BA (Hons) Dance Performance Student Handbook 2010/11

Welcome.....................................................................................................................................................................4 About this booklet......................................................................................................................................................5 The Dance Department.............................................................................................................................................6 Location.................................................................................................................................................................6 Staff-Student Communication................................................................................................................................6 The Dance Performance Programme......................................................................................................................7 If you have a problem............................................................................................................................................7 Roehampton University Disability Statement........................................................................................................7 Other types of support...........................................................................................................................................7 Tutor groups..........................................................................................................................................................7 Programme Convener............................................................................................................................................7 Student representatives..........................................................................................................................................8 Two students are elected to represent the student group. A major role of student reps is to consult with students and raise any issues arising at Programme Board. The BA Dance Performance Programme Board meets approximately three times a year and is responsible for the general management of the programme......8 Term dates and the term system............................................................................................................................8 Calendar 2010-11.......................................................................................................................................................9 Timetable 2010-2011 ...............................................................................................................................................10 The Learning Compact...........................................................................................................................................11 Tutorials...............................................................................................................................................................12 Attendance and registers.....................................................................................................................................12 Absences..............................................................................................................................................................13 Assessment...........................................................................................................................................................13 Marking...............................................................................................................................................................14 Criteria for assessment........................................................................................................................................14 Absence from assessments and late submission..................................................................................................14 Circumstances Affecting Your Studies Or Assessments......................................................................................14 Mitigating circumstances....................................................................................................................................14 Resits....................................................................................................................................................................16 Presentation and submission of coursework.......................................................................................................16 Academic writing style.........................................................................................................................................17 Bibliographies.....................................................................................................................................................17 Penalty system for over-length essays.................................................................................................................18 Plagiarism and academic misconduct.................................................................................................................18 Contacting outside bodies...................................................................................................................................19 Module evaluation...............................................................................................................................................19 Programme Board...............................................................................................................................................19 Health and safety.................................................................................................................................................19 Other useful information........................................................................................................................................20

Use of studio/theatre spaces................................................................................................................................20 Booking rehearsal space.....................................................................................................................................20 Bibliographies..........................................................................................................................................................21 Referencing and formatting your work.................................................................................................................22 Referencing..........................................................................................................................................................23 Marking guidelines..................................................................................................................................................25 Guidelines for the assessment of practical choreography assignments..............................................................25 Guidelines for the assessment of technique/performance assignments...............................................................26 Guidelines for marking written work...................................................................................................................27 Guidelines for the assessment of oral presentations and read papers................................................................28 Directory...................................................................................................................................................................29

Welcome
Welcome to the BA (Hons) Dance Performance at AKMI Arts Academy in collaboration with Akmi Metropolitan College and Roehampton University, London. The BA (Hons) Dance Performance Programme is dedicated to providing you, the student, experience in performance and choreography modelled on industry contexts. Significantly, upon successful completion of the programme, it will be possible for you to progress to Masters and Postgraduate level work and further training within the HE sector. Most importantly, it is our belief that the BA (Hons) Dance Performance will not only promote entry to the profession as it exists, it is our belief that it will significantly contribute to imparting knowledge and skills that will allow graduates to become the architects of the future of the dance profession in Greece. You are entering a distinctive programme. An important aspect of the programme is the recognition of key changes that have taken place within the field over the last twenty years and which support the decision to name the programme Dance Performance. We recognise the imperative to prepare dance artists to enter a field where boundaries between performance, creativity and inquiry are fluid. The idea that dance training is one in which one is trained to be the instrument of the dance no longer reflects the state of the profession. This is particularly important within the context of the Greek dance scene. Different to other art forms, for example theatre, dance in Greece does not have an industry-led structure that generates employment. Rather, the industry is emergent, led by an independent sector that is actively driven by the idea of collaboration. Dancers are expected to contribute as autonomous subjects within the creative processes. Therefore, the aims and objectives of the programme recognise that the success of its graduates is dependent on receiving an education that will enable you to manage a career in a highly dynamic environment. The title Dance Performance aims to identify this multifaceted professional perspective.

We wish you every success and we welcome the opportunity to work with you to achieve this! BA (Hons) Dance Performance Programme Team

About this booklet

This booklet is intended to supplement other handouts that you will receive. Please read this well and keep it for future reference as it contains important reference material you will need to refer to throughout the year. Further information regarding Roehampton University regulations is also available on the university web pages:

studentZone http://studentzone.roehampton.ac.uk/
Every effort has been made to ensure that the information given in this booklet is correct, however, we cannot guarantee accuracy. Any significant changes will be communicated as necessary. If you have any comments on this booklet or suggestions for things you would like included in next years then please let us know.

The Dance Department

Location The main modules of practice within the BA (Hons) Dance Performance -including technique, repertory and devised performance- will be held at the Metsis studio, 12 Saripolou St. in the vicinity of the AKMIs main campus buildings. Student individual rehearsals as well as the modules taught as seminars and lectures will take place at the Art Academy facilities on the 4 th floor, 125 Patision Street, Athens. Other activities, particularly those involving the studentship across the Academy will normally take place at AKMIs main building 16 Kodrigtonos Street in the city. The building holds a stage for practical lessons, classrooms for lectures, an amphitheatre as well as audiovisual facilities. Staff-Student Communication We usually communicate with students by either individual or group email or through personal correspondence sent to home addresses, and only rarely by phone. It is therefore of utmost importance that you keep the programme and course conveners, the university, as well as the administrative officers, updated on any changes in your email, term-time, and vacation addresses. Do not assume that because you have mentioned it to one the information will follow to all the others. It is essential that you: check your email every day and inform us of any changes in your email address check the Department notice boards outside the Dance Office in 125 Patision. keep the Dance office and Registry updated with any changes to your term-time and vacation addresses

