module handbook 2016-06-30 - hfmdk frankfurt · dance & stage. contemporary dance contemporary...

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MODULE HAND BOOK

Bachelor’s degree in Dance (BAtanz)

Faculty 3 – Performing Arts Department for Contemporary and Classical Dance (Zeitgenössischer und Klassischer Tanz – ZuKT)

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MODULE HANDBOOK / ZuKT / BAtanz WS 2016/17 – 2016-06-26 INDEX / OVERVIEW 4 TEACHING METHODS GROUP TUITION / ONE-TO-ONE TUITION / BLOCK SEMINARS CONTEMPORARY DANCE 5 EDUCATIONAL OBJECTIVE / IMPLEMENTATION

TECHNIQUE CREATIVITY AWARENESS OF THE BODY THEORY PROJECT WORK INTERDISCIPLINARITY PERFORMANCE

8 MODULE OVERVIEW TABLES First and second years of study Third year of study (classical dance / contemporary dance) Fourth year of study and abbreviations table MODULE DESCRIPTIONS 11 First year of study . M1_a | b Classical Dance I M2_a | b Contemporary Dance I M3_a | b Folklore I M4 The Body I M5 Theory I M6 Projects I 20 Second year of study . M7 Classical Dance II M8 Contemporary Dance I I M9 Folklore II M10 The Body II M11 Theory II M12 Projects II 28 Third year of study Focus M13_KT Classical Dance III Classical dance M14_KT Contemporary Dance III ..... M15_KT Individual Work . . . 32 M13_ZT Classical Dance III Contemporary dance M14_ZT Contemporary Dance III . M15_ZT Individual Work . 36 M16 The Body III Joint modules M17 Theory III M18 Projects III 40 Fourth year of study . M19 Dance Practice M20 Vocational Orientation M21 Bachelor’s Thesis M22 Projects IV

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45 THE ARTIST’S BODY 46 M4 The Body I / M10 The Body II / M16 The Body III M4.2 Perception of the body M4.3 Movement methods M10.1, M10.2, M16.1, M16.2 M19.2 Embodied knowledge 47 Module template The Body I – III 48 M5 Theory I / M11 Theory II M5.4 + M11.4 Video examples Module template for M19 – M22 50 Sheet I M19 M19 Dance Practice 52 II M20 M20 Vocational Orientation 54 III M20.3.1 Weekly plan 55 IV M20.3.2 Semester plans 56 II M20.4 Performance reports 57 V M21 M21 Bachelor’s Thesis 58 VI M22 M22 Projects IV 59 VII User manual 61 M20.4 Performance reports 65 M21 Bachelor’s Thesis §9 Study and Examination Regulations 67 Application form 68 Additional information 68 Rules for quoting 72 FAQ 73 Sample structure 74 Declaration of originality IMPRESSUM

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TEACHING METHODS The usual teaching methods in the BAtanz programme are: G_ GROUP TUITION I_ INDIVIDUAL TUITION B_ BLOCK SEMINARS GROUP TUITION With a few exceptions, all tuition – classes, seminars, colloquia, readings, workshops, projects and performances – is conducted in groups. This applies to tuition within and across individual year groups, as well as to interdisciplinary offers. INDIVIDUAL TUITION In addition to the group tuition provided in modules M4, M10 and M16 (The Body), students are also entitled to two one-to-one teaching sessions during the first three years of study. One-to-one tuition may be provided for the purpose of teaching solos. Individual coaching is also offered for Bachelor’s theses and individual work. BLOCK SEMINARS Artistic and process-oriented projects are generally offered as block seminars, as are the partial modules M2.1 / M8.1 Contemporary Dance, M4.3 / M10.2 / M16.2 Movement Methods, M4.4 Training Science, M5.2 Creative Writing, M11.5 Academic Work, M14.2 Digital Tools & Materials, M11.2 / M17.1 Dance History, M14.5 Drama, M17.3 Dance Dissemination, M18.1 Dance & Stage. Contemporary Dance Contemporary dance cannot be understood on the basis of only one technique or aesthetical form, but out of its variety. It is constantly in search of crossing boundaries between the arts and breaking with existent forms. In this sense contemporary dance is an open structure which consciously breaks away from set, linear concepts of the classical and the modern. Contemporary dancers as well as choreographers look at their work as an ongoing search and development. Contemporary dance is process-oriented and the results have to be seen in the context of holistic personal growth. Speaking in practical terms this means: the main focus lies on movement research and research about the body, it is mind-expanding/ consciousness-raising and looking for a new understanding of the body. Research and new dance development are equal to the teaching of techniques.1

