AS DANCE STUDENT GUIDE

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AS DANCE


STUDENT GUIDE


TEACHER: ZURI THOMPSON






Name ………………
…..











1


CONTENTS











Pages


Welcome and tips






2


The Course







3


Danc
1


Written Exam






5


Danc
2


Practical Exam





6


General I
nformation






8









Glossary of
Dance Terms





13


Anatomy and Physiology Glossary




17


The Skeleton







19


Programme Notes






21


Dance R
esource
s






22


Essay Plans







24


Revision








26






Record of Professional W
ork





28


A2 Danc
e O
utline






29


Useful W
ebsites







29







2


Welcome to AS Dance


This course is part of the performing arts department, within the
faculty of Arts. It is a one
-
year course combining the elements of
dance technique, performance and theory; split in to two units (more
detail is provided on the following pages).


If you
are successful you can then proceed onto the A2, full course.


You will mainly study
the genre of Contemporary Dance

through technique classes,
choreography, dance analysis, with anatomy

and physiology.


To
make the most of your time on the course
, and to
achieve the highest possible
grade, here are a few tips to help you through the next ten months:


Attend all lessons;




If you miss even one lesson you will feel like you are behind, if you are ill you
must
email me on

zthompson@newvic.ac.uk
.




Holidays in term
time are not tolerated; so do not

book anything that will
interfere with your studies, including doctors, dentists and hospital
appointments.


Your part
-
time job
;



You are advised to work
no more than 12 hours

a week in a part
-
time job, if you
do more than this your studies are very likely to suffer


Homework
;



It is expected that you spend a minimum of
4

hours a week on homework
, if
you do this

you will find your class work easier to manage (even if you just r
ead
thr
ough
notes
from the
previous lesson) or
read the latest dance news on
www.l
ondondance
.com
.


Issues
;



Anything big or small, related to college or even home life, can stop you
achieving.
If you have any concerns or worries then please come and speak

to
me
ASAP
.









3


AS Dance
:
The Course



Unit 1

DANC
1



Written Exam:
Understanding Dance



40%


1:30hr

Exam







60 marks


Two sections:

A


Structured Questions

(20 marks)





B


Two Essay Questions

(40 marks)


Unit 2

D
ANC
2


Practical Exam:
Chor
eography and Performance
60%


Internally assessed






90 marks



Two Sections:


A


Solo choreography and performance

(60 marks)

B


Performance in duo/trio





(30 marks)





Unit 1 + Unit 2 =
100%


DANC
1


You are required to sit a written exam of 1hr
30min

answering short
paragraph questions and longer essay questions on your understanding
of dance. The focus is on your own training and experience as a
performer and choreographer and will also draw upon your knowledge of
professional dance works.


The

exam is set by AQA an
d marked externally. See page 5

for a more
detailed breakdown of this unit.



DANC
2


You are required to choreograph

and perform a solo dance
based upon
one of a series of four questions set by the exam board in November.
You will also learn and perform a duo/trio for your examination:
e
ither
your solo or the duo/trio will be shown in the
annual dance show.










4

For all classes you will be
expected to main
tain and bring with you, an A4
folder with all of your AS Dance workbooks and revision worksheets
,
separated into the following areas:


Dancer in Action (Anatomy and Physiology)

Dance analysis/professional dance works

Choreography

Perform
ance
















5

DAN
C1: Written Exam


Understanding Dance


This is

a formal examination of 1.30hrs, which will ask questions on

your
experie
nce of

performing dance, watching dance and
choreographing dance


For example


Section A


Q
1

Identify
choreographic

devices

used in dance

Q
2

Discuss how you have
used these devices in your own work

Q
3

Analyse the effect of these
devices

on your
choreography

Q
4

Describe a motif that you would use to represent ‘Freedom’

Q
5

Discuss how the motif you have created represen
ts

the idea of
‘Freedom’

Q
6

Describe a motif that you would use to represent ‘Trapped’

Q
7

Discuss how the motif you have created represents the idea of ‘Trapped’


Section B


Q
8

Making reference to three professional dance works you have studied, discuss
th
e contribution of design toward the choreographic intention.