The Dance Performance Programme

If you have a problem If you have a problem of any sort please seek help early, do not let problems get out of hand. Problems with your dance programme: Please contact your personal tutor, your module tutor or your year tutor. If you have a problem with a module then you should talk to the Module Tutor first, if the module is taught by a visiting lecturer go to the convener for that module who will normally be a permanent member of staff. Other problems can be taken to your Personal Tutor and for problems with your programme of study go to your Year Tutor. We encourage you to make the most of the types of support offered and advise getting to know your tutors early in your course of study. Roehampton University Disability Statement The University is committed to supporting the needs of students with disabilities, long-term medical conditions and specific learning difficulties. In accordance with the requirements of the DDA Part 5, adjustments will be made for disabled students to allow equal access to learning opportunities and environments. Adjustments will be made to aspects of programmes in anticipation of the needs of disabled students to ensure that they are not disadvantaged as a result of their disability. Any reasonable adjustments should not compromise the academic standards of a programme but will ensure that learning, teaching and assessment within the programme are accessible to the student and enable them to participate equally in order to achieve success. Other types of support Dance staff will be pleased to talk to you at a mutually convenient time about any issues, academic or personal, and they will usually be able to help or to point you in the right direction. There are many support services within AKMI where you can get specialist help and advice, for instance with financial problem or personal issues. Tutor groups All students are allocated a Personal Tutor within the Dance Department who you may approach for information and advice in all areas both academic and personal. You will meet your Tutor during Induction days at the start of the term. You should make sure you keep a note of his/her contact details. You can then contact your Tutor by phone, e-mail, or in person during their office hours should you wish to discuss anything. Programme Convener The Programme Convener is responsible for the overall administration of the Dance Performance Programme, including coordinating the submission of marks and running examination boards; preparation of Programme Annual Reviews and running Programme Boards; timetabling; staffing and budget.

Student representatives Two students are elected to represent the student group. A major role of student reps is to consult with students and raise any issues arising at Programme Board. The BA Dance Performance Programme Board meets approximately three times a year and is responsible for the general management of the programme. Term dates and the term system You are expected to be available at all times during term time, if you are absent without good reason and this causes you to miss an assessment you will fail. It is important that you use time in the vacations to read and prepare for the following term's modules; reading lists will be available from the Dance Office in time for you to do this. The Dance Department has a Review and Progression week in the autumn and spring terms when all classes will stop. Tutors will set reading and other tasks as part of your module work to be completed during this time. You can also use these weeks as an opportunity to begin preparing for assessment including meeting Module Tutors and Personal Tutors for individual tutorials.

Calendar 2010-11
SEMESTER E (October 2010-February 2011) Summer Programme Board (Annual Monitoring) Teaching begins (including Induction days) Christmas Break Teaching resumes Term ends Midterm break SEMESTER F (February June 2011) Teaching Commences Clean Monday (National Holiday, no classes) Independence classes) Day (National Holiday, no Monday 21st February 2011 7th March 2011 25th March 2011 To be confirmed Friday 15th April 2011 2nd May 2011 From 2nd May 2011 From 2nd May 2011 Week commencing 30th May 2011 By week commencing 6th June 2011 To be confirmed Monday 13th September 2010 Monday 18th October 2010 Programme closes for Christmas reak Friday 17th December 2010 Monday 10th January 2011 Friday 11th February 2011 Monday 14th-Friday 18th February 2011

Programme Board Easter Break Term resumes End of Programme Final Assessments Degree Show Rehearsals into Performances Viva Voces of Independent Project Final Grades to Roehampton Registry Internal Board of Examiners

Timetable 2010-2011
Venues: Metsis Studio, Saripolou 12, V4 - V5 Studios, V1-Classroom at 4 th floor, 125 Patision Monday 9.00 Technique Technique 10.00 9.00-10.30 Maro Marmarinou Metsis 9.00-10.30 Markella Manoliadou Patision V4 Technique 9.00-10.30 Ioanna Toumbakari Metsis Technique 9.00-10.30 Markella Manoliadou Patision V4 Repertory 10.30-13.00 Patritsia Apergi Patision V4 Technique Elective Ballet classes 9.00-10.30 Zozo Kyverioti Patision V4 11.00-14.00 Student research timeLibrary Patision Or Open ClassSeminars Tuesday Wednesday Thursday Friday

10.30 Student time 11.00 Studio available for IP 10.30-12.00 Metsis English for Academic Writing Tutorials 12.15-13.00 Antonis Galeos Patision V1 Devised Performance 13.30-16.30 Dionisis Tsaftaridis Kostas Tsoukas Mariza Vinieratou Metsis Repertory 10.30-12.00 Patritsia Apergi Metsis

Methods of Practice 11.0-13.00 Patision V1

12.00 12.30 13.00

13.00-15.00 Student Research time Repertory 13.30- 15.00 Mariza Vinieratou Metsis Devised Performance 13.30-16.30 Dionisis Tsaftaridis Kostas Tsoukas Mariza Vinieratou Metsis Independent Projects Library English for Academic Writing Tutorials 14.15-15.00 Antonis Galeos Patision V1

13.30 14.00 14.30 15.00 15.30 16.30

16.30 19.00

Rehearsal sign up time at Patision (V4-V5)

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The Learning Compact

In order to ensure the efficient running of each module, academic staff and students enter into a Learning Compact. This places a set of basic responsibilities on both staff and students. 1. The convener of each module within a programme will issue every student enrolling on that module with module brief describing the nature and demands of the module, including, where applicable: a calendar of all classes and a week-by-week list of topics to be covered by the module a list of required preparation for each week a statement of the nature, pattern and timing of the assessment(s) a description of the assessment criteria to be used during the module a list of the dates and times by which all assignments must be submitted and details of the process for doing this a list of the dates by which each assignment will be returned to the students and details of the process for doing this a final date for collection of coursework by students, after which return cannot be guaranteed

Reading List for the module 2. A register will be kept of attendance, and submission and return of all assignments for all modules. 3. Students are expected to: participate fully in the learning process attend all classes and arranged tutorials provide the teacher with an explanation of absences using absence forms available from the office hand all coursework assignments in on time and in accordance with published procedures attend all examinations at the published time and venue complete 100 hours of study per 10 credits of study (e.g. 200 hours for a 20 credit module) regularly check their communication channels (e.g., notice boards, email) update their records with the University and the Dance Department

Modes of teaching The main language for the programme delivery and assessment is English, although Greek will be spoken informally in the day to day business of the course. All formal assessment including written documents and verbal presentations- are required to be completed in English.

