of Uday Shanker and Ram Gopal
and the later major contemporary artists an d their works. (eg. Shantibardhan, Narendra Sharma, Sachin
Shanker, Mrinalini Sarabhai, Maya Rao, Kumudini Lakhia, Manjusri Chaki Sarkar, Chandralekha, Astad
Deboo and others)
Unit IV
Study of the history and development of classical ballet in Europe, Ru ssia and America Emergence of
Modern Dance in the west and major personalities involved Influence of the West on Indian dance in
terms of production design
Movement in Performance
Unit I
Understand the four components of movement in performance
The four main components of movement
Study of the four components of movement with reference to dance and acting must be carried out
allowing for effective analysis, evaluation and understanding.
RADS: relationships, actions, dynamics, space
Unit II
Develop movement skills for performance
1. Exploration of stimulus that can be used to develop a movement phrase
Page 16
2. Development of movement skills
Unit III
Apply movement skills to a performance
1. Application of movement skills through rehearsal
2. Application of movement skills through performance
Unit IV
Review personal development and own performance
Review and evaluate development and application of movement skills
Response to stimulus, Reference to the four movement components (RADS), Physical skills,
Interpretative skills, Strengths, Areas for improvement, Target setting, Peer/tutor feedback.,
Audience reaction.
Dance Technique I
Students will learn one dance form in detail in theory & pract ice
Repertory, Collaborations, Performance I
Rehearsal skills and artistry are developed through the study of repertory and participation in
choreographic collaborations with house and guest choreographers. Most of these collaborations
culminate in performance.
Semester II
Dance Aesthetics
Unit I
● Dance as a Performing Art
● Aesthetics, Neuroaesthetics and the Psychology of Art
● Dancer or the Dance - Face Perception, Human motion pictures
● Motor Simulation - Theory
● Dance & Emotions - Basic Emotions, Facial Expressions, Body Expression, Expressive
Behaviour
● Dance & Language - Dance & the Language Metaphor, Vocabulary, Phrases & Syntax,
Reference, Truth & Function
● Understanding Gestures & Actions
● Understanding Scenes
● Understanding Metaphors
Page 17
Unit II
Studying the work of well known practitioners
For the purposes of this unit, a practitioner is defined as an individual or a company with
international recognition and an established reputation and presence
● Selecting primary sourcs
live pe rformance, interviews, surveys
● Selecting secondary sources:
Digital, recorded, web based, print
● Collating information, such as selecting and organising the pieces most relevant to the tasks and
purpose.
Unit III
1. Contextual factors and practitioners’ work
Learners should consider all of the contextual factors and focus on to what extent and how they may have
influenced, impacted or been portrayed within the work.
● The influence of historical factors, cultural factor s, economic factors, political factors,
technological factors, social factors, geographical and physical factors
2. Creative intentions and themes
● Exploration of themes in the work and how they are communicated, such as war, morality,
romance.
● Use of creativ e ideas and intentions, Genre of the work(s).
● Target audiences and intended effect.
● How practitioners’ work has influenced others.
● Collaboration with other practitioners in the performing arts and/or other areas.
Unit IV
1. The application of critical anal ysis skills
● Analysing contextual factors that have influenced the work.
● Exploration and understanding of alternative viewpoints.
● Interpreting the information collected.
● Prioritising the information collected.
● Evaluating the information collected.
● Making in dependent judgements.
● Drawing conclusions.
● Establishing links and comparisons to the work of other performing arts practitioners.
● Exploring opportunities for further investigation.
2. How performance styles and methods that characterise practitioner work are used to
create and communicate meaning and style
● Performance and relationships
● Production and repertoire
Unit V
1. Summarise key information to support independent judgements
2. Presentation of findings
3. Presentation of independent judgements
Use of cr itical analysis, Explaining views and interpretations, Presenting structured arguments,
conclusions and judgements, Use of relevant examples to support arguments, conclusions and
judgements.