Q
9

In your training it is important to be aware of ‘safe pra
ctice’, discuss the
appropriate
environment, the teaching of technique and diet in your answer,
making reference to your own dance
practice.
















6


DAN
C2


Choreograph
y

a
nd P
erform
ance


Th
is unit is split into two parts


Section 1


Solo Choreography and Performance (6
0

marks
)


You will choose one question out of four
from the exam paper provided

in
November of your first year, the usual choices for stimulus come
in the
form of
:




Poetry



Music (provided by the exam board)



Incidents, characters or objects in paintings



Prose



Props



Indicative words i.e. Impulse, impact and swing



Or pictures (see
below)


Example: Question 4 Paper 2007

Choreograph and perform a dance based upon the image below.

‘Composition VIII’

by Kandinsky










7

Section

2


Performance in a duo or trio (3
0 marks)


You will be assessed on your ability to per
form in a duo or trio.

You will be
marked on your performance of the material
, which will include
contact
work,
lifts and supports.

This piece may be in any style of dance and will
be selected based your
abilities.












8

General Information

AS Dance


STAFF

Zuri Thompson
zthompson@newvic.ac.uk


Helen Rust


hrust@newvic.ac.uk



LOCATION

F Dance Studio (
F110)



RESOURCES


You should develop your research skills and read
widely.


It is
important that you undertake
background reading

or viewing of recorded
performances

as part of this research.


There is an
excellent stock of books
and DVDs
in the
LRC
covering many different aspects of Performing
A
rts.


Please make full use of these
resources.


Books you might like to consider buying for your
own use; Au, S.
Ballet and Modern Dance
. Smith
J.
Dance Composition.
available from



IN CLASS

For all practical classes you will be expected to
wear appropriate dance wear and work in bare
feet unless otherwise stated in class.
Appropriate
wear includes:

Leggings

Jogging bottoms

T
-
shirts

Leotards

Sports Bras


Hair must be tied back and tidy and all jewellery
must be removed. Absolutely no long
nails

(acrylic or otherwise)
.
No eating or drinking will be
tolerated in the practical da
nce spaces;
a bottle

of
water is the only exception.


It is vital that you

bring
the following
to each class:




Your folder of notes



Lined A4 paper with margins



Pens, p
encils, highlighters






9



Appropriate clothing (clothing
should be loose
and comfortable. N
o jewellery
or shoes
should
be worn)




A USB stick to save all work




Money to pay for live theatre performances



TRIPS

We usually go on approximately 3


5 trips each
year and it is essential for AS Dance students to
attend.
We will be
taking you to see a range of
theatre performances
, but you should not wait for
us to do this


use your initiative and get out there
with o
ther students to see live performance
wherever you can.

You should aim to see as many
different types of performance as possible
throughout the next year, both inside and outside
college.


You should also keep track of relevant TV
and radio programmes, and

read reviews of
performances in a quality broadsheet newspaper.


The aim is to make you familiar with the wider
social and cultural context in which the Performing
Arts operate, so that you can have a more in
-
depth
understanding of how the arts fit into s
ociety.




KEY DATES


May




Dance practical exams

June



Dance
written
exams


Dance trip dates to be confirmed









10

STUDENT SKILLS


Commitment to the course is
extremely
important
.

You

sh
ould be available out of course

time to
rehearse for the exam and dance shows. You will
have to
good punctuality when

attending
rehearsals and performances whilst maintaining
good attendance and application in your other
subjects. You should see as much professional
dance

as you can a
nd to get high grades you
should attend extra dance training in your own
time.



SUPPORT

In lesson time if you are concerned about any
aspect of the course make sure your tutor or
subject lecturer know about these concerns and
can therefore deal with
them and hopefully find a
solution. If you have any other problems during
your time at college there are qualified people on
site to help you with them.




YOUR RESPONSIBILITIES


You are expected to maintain 100% attendance, if
you are ill or unable to get into college for any
reason make sure you or your parents phone in
and leave a message first thing in the morning. If
you are unable to take part in a practical class you
must s
it out and watch and you must produce a
note from a parent, guardian or doctor to explain
why. All dance visits are compulsory, unless
medical evidence or very early notice is given,
whereby it is the student responsibility to cover the
seat.

