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The programme utilises a variety of teaching and learning methods and this variety reflects the multiand inter-disciplinary nature of the subject as well as the interconnection between practice and theory. Modes of learning and teaching include tutorials, lectures, seminars and workshops. Lectures are tutor-led and provide a method by which key concepts and material may be introduced. Supporting reading is always a pre- and post-requirement and a reading list of required and additional material will accompany all lectures. Lectures are generally followed by seminars, ideally in smaller groups, in which the material presented can be discussed and evaluated. Workshops provide laboratory situations, which are tutor-led, in which students may learn about key principles, processes and practices through undertaking task-based explorative and experimental work. They are practice-based but include debate and discussion in order to find solutions to problems and to facilitate reflection. Films are an integral part of the programme. They provide both dance and interpretative data and students will learn to evaluate films generally and the way dance has been recorded in film. Seminars provide a forum for debate and discussion and encourage the questioning of assumptions about key issues. They are typically preceded by lectures and pre-reading around the topic is a requirement. They are generally both tutor-led and student-led, inviting peer response and evaluation and fostering independence and student responsibility for their own learning. Practical presentations encourage students to understand the intricate interconnections between theory and practice, and the importance of embodied knowledge as a way to question mainstream scholarly representations of history and theory by privileging bodily practices. Tutorials provide the means by which students may gain individual feedback and advice on their work, be it research project, written assignment, or practical project. They provide the opportunity too, for staff to evaluate and to monitor the students progress. Group tutorials may also be utilised where there are common grounds of investigation. Tutorials Always prepare very carefully for tutorials. You should come with detailed written notes about a topic that you wish to discuss and to which you can refer. To ensure parity among all students, complete written drafts will not be 'edited' by tutors except in certain modules as indicated in the module booklet. Tutors can give feedback on essay summaries, essay plans or detailed outlines, in addition to addressing specific questions that may arise in the process of researching and writing up assessments. Tutors may, if requested, also edit the first couple of pages only of your essay draft in order to comment on such things as writing style and clarity of expression . Sufficient time must be given to enable tutors to provide feedback -- for example, do not expect tutors to comment upon an outline emailed one or two days prior to the assessment submission deadline. Remember that tutorials are always student led. If you have to cancel a tutorial for any reason, make sure that you contact your tutor in good time. While advance notice is needed for academic tutorials, staff are regularly available during their office hours without appointments and welcome visits from students. Attendance and registers Attendance is a very important aspect of the programme, not only because training can only happen by acquiring experience on a day to day basis, but also, significantly, because most of the experience will be shared and dependant on the year working together as a company. If you know you may have to be away from the University for any reason or perhaps you may have missed a lecture due to sickness, then you should always report your absence using an Absence Form which you can pick up from the Dance Office at 125 Patision.

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If we notice a drop in your attendance without any record of the reason, we will send you a letter to see if there are any problems you might be experiencing. If your attendance does not improve we will send you a further letter raising a cause for concern. These letters will be kept on your student file. A students registration with the University may be terminated by the Awards and Progression Board where in the absence of a satisfactory and adequately documented reason the students record of attendance or submission of work at any time is below the stated requirements; or at the end of the assessment in the modules for which the student is currently registered the students academic progress overall is judged to be unsatisfactory. Students who fail an assessment and whose attendance has been poor may be denied a resit. This is because they are considered not to have made a reasonable attempt at the module (see Academic Regulations). In the case of research-based assignments, e.g. extended essays and dissertations, failure to attend arranged tutorials or to submit drafts of work as required by the individual supervisor will also be regarded as a cause for concern. Repeated absence or non-submission of work could result in supervision being withdrawn by the individual supervisor. In dance training, prolonged absences, particularly where there are performance and production aspects (i.e. repertory and the devised modules) may lead to you being asked to suspend the programme due to health and safety reasons. A register will be kept of attendance at all lectures, and submission and return of all assignments for all modules. Punctuality is also important and lateness will also be recorded, if you are late for a practical class you will not normally be permitted to take part on safety grounds. It is the students responsibility to ensure that his/her attendance has been recorded correctly as this record may be used as evidence at examinations. Absences If you are absent from classes you should complete an Absence Form (available at reception at 4th Floor, 125 Patision) and submit it to the dance office at your next attendance. In cases where an absence has particular repercussions, for example, if it may affect group work or it is a tutorial, then you must notify each tutor via email or telephone in good time. If your absence is for longer than one week please inform the Dance Office. If illness is affecting your work or attendance, or if it is the reason for late submission of an assignment, you should obtain a medical certificate. Assessment The result of your degree is dependent on the aggregate marks you get in your assessments. The programme handbook plus the outlines that accompany individual modules will describe in more detail the assessment pattern required of you. As a student on the Dance Performance programme, you will come across a variety of forms of assessment. This range is indicative of the multi-disciplinary nature of the programme. We also want to respond to your individual interests and strengths in developing a range of skills that you can use in another context, perhaps after you graduate. Some of the types of assessment that you will encounter are essays, choreography and performance presentations, dance scores, oral argument and creative teamwork.

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You may request tutorial guidance before submitting written assignments. Marking For each module a sample of student work is second marked within the Department as well as an External Examiner who also sees a sample from across the programme, including all firsts and all fails. You will be awarded a percentage mark for all of your modules; these marks represent the following degree classifications: 70% + 60% - 69% 50% - 59% 40% - 49% below 40% First Upper second Lower second Third Fail

In addition there is a band within the fail area where the Programme Examinations Board can choose to condone your mark, please see Academic regulations on the University web site.