1 Dr. Johannes Odenthal in „TANZFABRIK EIN BERLINER MODEL IM ZEITGENÖSSISCHEN TANZ 1978 - 1998“ Seite 22-23

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EDUCATIONAL OBJECTIVE The aim is to train and promote creative, expressive dancers who have mastered a wide range of classical and contemporary dance techniques and can use their skills with confidence. Students learn how to make a creative contribution to the design of artistic work processes and are able to reflect on themselves and dance in interdisciplinary, historical and social contexts. Students are encouraged to develop a sense of social and political commitment, to participate in groups in a self-confident and responsible manner, and to take an active role in helping shape group processes. IMPLEMENTATION A seven-column education model has been developed in order to achieve the above mentioned objectives. The columns interrelate producing an ultimately integrative education. Aspects such as technique, creativity and performance are covered to varying degrees in all subjects.

TECHNIQUE___CREATIVITY___AWARENESS OF THE BODY___THEORY

PROJECT WORK___ INTERDISCIPLINARITY___ PERFORMANCES

TECHNIQUE

M1, M7, M13_KT and M13_ZT Classical Dance I – III | M2, M8, M14_KT and_ZT Contemporary Dance I – III | M3, M9 Folklore I + II | M19.1 Training

Thorough knowledge of basic technique resulting from a combination of physical experience and reflection processes is the foundation for professional dance training. It is important to work creatively with technique, whether teaching or performing it. Technique expands dancers’ movement possibilities, broadens their choice about what to express and how to express it, and helps promote their individuality and power of expression. The term “technique” can today be understood in many different ways. There is a wide range of techniques and related philosophies available – classical technique, alignment and release techniques; Cunningham, Limón, Horton or Graham techniques; folklore, jazz, Tai Chi or even breathing techniques. The different techniques taught can, and should, complement and influence each other. Finding the right balance between having a wide overview on the one hand and in-depth knowledge in particular areas on the other is important. The following foundation techniques are taught: _ CLASSICAL DANCE – including pointe work, variations, pas de deux, barre au sol and neo-classical approaches _ CONTEMPORARY DANCE – release techniques, partnering as well as process-orientated, crossover work including modern dance and other dance forms taught in intensive workshops _ FOLKLORE DANCE – from various countries but including flamenco and castanets, rhythms and unusual time signatures, and working with authentic step material in an individual and creative way. Students learn how to see movements, to describe and analyse what they have seen and to transfer information from one technique to another. Tutors support, encourage and challenge students throughout the entire programme. They point out parallels between the various

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techniques and styles, use images for clarification purposes and provide space for students’ own explorations. In intensive workshops with international guest teachers, students grasp different movement approaches, unfamiliar movement material and unusual forms of teaching quickly. CREATIVITY

M2.2, M8.2, M14.4 Improvisation | M2.3, M8.3 Contact Improvisation | M14.2 Composition | M14.3 Digital Tools & Materials

Today’s dancers are more than just performers; they are seen as creative, choreographically minded co-creators in the artistic process. In addition to daily technique training, the educational focus is therefore also on the development of creativity and spontaneity. The intensive workshop series KIT – Körper im Theater, which features crossover formats (e.g. action theatre or physical cinema), opens up further possibilities for creative expression. The process is enhanced by experience with different body systems in Body-Mind Centering workshops. AWARENESS OF THE BODY