11




Extra Curricular dance activities


We recommend you commit to attending extra
-
curricular dance activities
in order to get extra training that will help you with your practical exam
and choreographic ideas.

Participation in any of these activities will hel
p
you develop your skills and increase your confidence as a performer,
which in turn will bring real benefits to your progress on the course. We
also expect performing arts students to make as much use as possible of
the many opportunities for practical w
ork that exist in the college by
participating in concerts, lunch time performances, workshops and
evening productions.


There are a variety of
extracurricular

dance groups in various styles but
we would recommend that you join one of the following:


NewVIc Dance Company

This company is for
generally for
students with
good performance skills and

dance
experience,
however we often accept students with potential
who are willing to commit to

the company and

attending regularly
.
We audition for this group

and a
fter the audition process

the students train
weekly and
work with a

variety of different
choreographers in a variety of styles

of dance to

perform throughout the year in various venues
around London and the UK.



Cultivate Dance Company

This company
is generally for beginner dancers
or dancers that woul
d like extra technical training
and runs on a weekly basis. This company
performs in our end of year dance show and will
build on performance and technical skills to help
them become better dancers and
performers.








12

Finally, a brief note concerning commitment to your chosen course.


At
NewVIc we know that excellent results are the outcome of hard work and
determination.


Dance

is a challenging and demanding course and you
will often be working in groups
.
Lack of attendance, or poor punctuality
will seriously jeopardise your chances of success on the course and will
not be tolerated. Other people in the group will be relying on you to be
there.


As a result we expect full commitment to the course in terms

of
attendance, punctuality and of course, meeting of deadlines.












13

Glossary of Dance Terms

i
n reference to dance


Look up the following words and write the definition below:


Word

Definition
……………………......................

Aerobic


Anaerobic


Alignment


Asymmetry


Canon


Centering


Choreography


Climax


Complementary


Contemporary
Dance


Contact
Improvisation


Core Stability


Cunningham
Tech.


Downstage


Dynamics


Elevation






14

Energy


Extension


Fall


Flexibility


Flexion


Focus


Form


Gesture


Graham
Technique


Highlights


Improvisation


Jeté


Joints


Kinaesthetic
Awareness


Leap


Level


Modern Dance


Motif


Muscle memory


New Dance


Opposition






15

Parallel


Percussive


Phrase


Placement


Plié


Post Modern

Dance


Proscenium Arch


Quality


Release


Relevé


Retiré


Rhythm


Rotation


Spotting


Stimulus


Strength/Stamina


Style


Suspension


Sustained


Swing


Symmetry


Syncopation






16

Technique


Tempo


Tendu


Transition


Turnout


Unison


Upstage


Variation


Vertebrae


Vibratory


Warm up/down










17

Anatomy and Physiology Glossary


Find out the definitions of the following words which describe
position:






Other words you have learnt:











Name

Definition of position


Anterior


Posterior


Medial


Lateral


Flexion


Extension


Adduction


Abduction


Circumduction


Inverted


Everted


Plantar
flexion


Dorsiflexion


Rotation






18


The following are essential elements to a dancers training; write
out the definitions for each
aspect (this is useful for revision).

Alignment
-





Flexibility





Strength and Stamina





Co
-
ordination





Balance

















19

The Skeleton

Label the diagram









































The Spine







20

The Shoulder Joint














The Hip Joint












The Ankle Joint










21

P
rogramme notes



For you practical exam you are required to submit programme
notes, which explain your work.
The following information is

provided as a template for setting out programme notes,

this is the
format, which has to be followed as specified by the examining
board


DANC
2
-

Solo
Choreography and Performance
/cand no


question number

duration of dance
(in mins/secs)


name of music




name(s) of musician(s)






Title of Dance

Candidate
Name


A

brief sta
tement or series of statements
totalling not more than 150
words
, which give an insight into the dance. Continuous prose is not
normally the most appropriate style).