Criteria for assessment Your work will be marked on the basis of the criteria for assessment for the module; these are given in the module outline. The grade given is determined following a set of guidelines appropriate for the type of assessment. See appendix Marking guidelines. Absence from assessments and late submission Students are required to attend all assessments (practical and theoretical) and submit all work on the submission date. If you do not do this, and do not have good reason, you will normally fail the assessment. Please note that failure for non-submission is a serious academic matter. If you fail to submit an assessment you may be required to leave the programme as you will forfeit your right to a resubmission/resit. For more information on this please refer to the assessment regulations extract reprinted in the appendices Circumstances Affecting Your Studies Or Assessments Mitigating circumstances If you are unable to submit coursework on time or miss an assessment it is essential that you complete and submit a Mitigating Circumstances Form to explain the reasons. The information on this form will be used by the Programme Examination Board to decide whether these reasons are valid. If your mitigating circumstances are not accepted you will be awarded a 0% Fail mark which will appear on your transcript. If your mitigating circumstances are accepted you will be allowed to take the examination at a later date as if it were your first examination sitting. If you do not complete a form your circumstances will not be recorded or taken into account. Situations that are not deemed to be mitigating circumstances include holidays; mistaking the deadline; alarm clock not going off; and intermittent or last minute computer problems (discs, machines, printers, viruses). The University Mitigating Circumstances Policy can be found on the University website http://www.roehampton.ac.uk/academicoffice/staffinfo/formtemplatesguidance/formbank.html

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All assignments have strict deadlines which are made available to students at the beginning of term to ensure students can plan their workload effectively throughout the year. These deadlines are also scheduled around the dates of Programme Exam Boards where all grades are presented before being submitted to Registry for ratification at the Universitys Awards and Progression Board. In order for these dates to be met we also have to allow enough time for your assessments to marked, second marked, external examiners to be sent a sample of work for consideration and for gradesheets to be completed. There are 3 SECTIONS on the Mitigating Circumstances Form which are explained below:SECTION ONE Extension Request If you think you are going to miss a deadline for a module due to mitigating circumstances, then you should complete this section and hand the form into the Department office no less than 48 hours before the scheduled deadline. You should explain the reasons for missing the deadline in the section at the bottom of the form and attach any additional supporting documentation. These requests are considered by a designated academic member of staff from the Department and extensions will NOT be granted outside of this procedure by individual academics or personal tutors. You will be informed of the outcome via your email in advance of the official submission date. If your request is successful, you MUST submit your work on or before the new deadlinewith a copy of the email confirmation otherwise your work will be penalized as a Late Submission in line with the Department's Late Submission policy If your request is unsuccessful you will be informed at least 24 hours before the original deadline in order to allow you to complete the work in time. If you do not submit your work on or before the deadline your work will be penalised in line with the Department's Late Submission policy. If your programme requires you to submit online through Turnitin via Moodle you MUSTsubmit this way and attach an electronic version of the confirmation of your extension. SECTION TWO Deferral Request Where more severe long term circumstances are affecting your studies, attendance or assessments a deferral may be granted. This means you will be given longer to complete the work and your grade will not be submitted to the upcoming exam board but will deferred until the next exam board. You will be notified of a resubmission deadline by the Department office. Deferrals can be granted for several modules across your programme if this is felt to be beneficial but you must complete a form for each module. Deferrals are not granted at the Resit Board in September. SECTION THREE Late Submission of Coursework If you have completed your assignment but have missed the advertised deadline date and time, you MUST complete this section and attach the form to your work when you hand it into your Department Office. You should explain the reasons for missing the deadline in the section at the bottom of the form and attach any additional supporting documentation. If your mitigating circumstances are deemed to have affected the progress of your assessment your work will be marked as usual. If the reasons are not considered substantial enough to warrant the late submission, your work will be penalised as per the Departments Late Submission policy.

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Resits There are two types of resit: those resulting for a deferral of the previous assessment and those resulting from a failure. Resits due to failure If you fail an assessment, the Programme Examinations Board may award you a resit; however, any marks you receive at this resit will be reduced. A resit is not automatic, sometimes a resit will not be allowed, for example if you have not made a reasonable attempt. If you are permitted a resit you will be responsible for your own preparation and no further tutorial support will be given, all teaching having been completed prior to the original failure. Marks gained from a resit examination will be reduced to half way between the 40% pass mark and the actual mark achieved; please see Academic Regulations. Students are responsible for their own preparation for re-sitting coursework. It is essential that you take note of and address the examiners comments written on the feedback sheet that accompanies your failed essay. Apart from this feedback and possibly a brief discussion with the tutor for clarification if needed, please note that no further tutorial support is given to students in these circumstances, all teaching having been completed prior to the original failure. Resits due to deferral If you have been deferred in an assessment (usually because of mitigating circumstances which are accepted by the examinations board) you will be allowed to take the assessment at a later date as if it were your first assessment (no mark reductions will be made). Summer resits Some resits take place over the summer these are very important as failure will often result in your programme in dance being terminated. It is essential therefore, that you make adequate arrangements during the summer to receive any communications from the university. You will be given good warning of any resits and resit dates early in the summer. Remember that holidays are not admissible as mitigating circumstances, so failure to attend or submit a resit because of holidays will normally result in failure. If in doubt contact us as soon as possible but remember that we have holidays too so dont expect an immediate response and contact the school office if necessary. Fairness The Department of Dance is committed to pursuing a fair examination/assessment procedure for all students. Students submitting late coursework without good reasons cannot expect special treatment since this would be unfair to students who meet the deadlines. The Subject Board of Examiners is charged with the duty to operate an equitable system of examination and assessment. Presentation and submission of coursework Written coursework as well as practical coursework (tasks done as part of overall learning process but not necessarily a discreet assessment) is a component of many modules. It is on a par with examinations and assessed technical, performance and choreographic work. Submission of coursework by the set date and time is vital and you are reminded that late submission will normally result in failure. Return of work will normally take place a few weeks into the following semester. Look out for notices giving dates and times. Work not collected within a set period will have to be destroyed.