M4, M10, M16 The Body I – III | M19.2 Embodied Knowledge In-depth knowledge of the body and sharpened perception help form the solid basis of information needed to study dance and are also of great benefit in both movement research and everyday dance practice. In order to obtain a better understanding of anatomical connections and efficient use of different body systems such as muscles, bones, fluids, etc., aspects of dance technique are combined with approaches from body awareness methods, for example Feldenkrais, Alexander Technique and Body-Mind Centering. Students learn how to work carefully with their bodies, how to listen to its signals, how to stabilise and strengthen it, and how to watch out for and deal with, injuries, all of which enables them to continue dancing at an optimal level. Knowledge of the body, body awareness and movement methods are integrated into all four years of study. For further information, see THE ARTIST’S BODY (p.45) and the template for The Body I –III modules (p.48). THEORY

M4.1 Anatomy | M4.4 Training Science | M5.2 Creative Writing | M5.1, M11.1 Music Theory Specific to Dance | M11.2, M17.1 Dance History |

M5.4, M11.4 Video Examples I + II | M11.5 Academic Work | M17.3 Dance Dissemination | M17.4 Theory & Aesthetics of Dance and Theatre |

M17.5 Management | M5.3, M11.3, M17.2 Dance-Video-Film-New Media | M20.4 Performance Reports | M21 Bachelor’s Thesis...

The programme aims to create comprehensive links between dance practice and theory so that students obtain a deeper understanding of dance as an art form. Basic knowledge is taught in the partial modules Anatomy and Training Science. In Music Theory Specific to Dance, students acquire the fundamentals of music theory and rhythm. Students discover the notion of sound and learn how to analyse music by reading scores and listening to music. Another focus is on the appreciation of musical forms – those closely linked to dance as well as those independent of it. The fundamentals and principles of current as well as historical dance forms are taught in Dance History, the aim being to see contemporary productions as a

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part of dance and cultural history. To supplement this work, students watch current and historical recordings of dance, dance theatre and ballet productions in the self-organised Video Examples seminars (p.49). In addition, the inter-year Dance-Video-Film-New Media seminar presents themed dance videos and films as well as CD-ROMS, DVD-ROMS and websites. The work on dance and other performance arts involves, for example, attending the Hessian Theatre Academy’s lecture series as well as watching and preparing written analyses of eight shows from dance, musical theatre, drama and performance. In the Bachelor’s Thesis, students carry out their own research project, select an issue specific to dance, draw their own conclusions, substantiate their conclusions in a differentiated manner and present the entire working process in written form. PROJECT WORK

M6.1, M12.1, M18.2, M22.1 Artistic & Process-oriented Projects | M15.1 Individual Work International guest teachers and choreographers provide introductions into their working methods as well as relevant new dance techniques in order to ensure comprehensive and above all practice-based training. In artistic and process-oriented projects, students gather experience in and with movement research in artistic and process-oriented projects and become familiar with different choreographic practices and working methods, all of which enables them to be able to respond quickly and flexibly to complex demands in their professional careers. Project work covers a wide range of different approaches, which could be technique-based, aimed at developing choreographies, or include other forms of artistic or process-oriented movement research. It also covers students’ own work that forms part of the Bachelor’s exam and includes the development, formulation and implementation of concepts in the form of a choreography, installation or performance. Students have to deal with aspects such as themes and movement, exploration, the processing of experiences, forms of presentation and open discussion. INTERDISCIPLINARITY

M6.1, M12.1, M18.2, M22.1 Artistic & Process-oriented Projects Exciting developments in dance are often found in the crossover areas with other dance and art forms. The HfMDK offers excellent opportunities for crossover work and supports the establishment of interdisciplinary co-operations. Students’ interdisciplinary projects are funded by the Tanz der Künste project (info map p.26). University students meet those from other art and presentational forms at the Festival der Jungen Talente (info map p.19) where different opinions and interpretations of what has been seen, heard and experienced come together; co-operations are tested and knowledge is exchanged. PERFORMANCES