Page 18
Principles & Elements of Dance Choreography
Unit I
Be able to apply compositional structures and devices in the creation of dance work
Structures: binary, ternary, rondo, narrative, theme and variation, abstract, chance
Devices: motif development; unison; canon; repetition; dynamic variation; contrast; climax; highlights;
proportion and balance; logical sequencing; unity; symmetry; asymmetry; inversion; stillness
Unit II
Know how to respond to, and work with, different stimuli
Stimuli: at least two of the following: music, poetry, t ext, characters, current affairs, paintings,
photographs, sculpture, spoken word, sound, moving image, abstract concepts, objects, professional
repertoire
Using stimulus material: discussion, improvisation, interpretation of stimulus material, experimenta tion;
selection and rejection, evaluation, manipulation of stimulus, development of ideas
Unit III
Be able to work effectively with dancers
Number of performers: work with at least two of the following: solo, duo, trio, small groups, larger groups
Working relationships: cooperation; listening; valuing the work of others; organisation; focus
Unit IV
Page 19
Understand the choreographic process and the performance of dance composition
Evaluate process: interpretation of stimulus; selection of movement material; dev ices and structures
used;working relationship with dancers; time management; rehearsals; strengths and weaknesses
Evaluate performance: effect on the audience; strengths and weaknesses; communication of ideas;
intention and meaning
Dance Technique II
Students will learn one dance form in detail in theory & practice
Dance Technique III
Students will learn one dance form in detail in theory & practice
Dance Beyond the Studio
This unit offers students the chance to embrace dance that happens beyond the studio through modes of
performance, installation, flash -mob, public events, political activism, educational workshops, therapeutic
activity, video, online publication etc. Students will investigate areas of dance in socially applied an d
participatory art practices, dance and disability studies, dance education, dance therapy, or dance and
well-being and apply their dance and choreographic skills to work in an 'external' context with a diverse
range of possible requirements or outcomes.
Page 20
SEMESTER III
Developing Skills and Techniques for Live Performance
Unit I
Understand the role and skills of a performer
Explore the roles and skills of a performer
Study of the performance, roles and skills must be carried out, allowing for effective analysis,
evaluation and understanding.
● Performance roles, such as: actor, dancer, musical theatre performer, variety entertainer,
performance artist
● Performance skills, such as:technical, physical, vocal, interpretative .
● Practical skills, such as:
○ planning
○ responding to direction/choreography
○ collaboration
○ team working.
Unit II
Develop performance skills and techniques for live performance
1. Explore and develop physical skills, performance disciplines and styles
2. Explore and develop vocal skills, performance disciplines and sty
3. Develop interpretative skills, performance disciplines and style
4. Personal management and discipline skills for performance
Unit III
Apply performance skills and techniques in selected styles
Page 21
Learners will apply the relevant performance skills presentations/performances or demonstrations based
upon existing material in one performance style.
● Application of physical and vocal skills to performance material, disciplines and style
● Applicati on of interpretative skills to performance material, disciplines and styles
Unit IV
Review and reflect on development of skills and techniques for live performance
Review and evaluate development of skills and techniques for live performance
Learners must track their progress during this unit, reflecting on and evaluating the application and
development of performance skills and techniques during workshops, rehearsal and final performance,
presenting the information in a performance log that includes a combination of recorded evidence and
supporting annotations.
Dance Technique IV
Students will learn one dance form in detail in theory & practice
Dance Technique V
Students will learn one dance form in detail in theory & practice
Repertory, Collaborations, Performance II
Rehearsal skills and artistry are developed through the study of repertory and participation in
choreographic collaborations with house and guest choreographers. Most of these collaborations
culminate in performance.
Indep endent Study in Dance
Self-directed study of an academic or creative project designed to focus on a specialized area of dance.
Page 22
SEMESTER IV
Dance Choreography Process and Devices
Unit I
Choreographic Processes
Improvisation skills to find ways to make literal movement into abstract movement. Elements of dance:
body, energy, space, time (BEST), selected and combined to create dance that communicates
choreographic intent
Unit II
Choreographic Devices & Structures
Choreographic devices (unison, canon, repetition, abstraction) and choreographic structures (narrative,
binary) to create dance that communicates meaning. Group work practices (sharing ideas, problem -
solving, listening skills, providing constructive feedb ack) in dance
Unit III
Performance
Techniques that focus on developing retention of movement with accuracy and detail. Performance skills
(expression, projection, focus) demonstrated to an audience and appropriate to the dance genre/style
Unit IV
Dance R eflecting and Analysing
Reflective processes, using dance terminology, on their own and others’ work and the effectiveness in
dance works of the use of the elements of dance and design concepts (lighting, music/sound, multimedia,
costume, props, sets, stag ing)
Page 23
Final Live Performance to an Audience
Unit I
Understand performance material (text/stimulus) when developing a live performance
1. Performance material/stimulus
The type of material may be a text for the production of existing work, or stimulus used as the starting
point for a devising or choreographic process.
● Published play text.
● Published musical theatre score, lyrics and dialogue.
● Existing choreography/repertoire.