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Presentation and submission of written work Students are required to follow the guidelines given for presentation of written work. If you do not follow these guidelines or if your spelling, grammar or punctuation are poor, this will be reflected as part of an overall mark. Written submissions should conform to the following guidelines: all written work should be typed in an easily legible font (e.g. Arial, 12 point); all written work should be printed double spaced i.e. alternating lines of text with blank lines (the formatting tools on word-processing packages allow you to double-space very easily); bibliographies should follow the Departments format (see appendix Bibliographic guidelines); all quotations AND sources of specific ideas should be referenced in the text using the format as laid out in Bibliographic guidelines in this handbook; notice that longer quotations should be indented and single spaced; see the Bibliographic guidelines for details; pages should be numbered; a separate title page should be included the module name and number; the module tutors name; the essay question in full; a word count. When handing in a piece of work you must: keep a photocopy of your work; complete a cover sheet and sign the Plagiarism Disclaimer; place the work in a single plastic envelope unless the nature of the task (as with dissertations, for example) indicates a binding is necessary; do not hand in work where each page is in a separate envelope You must retain the photocopy of your work until a mark has been awarded and/or you have collected the work. Academic writing style You are expected to write in a formal, objective manner, consistent with university level study. do not use contractions of words (dont, cant); avoid over personalising by continuous reference to yourself in the first person (I think, my opinion); underline the names of all dance works, books or other works of art mentioned in the text, generally followed by the date of creation/publication, e.g. Cruel Garden (1977), What is Dance? (1983); Never refer to dancers, choreographers or artists by first name only; give the full name at the first mention and thereafter you may use surname only (e.g. Richard Alston or Alston); refer to the Study Skills Guide for advice on essay writing proof read your work slowly and deliberately for grammar, punctuation, and clarity of explanation, trying to put yourself in the place of the marker; this is best done out loud! If your spelling is weak you should use a spell checker but beware of it substituting the wrong word! If there is anything you do not understand, or if you feel you do not have enough background in academic writing, there is support available, please contact your personal tutor for more information. Bibliographies In all written assignments you will be expected to use various sources and to refer to and quote from them following academic conventions. The format used in the Dance Department is detailed in the appendix Bibliographic guidelines, you must become familiar with this format and use it whenever a bibliography, quotations or references to sources are required in written work submitted in Dance.

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Please note: This format may differ from those used in other Departments. Penalty system for over-length essays The problem of over-length essays has been highlighted by the Examiners (internal and external). Accuracy in respect of word-length is crucial. Writing more than 10% longer than is required is considered an inappropriate response to a question and the marker has the right to stop reading after the required word-length has been reached. Note: The word count applies to the complete text (excluding the bibliography and appendices). All quotations incorporated within the text, including indented quotations, are part of the total word count. Word counts should be indicated on the cover of all work submitted. Plagiarism and academic misconduct Students are warned that plagiarism is a serious offence, which can result in a considerable reduction of marks or even in outright failure. Plagiarism covers the presentation of someone elses work or ideas as your own, for instance by quoting without proper acknowledgement or closely paraphrasing his/her work. Plagiarism is also the act of representing ones own work, i.e. you must not present work, which substantially repeats material, which you have already submitted for assessment elsewhere in the programme. Close collaboration is also a serious offence comparable to plagiarism (except where working together is required as a part of the assessment). If you are not sure what constitutes plagiarism please ask as you are required to sign a clause for all written assignments to the effect that you have not plagiarised. The following definition of plagiarism will be used: Plagiarism is the act of presenting the ideas or discoveries of another as one's own. To copy sentences, phrases or even striking expressions without acknowledgement in a manner which may deceive the reader as to the source is plagiarism; to paraphrase in a manner which may deceive the reader is likewise plagiarism. Where such copying or close paraphrase has occurred the mere mention of the source in a bibliography will not be deemed sufficient acknowledgement; in each instance it must be referred specifically to its source. Verbatim quotations must be directly acknowledged, either in inverted commas or by indenting. (University of Kent) You are required to sign a clause for all written assignments to the effect that they have not plagiarised. At the time of writing this clause is worded as follows: Acknowledgement should always be made when secondary sources are used. Failure to acknowledge quotations will be heavily penalised and any substantial plagiarism e.g. unacknowledged quotation which extends for more than a few lines, or extended close paraphrasing of a critical work will lead automatically to the failure of the candidate in this element of the assessment. The work may be copied and checked for plagiarism. I have read and understood the above note, and I declare that this essay is my own work and that in every case where I have drawn on the work of any other author, this is fully and specifically acknowledged in the text of my submission and the other work is cited in my bibliography. Turnitin anti-plagiarism software is available through StudyZone. Unless informed otherwise by your lecturer, all written work should be run though the software prior to submission.