M6.2, M12.2, M18.3, M22.2 Performances Students start gathering stage experience from the very first semester in three different performance series per year. In these series, the knowledge and experience students have acquired in various technique and improvisation classes, in choreographic projects and in interdisciplinary courses are put to the test in front of the public and in professional performance conditions. Students can demonstrate their skills and qualities as performers in a wide range of choreographies and styles, and they have a chance to show their own work.

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MODULE OVERVIEW TABLES First year of study

Second year of study

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Focus on classical dance Third year of study

Focus on contemporary dance Third year of study

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Fourth year of study

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MODULE DESCRIPTIONS First year of study

Module no.: M1_a Classical Dance I M1_a and _b:

18 CPs

Qualification objectives Students have a basic feeling for the body’s line, form and plasticity in the space as well as solid foundations for movement co-ordination. They master essential ballet terminology, the fundamentals of poise and positioning and technique e.g. for pirouettes, tours, tour lent in large poses, jumps with battu and big jumps.

Content 1. Training As with the Russian teaching method, training is divided into exercises at the barre, work in the centre and jumps. 2. Floor-Barre There is less strain on the joints in floor-barre classes while floor work makes movement co-ordination easier. These classes are a good way of noticing and correcting errors. Body structures can change, the body becomes more defined, muscles can lengthen, movement en dehors is maximised and elasticity, flexibility, posture, balance, alignment and perception are improved. Knowledge and experience acquired in floor-barre classes are transferred into classical training. 3. Pointe Work (women) Pointe work improves stability and strengthens the muscles of the legs and feet in exercises such as relevés in first, second, fourth and fifth position, pas echappé with tours and endings on one leg. Technique elements taught include pirouettes in fifth and fourth position en dehors and en dedans, tours on a diagonal and relevés on one leg. 4. Men’s Training In men’s training, particular emphasis is placed on development the strength and co-ordination needed for the classical and contemporary repertoire – e.g. tours in big poses, several pirouettes en dehors and en dedans with different preparations, grand tour à la seconde, battu on one and two legs and big jumps for elevation and ballon. 5. Pas de Deux (men) Pas de deux training explores elements of classical and neo-classical partnering – such as supported poses, balance and off-balance, tours, lifts and the necessary co-ordination between two dancers – using examples from the classical and neo-classical repertoire.

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Name and teaching method

Attendance time CPs and workload in hours per teaching event

Requirement for the awarding of CPs

1. Training (G)

38 W / 4.5 TUs per W / each TU = 90 min

11 CPs, 330h overall 256h attendance time, 74h self-study

Regular participation

2. Floor-Barre (G)

30 W / 2 TUs per W / each TU = 90 min (60 min barre au sol and 30 min classical training)

3 CPs, 90h overall 90h attendance time


3. Point Work (women, G)

33 W / 3 TUs per W / each TU = 45 min



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4. Men’s Training (G))




5. Pas de deux (Männer, G)

25 W / 1 TU per W / each TU = 60 Min

1 CP, 30h overall 25h attendance time, 5h self-study


Requirements for participating in the module

Enrolment on the Bachelor’s degree in Dance

Applicability of the module Bachelor of Arts: Dance

Module examination Two partial module examinations: − For everyone: Classical Technique Training (90-minute practical examination) − For women: Pointe Work (15-minute practical examination) − For men: Men’s Training (15-minute practical examination) The module examination is ungraded; it is marked either as a pass or fail. The module examination can be retaken once in the event of a fail.

Module frequency Annual

Duration and start One semester

Winter semester

Workload in hours For M1_a and _b: Overall: 540 Attendance time: 420 Self-study: 120

Tuition languages

German, English

Module manager

Prof. Marc Spradling

Modulnr.: M1_b Classical Dance I M1_a and _b:

18 CPs

Comments This module is a continuation of M1_a.