● Stimulus material for a devising or choreographic pr ocess, e.g. music, published literature, art
works.
2. Interpreting performance material/stimulus through exploration
● Author’s intention.
● Style and genre.
● Social and historical background and context.
● Stylistic qualities.
● Creative intentions.
● Physical skills .
3. Developing role(s) in response to exploration of performance material/stimulus
● Existing performance material:
○ creative decisions based on text/repertoire, e.g. character’s through -line, choreographer’s
intention, theme
○ performance requirements of the st yle/genre, e.g. stylistic qualities, conventions,
aesthetic elements
○ historical, social and cultural factors, e.g. social etiquette, status, politics
○ key practitioners, e.g. applying the techniques of performance theorists, principles of arts
movements.
● Stimulus material:
○ exploration and development using selected techniques and strategies of professional
practitioners and theorists as appropriate
Page 24
○ improvisations to explore role/character, solve staging problems, generate action and
content
○ group discussio n, brainstorming
○ scripting/notation of content generated through devising/improvisation/choreography
○ testing and modifying material and content
○ target audience.
Unit II
Apply specialist skills and techniques during rehearsal for a live performance
1. Process es and practices during rehearsal
2. Application of specialist skills and techniques during rehearsal for a live performance
Unit III
Apply specialist skills and techniques to a live performance
1. Application of specialist performance skills
● Physica l skills (as appropriate to the medium and role)
● Vocal skills (as appropriate to the medium and role)
Page 25
2. Application of interpretative skills
● Focus.
● Emphasis.
● Facial expression.
● Characterisation.
● Response to performance material.
● Subtext.
● Character journey.
● Style of the performance material, e.g. naturalism, urban, jazz, golden age musical,
vaudeville.
● Skills appropriate to staging/venue, e.g. proscenium, arena, cabaret, site specific.
3. Application of communication skills
● Physical expressio n.
● Vocal expression.
● Use of space.
● Relationship with other performers.
● Relationship with audience.
● Relationship with visual and/or aural elements.
● Use of properties, costumes, masks.
● Use of multimedia.
Unit IV
Review personal development and own performance.
Review and evaluate application of skills and techniques during final performance to a live
audience
Learners must track their progress during this unit, reflecting on and evaluating the application and
development of specialist skills and t echniques during workshops, rehearsal and final live
performance to an audience, presenting the information in a performance log that includes a
combination of recorded evidence and supporting annotations.
Page 26
Dance Technique VI
Students will learn one danc e form in detail in theory & practice
Dance Technique VII
Students will learn one dance form in detail in theory & practice
Dance Technique VIII
Students will learn one dance form in detail in theory & practice
Work Integrated Learning Opportunity
Work -integrated learning opportunities are embedded through the programme with real client briefs,
opportunities for client and industry engagement and professional practice. These may be discipline
specific or may introduce students to other opportunities in the diverse field of creative arts. Students
meet industry practitioners, visit creative industry workplaces, organise and promote a festival of
exhibitions and performances and learn the appropriate practical, administrative, marketing and self -
management skills required to launch and maintain their careers as creative artists in their chosen
discipline. Student will develop a career development strategy that can be used to demonstrate the
essential skills and knowledge for a future job application, succes sful pitch for funding or development
of a self -run project.
Semester V
Preparing for a Performing Arts Production
Page 27
Unit I
Prepare for a professional role during rehearsal
Learners will use practical sessions to explore the preparation requirements of a rehearsal and
production process in the context of their chosen discipline. They can undertake the process as a
performer or a member of the production team. The rehearsal and production process can involve
pre-existing o r original material as appropriate for learners.
1. Exploring material
2. Exploring technical requirements
3. Establishing schedules and etiquette
Unit II
Refine skills needed for a professional role during rehearsal
Learners will use practical rehearsal and pro duction sessions to use feedback and refine skills and/or
processes. As far as possible, learners should be encouraged to follow established industry
processes in their chosen performing or production discipline. The production or performance they
prepare for can be any that is suitable for their role or discipline.
1. Using feedback to develop performance/production
2. Implement rehearsal or production skills in preparation for a performance
Choreography for Live Performance
Unit I
Understand choreographic structures and devices
1. Explore choreographic devices and compositional structures
● Choreographic devices: motif and motif development, contrast, complementary, unison,
canon (reverting: overlapping and non -overlapping, simultaneous , cumulative, loose), contact,
highlights and climax, logical sequencing, positioning/relationship of dancers, use of props
and set.