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Contacting outside bodies Under no circumstances should you contact outside bodies (e.g. dance companies and archives) for information in connection with your modules, without consulting with your tutor first. This sort of contact may be necessary for some work but your tutor will be able to advise on whether or not this is the case. The professional world is already hard-pressed, and at first and second year level we do not normally expect the kind or standard of work that results from this sort of contact. Module evaluation At the end of each module you will receive a questionnaire asking you for an evaluation of the module, forms are also available from the Dance Office. The form is designed to obtain your reaction to the module and your assessment of the teaching. The form is anonymous and its contents are confidential. Your tutor will not see it until after you have been assessed. Student evaluation is one of the methods that the Dance Department uses to monitor its modules and the effectiveness of its teaching. We appreciate the co-operation of students in helping to maintain high standards and to improve the quality of our work. Praise for good practice where it is due, is also welcome! Programme Board The Dance Performance Programme Board monitors and runs the programme and meets approximately three times per year. Student representatives represent the student body at these meetings. Health and safety In an emergency If First Aid is required or in the case of any other emergencies, contact 166 Safety in practical classes Because of the practical nature of their programme Dance students are more prone than most other students to injury. In order to reduce the likelihood of injury you should observe the following: Warm up thoroughly prior to all practical dance classes and rehearsals; tutors will often give some progressive warm up material but this is not a substitute for each students own warm up Wear suitable clothing and no loose jewellery which could get caught and harm you or others Respect the safety of other users of the space Work in pairs or groups: do not work alone out of normal hours or when the Department is empty Be aware of your own limitations and listen to your body: do not work through pain

If you are injured Remember R.I.C.E. (rest, ice, compression and elevation). Ice packs are available from the Dance Office and at Metsis Studio. You must inform staff of any injury that might have occurred during a class. You should also fill in an Accident Report Form. These are housed in the Department Office, and should be filled in once you have explained your position to your tutor. If an accident or injury occurs at a time when the Department is not staffed and the office is closed please fill in one of the forms the next day when the office has re-opened.

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Other useful information

Use of studio/theatre spaces Studios are specialist spaces with special dance floor surfaces which are susceptible to damage, therefore students should treat them with due care. As part of your programme you will often need to use studio spaces for rehearsals and practices but for obvious reasons students are forbidden to work alone in the dance spaces outside normal hours, you must always work in groups or pairs. Normal access to buildings throughout the Academy varies. The Metsis studio is available only as designated in the timetable. Studio spaces at 125 Patision are open until 9.00 pm on weekdays only. Studio rules: o Outdoor shoes should NEVER be worn on dance floors o Do not eat or drink in the theatre or studios (other than water) o Valuables should not be left in the changing rooms, these are not locked and thefts have occurred, in addition do not leave valuables unattended in studios even for short periods of time o Never work alone outside normal hours Booking rehearsal space During term times you may book dance studios for your own use in connection with your course. At the time of writing, the practice is that a booking form is posted each week in the Dance Department Office at 125 Patision and you should sign up to book space. You cannot be guaranteed a space if you do not sign. Demand for rehearsal space is sometimes heavy and you may be given a limit to how much time you can book each week. If you are found to be abusing this limit your name may be removed. If you book a space and do not use it you may be denied access to space in the future.

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Bibliographies
Bibliographic format to be used for all written work in dance modules Note: It is the students responsibility to become familiar with this format and to use it whenever a bibliography, quotations and references to sources are required in written work submitted in Dance. A bibliography lists all the sources referred to in preparing work: books, articles, videos, and electronic sources. It is an essential part of the piece of work and is taken into account in the marking process. If there are sources other than printed ones, the bibliography may be divided further into Print Sources (i.e. books and articles, but in one list, not separate), Non-Print Sources (videos, films, television transmissions), and Electronic Sources (internet and CD-ROMs). Each entry is placed alphabetically by first authors surname. There are slight differences between the format for single authors, multiple authors, edited books, and articles in journals. In the sample bibliography shown below, the square brackets indicate what kind of source each is and are not to be included in any bibliography written by students. If there is more than one source by the same author, put them in chronological order, the oldest first. Where there is more than one in the same year, use letters to distinguish them, as in the examples below. The title of a book, journal, web site or CD-ROM is underlined. Do not use italics. Titles of articles or chapters are placed in single quotation marks. It is normal practice that the most important words in a title have an initial capital letter. Journals and newspaper accessed in print must be given with volume and issue number as well as month or quarter of publication. Page numbers must be given at the end of each entry for articles or chapters. Place of publication and publisher are given for books but not necessary for journals. Be very careful with the placing of commas and full stops. Indent the second and subsequent lines of the entry (hanging indent).

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Referencing and formatting your work

Print Sources anon. (1950) New Ballets: The British Dance Theatre, Dance and Dancers, 1, no.10, October, 13 [where no author is given] Au, Susan (1988) Ballet and Modern Dance, London: Thames and Hudson [single author] Barnes, Clive (1961) Ballet Perspectives: 22, Pineapple Poll, Dance and Dancers, 12, no.4, April, 22 23 [single author, article in journal] Blacking, John (1985) Dance forms and contrasting modes of expression, in Spencer, Paul, ed. Society and the Dance, Cambridge: Cambridge University Press [single author, article in edited book] Buckle, Richard (1954) Converted, The Observer, no. 8,492, 7 March, 11 [article in newspaper] Carter, Alexandra, ed. (1998) The Routledge Dance Studies Reader, London: Routledge [single editor] Clarke, Mary and Clement Crisp (1989) London Contemporary Dance Theatre, London: Dance Books [two authors] Copeland, Roger and Marshall Cohen, eds. What is Dance?, New York: Oxford University Press [two editors] Fokine, Michel (1983) Letter to The Times, July 6th, 1914 , in Copeland, Roger and Marshall Cohen, eds. What is Dance?, New York: Oxford University Press, 257 261 [article in book with two editors] Hunt, Marilyn (1991) ...and quiet flows the Thames, Dance Theatre Journal, 8, no. 4, Spring, 13 14 [ if more than one item by same author, use chronological order, oldest first] Hunt, Marilyn (1993) Something in the Way Brits Move, Ballet Review, 21, no.3, Fall, 74 78 Nicholas, Larraine (1999) The Lion and the Unicorn: Festival of Britain Themes and Choreography in the Postwar Decade, unpublished PhD thesis, London: Roehampton Institute London [unpublished dissertation or thesis] Vaughan, David (1997) Merce Cunningham, in Cohen, Selma Jeanne, ed. International Encyclopedia of Dance, Volume 2, New York: Oxford University Press, 284 297 [article in multi-volume encyclopaedia] Williams, Peter (1952a) Cranko Ballets at Henley-on-Thames, Dance and Dancers, 3, no.9, September, 21 [more than one item for the same author in the same year, use letters] Williams, Peter (1952b) Symphony for Fun, Dance and Dancers, 3, no.10, October, 13 Non-Print Sources Name will be that of the director or producer (year published or first transmission) Title of video or programme [type of medium e.g. video], Production company or Publisher [in the square bracket at the end put in details of dance works, choreographers, performers to identify the dance content] Much of this information will be in the end credits. Capon, Naomi, prod. (1959) Stars of the Ballet [35 mm transferred to VHS], London: BBC [Cha-ChaCha, Stone; Polka, Cranko; Le Spectre de la Rose, Fokine]