Module examination − None. The awarding of CPs is contingent on regular participation in the teaching events


Summer semester

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Modulnr.: M2_a Contemporary Dance I M2_a and _b: 16 CPs

Qualification objectives Students have: − Developed an understanding of the basic elements of contemporary dance technique − Established solid foundations in contemporary dance − Gained experience with release techniques, different forms of modern dance and other dance styles − Sharpened their awareness of space, presence, use of strength and energy, music, and changes in dynamic They also have a basic knowledge of improvisation and contact improvisation, are familiar with process-oriented and multi-disciplinary work and are able to assimilate and interpret prescribed movement material.

Content 1. Contemporary Dance Contemporary dance is a mix of tradition and innovation. It has many roots and is nurtured by numerous trends and current developments. The training goal is to give students a solid foundation in contemporary dance technique based on physical experience and reflections on the working process. Training is generally divided into three phases – floor work, standing exercises and combinations in the space. It combines different contemporary approaches with expressionist, modern and post-modern dance principles, and knowledge of somatic disciplines. The focus is on release and alignment-based techniques. Other dance styles such as street dance, hip-hop or extra-European dance forms are taught in workshops. 2. Improvisation Teaching is based on different movement concepts and methodical approaches and includes perception training, researching different body systems, explorations into themes such as presence, space, time, dynamic or rhythm, and the use of light and props. Tasks have to be worked on as solo, duet or group pieces and in the form of either structured or free improvisation. Other aspects of training include the development of creativity and spontaneity, recognising movement structures and verbalising experiences and their associated reflection processes. 3. Contact Improvisation The scope for communication that arises from “touch and being touched” is explored when two people move, roll, walk, wrestle, fall or carry each other, at the same time remaining in constant contact – spatially, physically and in relation to energy. Students develop a basic knowledge of partnering and its associated vocabulary, learn new techniques and experience energy flow. The seminar also covers breathing and tension modulation in the body. Students also explore physical forces such as mass, impulse, friction, impetus or lever rules. Both physical and emotional aspects play a role in the working process.

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1. Contemporary Dance (G)

33 W / 3 TUs per W / each TU = 90 min, plus 90 hours of block seminars



2. Improvisation (G)

30 W / 1 TU per W / each TU = 90 min

2 CP, 60 h overall 45 h attendance time, 15 h self-study


3. Contact Improvisation (G)

30 W / 1 TU per W / à 120 Min






Module examination Two partial module examinations: − Contemporary Technique Training (90-minute practical examination) − Improvisation (20-minute practical examination) The module examination is ungraded; it is marked either as a pass or fail. The module examination can be retaken once in the event of a fail.



Winter semester

Workload in hours For M2_a and _b: Overall: 480 Attendance time: 343 Self-study: 137

Tuition languages

German, English

Module manager

Prof. Dieter Heitkamp

Modulnr.: M2_b Contemporary Dance I M2_a and _b:

16 CPs

Comments This module is a continuation of M2_a

Modulprüfung − None. The awarding of CPs is contingent on regular participation in the teaching events.

Dauer und Beginn One semester Summer semester

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Modulnr.: M3_a Folklore I 3 CPs

Qualification objectives Students master basic techniques and steps from folklore dances from different countries.

Content Students learn rhythms, steps and dances from different countries and discover the diversity of dance styles and forms (circle, line and partner dances). Students learn how to play with the original steps, which are used to create choreographies.

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1. International folklore (G)


3 CPs, 90 h overall 66 h attendance time, 24 h self-study





Module examination − Practical Examination (60 minutes) The module examination is ungraded; it is marked either as a pass or fail. The module examination can be retaken once in the event of a fail.