● Compositional structures: binary, ternary, rondo, episodic, narrative, chance, collage, theme
Page 28
and variation.
2. Practitioners
Learners must review the work of at least three practitioners to support their understanding of the
previous unit
Unit II
Develop choreography techniques for performance
● Select, explore and respond to stimulus/subject matter when developing choreographic
techniques
● Use of choreographic devices:
● Selection of compositional structure:
● Refinement of movement material.
Accompaniment for choreography
● Musical accompaniment for live choreography, such as live (musicians, dancers, sound
engineer/DJ), recorded, cl assical, electronic, pop and rock, found and natural sounds,
text/spoken word, silence.
● Relationships between movement and musical accompaniment:
● Set time and place:
Unit III
Apply choreography techniques to a performance
1. Application of skills and techniques when developing performance and working with
dancers
● Working with dancers
● Choreographic techniques:
● Performance
Unit IV
Review own development and final performance
1. Review and evaluate development and application of choreographic skills and
techniques for performance
Learners must track their progress during this unit, reflecting and evaluating on the application and
development of choreographic skills and techniques during workshops, rehearsals and final
performance, presenting the information in a performance log that includes a combination of recorded
and evidence and supporting annotations.
Page 29
Folk Dances of India
Unit I
Traditional Folk Dances of North India
North – Mithila, Santhal, Mundas, Oraon (Bihar & Jharkhand), Bhangra, Jhoomar, Gidd ha (Punjab),
Dhamal (Haryana), Hafija, Bacha Nagma, Rouf, (Jammu & Kashmir), Jhanjar, Sangla (Himachal
Pradesh), Jogiya, Ahir, Dhobia, Kajari, Holi, (Uttar Pradesh & Uttaranchal), Karma, Jhumar, Gedi,
Tribal Dance (Madhya Pradesh & Chhattisgarh).
Unit II
Traditional Folk Dances of South India
South –Bathkamma, Lambani (Andhra Pradesh), Kolattam, Kolkali, Pinnal Kolattam, (Tamilnadu &
Kerala), Dolla Kunitha, Kudarai Kunitha, (Karnataka).
Unit III
Traditional Folk Dances of East India
Bihu, Mizo, Naga, Bodo Kacheri (war dance), Satriya (Assam & West Bengal), Gaundas, Muria
(Orissa), Laiharoba, (Manipur).
Unit IV
Traditional Folk Dances of West India
Garba, Garbi, Dandia, Kalbelia, Kachhi Ghori, Tera Tali, Ghoomar (Gujarat & Rajasthan), Kolia,
Lavani, ( Maharashtra).
Unit V
Folk Theatre
Folk Theatre for North & South India – Ram Leela, Ras Leela, Nautanki, Nacha, Pandvani,
Yakshagana, Bhagvat Mela, Kutiattam
Folk Theatre for East & West India – Jatra, Bhavai, Tamasha, Ankia Nat, Chhau.
Professional Development
Unit I
Explore professional development needs
Page 30
1. Performing arts industry occupations
Learners will explore industry occupations and considerations related to their skills, influences and
personal ambitions.
● Occupations:
○ performer for stage, radio, film, television or digital media
○ technician for stage, radio, film, television or digital media
○ designer for stage, radio, film, television or digital media
○ stage management
○ performing arts administration
○ workshop facilitator, including outreach, Theatre in Education, animateur.
● Freelance working considerations – pros and cons, finding work.
2. Personal career aspirations
Learners will explore their own personal career aspirations through looking at their influences
and skills.
● Personal skills audit:
○ a personal review of skills explored and developed
○ areas for development in relation to occupations and aspirations.
● Types of employment – self-employed, employed, freelance, running a business, portfolio
careers.
3. Perso nal and employability skills required for professional development
Unit II
Present a professional development plan
Learners will explore methods of creating and presenting a professional development plan.
1. Creating and presenting a professional developmen t plan
● Choosing content.
● Identifying stages of development.
● Establishing short - and long -term targets.
● Making links to skills developed in the workshops and elsewhere.
● Establishing practice routines and techniques linked to skills development.
● Making connections to industry occupations.
● Format:
○ online
○ screen
○ printed
○ slideshow.
● Notes and support materials.
● Embedding or linking media
Unit III
Identify employment opportunities
1. Finding and responding to employment opportunities
Learners will explore the different types of employment opportunities available in their chosen
discipline and how to find them.
● Using relevant information sources and contacts, such as:
○ agents
○ industry media
○ professional bodies
○ networking events.