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Drobinski, Peter, dir. (1997) Foxtrot from Faade by Frederick Ashton [video], Guildford: National Resource Centre for Dance [Leslie Edwards with students of the Royal Ballet School] Verden, Walter, Octavio Iturbe and Wim Vandekeybus, dirs. (1990) Dancemakers [video] Co-production of Ultima Vez, Audiovisuele Dienst, Alive from Off Center, Twin Cities Public TV inc. [Roseland, Wim Vandekeybus] Electronic and Internet Sources Remember that many web pages are highly inaccurate. Internet sources should only be used if they are clearly produced by reputable authorities, for example: online reference works, newspaper archives, universities (work produced for students, never by students!). For internet sources the following information is needed: Author, editor or organization claiming credit for the site or web page (Year of publication, copyright, or latest update ) [the word online in square bracket], if possible place of publication and publisher, the words available from : full URL of the specific web page or pages [accessed date] Use underlining and single quotation marks as for printed articles. The accessed date is the date on which this text was last viewed. This is most important as sites change very frequently. If the URL is too long for one line it may be split, but only after a slash (/). No date and anon. are allowable if there is no other sensible alternative. The publisher can be the person or organization maintaining the site. For an online newspaper show the full date on which the newspaper was originally published. For online journals include volume and issue numbers and month or quarter of issue. CD-Roms They will most frequently be used for retrieving newspaper, journal or encyclopaedia articles so rules about presentation of author, title, dates, volume and issue number if available will apply. The word CDROM is inserted in the square bracket after the title. It is not necessary to show when it was accessed. anon. (1997) Italian School, in Online Dictionary [online], New York: American Ballet Theatre, available from: http;//www.abt.org/dictionary/index.html [accessed on 20 September 2000] Crisp, Clement (2000) Nijinskys case is not proven, The Financial Times , 11 May [online], London: The Financial Times, available from: http://www.globalarchive.ft.com [accessed 15 August 2000] Gratten, Charles (1994) Australian Literature, in Microsoft Encarta 1995, [CD-ROM], US: Microsoft Corporation Mackrell, Judith (2001) Obituary: Tanaquil LeClercq, in The Independent on CD-ROM, 6 January [CDROM], Personal Library Software Inc. Peter Darrell Trust (no date) Ballet Workshops, Peter Darrell Trust [online], London: Peter Darrell Trust, available from: http://freespace.virgin.net/peter.darrell/page17.html [accessed on 20 September 2000] Referencing Quotations must have a reference to show their source, and the reference must relate to an entry in the bibliography. Even if a quotation is not used, ideas derived from any source must be acknowledged through a reference. For Print Sources, the reference is: surname of author, year of publication, page number or numbers. For non-print and electronic sources, there may not be a page number. Use the square bracket to indicate the medium e.g. [video], [online] etc. so that the reader can find the entry in the appropriate

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part of the bibliography.

Examples of Referencing Short quotations can be placed within the text in double quotation marks, e.g. London was the dancing capital of the world. (Williams, 1951, 4) [surname, date, page]

Longer quotations should be double indented, in single line spacing, with reference beneath. quotation marks or brackets necessary. e.g.

No

Martha Graham has sought new simplicities to enable her heart to speak. For her new art she needed a new kind of dancer, and the dancers needed a new system and a new training; she needed a new dance music, new forms of scenery, new lighting, and dresses cut in a new way. Buckle, 1954, 11 Quoting somebodys words as reported in writing by someone else should be indicated using the word in: Speaking to the reporter of the Chicago Herald-Examiner, David Lichine said: I do not mind being meat for the wolves adverse critics, for the more they try to devour me, the bigger I will grow! Lichine in Gunn, 1938, 2

A general reference to a title can be used to acknowledge the ideas of another person, even if no quotation has been used:

As pointed out by June Layson (1994, 25 26), biographies and autobiographies present particular problems of evaluation for the dance historian.

A whole book can be indicated, in which case page numbers will not be used : e.g. Some writers (Coton, 1946; Lynham, 1947; Storey, 1948) placed Kurt Jooss in the continuum of great ballet reformers from Noverre to Fokine. A quotation or other reference to an online or CD-ROM source may not have a page number. Identify the source in exactly the same way as it is appears in the bibliography, by author (or organization), year and indicate the medium in the square bracket. I find this new Faune analytical in manner, as if the dance has been dissected and put together again painstakingly but without theatrical warmth. (Crisp, 2000 [online]) When quoting from someone speaking on video, use the name of the speaker, if known, before that of the director and year of video. The dancers in Roseland seem to be antagonists and desperadoes. They are people battling for survival in a dangerous world. (Mackrell in Verden et al, 1990 [video])

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Marking guidelines
Guidelines for the assessment of practical choreography assignments. It should be emphasised that these are intended merely as guidelines and that the assessment of choreography occurs as an informed dialogue between tutors which is supported and directed by the criteria of assessment and the guidelines but not restricted by them. PASS 80 - 100% Original, inventive investigation which reflects a unique point of view. Total clarity in the structure and crafting of the movement material. Evidence of excellent directorial skills in the theatrical handling of the dancers within the choreography.