Example

Danc2
-
Solo

Choregraphy and Performance



16707/0123


Question
4






Duration (2.30)




'Tetris'

Monolake
-

Momentum

Title of Dance

Candidate Name


My piece addresses’ the issue of Litter and it's effects.


To show that rubbish should be binned I run backwards and jump slouched over
as if I am being thrown into a bin.


My main motif is based on the 'bin it logo' that you find on most packaging which
shows a person throwing something into a bin. This motif st
arts and ends my
dance.


I show being thrown to the floor or blown around the floor.


My piece starts with my motif being 'stuck' in some chewing gum, then a piece of
rubbish that gets blown around and
onto the floor, where I turn into a rat, looking
thr
ough rubbish and becoming trapped. I go back to being a piece of rubbish
being put into a bin, my phrases are repeated and developed here before turning
human and becoming stuck in chewing gum and throwing away the final piece of
rubbish.







22

Dance Resources

Available on www.amazon.co.uk



Author



Title




BOURNE, Matthew

Matthew Bourne and his adventu
res i
n motion pictures




DICK, Fiona

Fit to Dance


GUEST, Ivor

The Dancer's Heritage




LESSCHAEVE, J

The dancer and the dance: Merce Cunningham in
conversation


PARKER, Monica


Dance notation for beginners








AU, Susan



Ballet and Modern Dance



BRINSON, Peter

Fit to Dance?




CALAIS
-
GERMAIN,

Blandine


Anatomy of movement

COHEN, Selma


Jeanne


Dance as a theatre art : source readings



in dance history from 1581 to present


DODD, Craig

The Performing World of the Dancer

HUMPHREY, Doris

The Art of Making Dances


PRESTON
-
DUNLOP

Valerie



Dance words



RICKETT
-
YOUNG,

Linda



Essential guide to dance

WHITE, Joan W

20th Century Dance in Britain




BREMSER, Martha

Fifty contemporary choreograp
hers


BROWN, Ann

Kipling


Dance notation for beginners


CUNNINGHAM,

Merce




The dancer and the dance: Merce





Cunningham in conversation


JORDAN, Stephanie

Striding ou
t: aspects of contemporary
and new dance
in Britain





23

MACAULAY, Alastair

Matthew Bourne and his adventures in

motion p
ictures




BEAUMONT, A W

Design for the Ballet


BINNEY, Edwin

Glories of the Romantic Ballet




FONTEYN, Margot

The Dancer's Heritage



KARSAVINA,

Tamara

Theatre Stree
t





KOEGLER, Horst

The Concise Oxford Dictionary of Ballet



MAZO, Joseph H

Dance Is A Contact Sport



WALKER, Kathrine

Sorley

The

Royal Ballet




Videos



Ailey, A:


Revelations


Alson, R
:


Overdrive
, Essential Alston



Ashton, F:


La Fille mal Gardee


Davies, S:


Wyoming, White Man Sleeps


DV8:

Strange Fish
, Enter
Achilles
, Dead Dreams of
Monochrome Men

Channel 4:

Bourne to dance

Tchaikovsky:
Swan Lake


Va
r
dimon, J:

Park
, 7734

















24


AS DANCE

Essay Plans


To analyse movement


use the following prompts


1

Analysis



Identify the Motif
, describe what you see, how does it

relate to the dance idea

Style


Describe

how does it relate to the piece?

Structure








Phrases








Dynamics








Space









Levels









Gender of dancers an
d implied relationships

2

Conclusion



What did you think, were the choreographer’s intentions clear, did
the movement symbolise the intent?


To analyse set design:


1

Analysis
-


Scene by scene description

Does it tell the story?

Is a time or place


suggested

How does it achieve this?

Design


modern, classic, abstract




Colour

describe the colours and suggest reasons for

these choices



Entrances and exits

Levels
-

use of



To what effect?

Props
-

use of

2

Conclusion


What did you think, were the

choreographers intentions clear, did the
set design help to symbolise the intent?


To analyse costume


1

Analysis



D
escribe in detail the costume for the key characters from head to

toe in detail so that someone could draw it from your description




What
does it suggest about this character?

Does it suggest a time or place

How is this achieved?

Design: Modern, classic, abstract

Reasons for this?