● Explore the similarities and differences in preparing to apply for different types of employment
opportunities,
● Understand other factors linked to employment in the sector, such as:
○ full time, part -time and/or seasonal contracts
○ voluntary or work experien ce opportunities
○ touring or venue -based work.
Page 31
2. Presenting promotional material
Learners explore how to present promotional material for employment opportunities.
● Methods of presentation:
● Contents of promotional material as appropriate for chosen discipline , such as:
○ show reel
○ relevant sector experience
○ skills
○ ambitions in relation to discipline
○ professional biography
○ experience of relevant equipment or software
○ headshot.
● Presenting material in an appropriate manner:
○ appropriate language
○ format
○ clarity of images and video
○ organising material in a coherent manner.
Unit IV
Present an audition or portfolio
1. Selecting material for an audition or portfolio
Learners will explore the considerations that need to be made when selecting material for a solo
audition or portfolio.
● Factors to consider when selecting appropriate material
● Available time to learn, choose or produce material
● Creative interpretation development
● Meeting opportunity requirements
● Considering other factors
2. Presenting an audition or portfolio
● Professional processes for audition or portfolio submission.
● Adapting material to fit the audition requirements of an employment opportunity, such as:
● Preparing for additional skills needed to respond to the requirements of an employment
opportunity, such as :
Page 32
Work Integrated Learning Opportunity
Work -integrated learning opportunities are embedded through the programme with real client briefs,
opportunities for client and industry engagement and professional practice. These may be discipline
specific or may introduce students to other opportunities in the diverse field of creative arts. Students
meet industry practitioners, visit creative industry workplaces, organise and promote a festival of
exhibitions and performances and learn the appropriate practical, administrative, marketing and self -
management skills required to launch and maintain their careers as creative artists in their chosen
discipline. Student will develop a career development strategy that can be used to demonstrate the
essential skills and k nowledge for a future job application, successful pitch for funding or,
development of a self -run project
SEMESTER VI
Performing Arts Production
Unit I
Page 33
Develop personal management skills for performance
Learners explore the personal and professional responsibilities that need to be addressed when
preparing for a performance.
1. Personal preparation
2. Backstage etiquette and personal management for performance
Unit II
Apply skills to a performance
Learners contribute to a performance in either a performance or technical role.
1. Workshop performances/open dresses/previews
Learners will use trial performances to refine their performance or technical skills in real
scenarios.
● To adapt material for the performanc e rather than rehearsal space:
2. Applying performance or technical skills
● Communication of genre, style, themes and mood.
● Supporting the creative aims of the production.
● Applying technical skills as appropriate and applicable to performance or production rol e,
● such as:
Dance Health & Fitness
Unit I
Understand the structure and function of the human body
Learners must study the structure and function of the human body with reference to dance genres
and styles, allowing for effective analysis, evaluation and understanding.
1. Understand the structure of the human body
2. Understand the function of the body systems
Unit II
Page 34
Develop training techniques for a dancer’s fitness programme
1. Explore areas of fitness
2. Factors that affect training when developing training techniques
Nutrition, Rest and burnout, Injury prevention
Unit III
Apply the principles of training techniques to a dancer’s fitness programme
1. Develop a training programme
2. Application of training techniques to improve performance
Unit IV
Review own development and application of training techniques to a dancer’s fitness programme
Usage of Technology in Dance
Unit I
ART AND TECHNOLOGIES
● Artistic potential of technologies
○ Light
○ Video
○ Video Projection
○ Projection Mapping
○ Sound
○ Motion Tracking
○ Audience participation and interaction aspects .
Page 35
Unit II
Other Trending Media Technologies
● Graphics
● 3D Design
● Trans media Storytelling
● Virtual Reality
● Virtual dance
Unit III
Choreographing the Virtua l Body
● Manipulation of the elements of dance as they relate to dance choreography
● Space
● time
● Dynamics
● Generating movement as it relates to dance choreography
● stimulus material
● Organising the work (form/structure)
● Additional considerations that arise from the intent of the work.
● number of dancers
● other considerations (not compulsory) that may arise from the intent of the work
○ simple costumes and props
○ choice of accompaniment.
Unit IV
● Robotic Movement
● Choreographic Approach
● Kinetic Art
● Movement Notation
Performance Project
Students will develop their interpretive, expressive and physical skills and artistry as dancers and
performers whilst working with leading choreographers on the development of new/original work
and/or remount an extant dance work from a choreographer’s re pertory. Students will continue to
investigate the role of the dancer in performance and what embodied performance means.