70 - 79% Inventive, imaginative material. Thorough understanding and execution of the crafting issues presented by the choreographic idea. Diligent and/or sensitive attention to the presentation of the work as a piece of dance theatre.

60 - 69% Competent generation, manipulation and development of movement material relevant to the source idea. Sound structure. Awareness of the staging and presentation of the work.

50 - 59% Evidence of sound movement development and manipulation with respect to a choreographic premise. A sound attempt at coherent structure. Competent handling of the dancers within the choreography.

40 - 49% Sporadic evidence of movement manipulation or crafting skills related to the content and structure of the work. Some reference to the staging and/or presentation of the choreography.

CONDONABLE FAIL 35 - 39% Unimaginative material. Minimal evidence of any content or structure. Little grasp of the crafting issues which face the choreographer.

30 - 34% Complete, but unfocused work with negligible content. No attempt to address crafting or staging issues within the work. FAIL 0 - 29% Work incomplete or lacking in any coherent content or structure. Absence of any understanding of the role of the choreographer or the function of dance as an act of theatre.

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Guidelines for the assessment of technique/performance assignments PASS 80 -100% Outstanding technical precision and physical control. Fluent articulation of involvement material. Highly developed spatial, dynamic and rhythmic awareness. Sophisticated level of dance artistry and understanding of class material. Powerful interpretive and/or original expression and projection.

70 - 79% Excellent technical precision and physical control. Fluent articulation of movement material and clear awareness of spatial dynamic and rhythmic aspects of performance. Promising level of dance artistry - burgeoning powers of interpretation/expression. Complete mastery of class material.

60 - 69% Competent technical precision and physical control. Reasonably fluent co-ordination of movement material and attention to spatial, dynamic and rhythmic elements. Sound level of performance skill indicating some interpretive/expressive potential. Excellent understanding of class material.

50 - 59% Sound level of technical proficiency and bodily control. Clear attempts at fluency, rhythmicality and dynamic range in performance. Some awareness of musicality and expression. Sound understanding of class material.

40 - 49% Elementary level of technical ability and body management. Sporadic achievement of spatial rhythmic and dynamic clarity. Occasional indications of expression/musicality in performance. Basic understanding of class material.

CONDONABLE FAIL

35 - 39% Rudimentary technical skills. Little attention to spatial accuracy, rhythmicality or dynamic colouring. Minimal sense of artistry or expression in performance. Basic knowledge of class material.

30 - 34% Lack of technical competence, poor level of physical control and bodily management. Negligible awareness of qualitative or expressive elements in performance. Poor knowledge of class material. FAIL 0 - 29% Technically incompetent, uncoordinated, poor alignment, no understanding of the physical or artistic requirements of the dance material. Ignorance of class material.

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Guidelines for marking written work

PASS 80 - 100% Superlative analysis, synthesis and evaluation of material. Imaginative and original approach to study. Complete understanding of all material dealt with. As good a piece of work as could be expected at this stage of development, eloquently expressed. Work includes dated specific references throughout the text and has a comprehensive bibliography.

70 - 79% Excellent analysis, synthesis and evaluation of material. Imaginative and original approach to study. Thorough understanding of all material dealt with. Eloquent expression of ideas. Work includes dated specific references throughout the text and has a comprehensive bibliography.

60 - 69% Clear analysis, synthesis and evaluation of material. Imaginative approach to study. Good understanding of all material dealt with. Clear expression of ideas. Inclusion of dated specific references. Appropriate bibliography.

50 - 59% Sound analysis and evaluation of material. Appropriate approach to study. Sound understanding of most material dealt with. Clear expression of ideas. Adequate referencing for the most part. Key texts included in bibliography.

40 - 49% Rudimentary analysis and evaluation of material. Solid approach to study. Adequate understanding of most material dealt with. Adequate expression of ideas for the most part. Passable referencing for the most part. Most key texts included in bibliography.

CONDONABLE FAIL

35 - 39% Little analysis and evaluation of material. Superficial understanding of material dealt with. Weak expression and/or structuring of ideas. Referencing of source material and bibliography that is barely adequate or is flawed.

30 - 34% Minimal analysis and evaluation of material. Superficial understanding of some of the material dealt with. Poor expression and/or structuring of ideas. Poor referencing of source material and bibliography. FAIL

0 - 29% No analysis and evaluation of material. Minimal or no understanding of material dealt with. Incomplete, inaccurate or misleading referencing of source material .

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Guidelines for the assessment of oral presentations and read papers.

PASS 80 - 100% Demonstration of the wider context of the argument presented through the citing of papers and material which form the context of the paper presented. Original and imaginative argument presented through appropriate methodology. Evidence of the ability to think quickly and respond appropriately to questions and criticisms. Selection of appropriate dance examples.

70 - 79% Inventive argument. Understanding and presentation of appropriate reasoning to substantiate major issues. Awareness of the general issues which underpin the argument. Good selection of dance examples. An ability `to think on ones feet' in order to counter-argue.

60 - 69% Evidence from literature of argument and counter-argument. Using appropriate argument and methodology to substantiate dance argument. Competent handling of questioning from peers; making counter argument and explanation.

50 - 59% Demonstration of the ability to identify the relevant issues within the chosen framework and the working through and rehearsing of appropriate arguments and their counter-arguments. The ability to recognise the force of peer questioning, and some attempt to formulate answers.

40 - 49% Some evidence of understanding and/or of locating the problems and arguments. The ability to recognise that intellectual issues are a matter of debate, and therefore questions need to be identified and argued appropriately.

CONDONABLE FAIL

35 - 39% Some evidence of the relationship between dance and its intellectual framework, and the nature of justificatory argument.

30 - 34% Work which lacks structure with no argument presented, but which nevertheless identifies some of the salient issues within the selected framework. FAIL 0 - 29% Little or no ability to identify problems within a recognised structure, with no attempt to engage in

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Directory

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