Colour


Describe


Interpret
-
Why?

Material


Describe





Length










Is it used








Interpret



How?


2

Conclusion
-

What did you think, were the choreographer’s intentions clear, did the
costume help to symbolise the intent?


To analyse lighting


1

Analysis


Scene by scene description



How does it further the story?




Colour


Describe

Give reasons





25




Intensity











Direction











Gobos













Any specific areas “








Mood or feeling





How is this achieved?

Does it change with significant choreographic changes?


2

Conclusion
-

What did you thi
nk, were the choreographers intentions clear, did the
lighting help to symbolise the intent?


To analyse music


1 Analysis


Scene by scene description



How does it further the story/dance idea?

Instruments

Describe

are they associated to

characters?




Tempo


Describe

Give reasons




Volume


Describe

Give reasons




Is it aligned with choreography?

How can you tell?




Mood or feel
ing?

Describe

Give reasons


4 Conclusion
-

What did you think, were the choreographer’s intentions clear, did
the music help to symbolise the intent























26

Revision


Topic


Revised

Confident

The Dancer as a Performer: Demands of a dancer in
practice and performance



Correct alignment and posture




Joints, structures and ROM of Hip, Knee, Spine, Foot and
ankle and Shoulder. Injury prevention




Fitness and how to improve these: Strength, muscular
endurance, cardiovascular endurance, flexibility
and agility.




Technical skills necessary for particular genres eg Plié, safe
alignment and use of turn out for ballet. Articulation of the
upper body and floor work for Contemporary.




Performance skills: Focus, Timing, Emphasis, Musicality,
Phrasing




How t
o communicate a dance idea as a performer: use of
focus, projection and characterisation.




Performing with others: spatial awareness, contact, use of
space and timing.
(Talk about your duo)




Safe Practice:

-
Warm up/ Cool down

-
appropriate environment and c
lothing

-
Physical and psychological limitations

-

Balanced diet

-
Simple treatment for injury (PRICE)




Where appropriate use examples from your own work







The process and Craft of Choreography: Own work and that
of professional repertoire.



Constituent Features of Dance and possible relationships

-

Movement SAD

-

Dancers


how many, gender, physique

-

Physical setting


Performance environment (formal such
as proscenium arch or informal site specific), Set costume,






27

lighting, props, film.

-

Aural Setting


silence, audible aspect of dance, found
sound, natural sound, spoken word, music or sound
effects.




Relationships of the dance to aural setting eg direct
correlation, music visualisation, mutual coexistence,
disassociation, identification
of a character, call and response,
narrative.




Developing ideas from a starting point such as analysis,
research and experimentation.




Use of improvisation tasks as an approach to initiate
movement ideas.




Use and benefits of experimentation in rehearsal
studio.




Development and manipulation of material using
choreographic devices and structures.




Structures eg Binary, ternary, theme and variation, rondo,
narrative, chance (cards or improvisation).




Rehearsal process


selection, refine and feedback




Valu
e of appropriate title and programme notes to aid
understanding of the piece.




Value of a choreographic Journal




Always use examples from pro work and your own





You must be able to provide examples from your experience of
being a
dancer, choreographer or audience member


Prepare your revision by finding examples from your own studies like
class exercises, or preparing to perform, and professional wo
rks










28



Professional Dance Works I have seen

Record below

For Revision


Date

Name of
work

Choreographer

Notes to help me remember
































29

Year 2

A2 Dance


Unit 3

DANC3
written exam:




You will investigate the area of study

modern dance from1965
-
1985



You will undertake a critical analysis and appreciation of one set work


Unit 4

DANC
4

practical exam:




You will create a group piece of choreography from

investigation and research
of ideas through to performance



You will perform a solo in relation

to a specific practitioner within the specific
area of Modern Dance 1965
-
1985 as studied in Unit 3






Useful Websites

www.rambert.org.uk

www.criticaldance.com

www.londondance.com

www.ucas.com

www.sadlerswells.com


www.phoenixdancetheatre.co.
uk

www.new
-
adventures.net

www.dancing
-
times.co.uk

www.article19.co.uk