Duration and start Two semesters Winter semester

Workload in hours Overall: 90 Attendance time: 66 Self-study: 24

Tuition languages

German, English

Module manager

Prof. Susanne Noodt

Modulnr.: M3_b Folklore I M3_a and _b:

3 CPs

Comments This module is a continuation of M3_a.

Module examination − None. The awarding of CPs is contingent on regular participation in the teaching events.

Duration and start One semester Summer semester

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Modulnr.: M4 The Body I 10 CPs

Qualification objectives Students have basic knowledge of anatomy and training science, and have gained experience in body awareness methods and movement techniques.

Content 1. Anatomy Students learn about the form and structure of movement apparatus and examine its function (physiology) and practical use in movement (applied anatomy). The seminar covers: 1. The fundamental principles of training 2. Dealing with injuries/first aid 3. Nutrition for dancers 4. Functional anatomy of the movement apparatus (bones, tendons, ligaments, joints, muscles) 5. Neurophysiology of muscles and dysfunctions 6. Movement apparatus systems (cardiovascular system, nervous system) 7. Physiological aspects 8. Psychological aspects 2. Perception of the Body In-depth knowledge of the body and strong perceptive skills form the basis of dance and movement tuition. Students’ perceptive faculties are trained using examples of different approaches and methods (e.g. Feldenkrais, Alexander Technique, Body-Mind Centering/BMC), the aim being to increase awareness and efficiency in their movements. In addition, movement analyses enable students to recognise movement patterns and the restructuring of them, which reduces the risk of injury. 3. Movement Studies Different approaches and methods such as Gyrokinesis, Pilates, Yoga, Tai Chi, Laban Bartenieff, ideokinesis or spiral dynamics (if available) are used to teach students how to train joints and muscles systematically and safely, and to increase knowledge of the body. Experience gathered in seminars and workshops can be used in other areas and integrated into daily training and individual warm-ups and cool-downs (workshop series MSBL/KIT, msbl/kit am morgen, THE ARTIST’S BODY). 4. Training Science The aim of this block seminar is to transfer established, current knowledge on training science to dance and to prepare students for the demands of the dance degree and the professional dance world. The seminar covers: 1. Training load management 2. Rest and stress management 3. Training methods and physiology 4. Functional power training 5. Agility and speed training

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1. Anatomy (G)




2. Perception of the Body (G, I)

30 W / 2 TUs per W / 60 min



3. Movement Systems (G, B)

30 W / 1 TU per W / 60 min Plus 12 hours of block seminars



4. Training Science (B)

12 hours of block seminars



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Module examination Two partial module examinations: − Anatomy: presentation in the first semester (30 - 40 minutes) − Anatomy: written exam in the second semester (60 minutes)

The presentation and written test are weighted 1:1 when forming the module grade.



Workload in hours overall: 300 Attendance time: 159 Self-study: 141

Tuition languages

German, English

Module manager

Prof. Susanne Noodt

Modulnr.: M5 Theory I 5 CPs

Qualification objectives Students master the basics of music theory (specific to dance) and rhythm. They have become familiar with different dance forms and choreographic methods and are able to establish connections between music and dance.

Content 1. Music Theory Specific to Dance Students acquire the basics of music theory (notes, intervals, chords, scales) and rhythm (note values and pauses, simple and compound time signatures). Reading scores and analysing music teaches students how to understand musical and formal correlations. 2. Creative Writing Creative writing exercises encourage students to think and formulate in words and to construct mental associations. The exercises help students develop their own themes and theses for later academic work. 3. Dance-Video-Film-New Media The seminar presents a selection of dance videos/films, Internet platforms and extracts from recordings of current and historical dance productions covering themes such as body images, gender issues, dance and age, dance and sexuality, dance and music, dance and text, media art and the history of dance films. Links are made between developments in dance and other areas (graphic art, performance, theatre, music and science). The seminar also addresses aspects of documenting dance, new fields of application for dance and choreography as well as new forms of dissemination. 4. Video Examples The seminar is organised by the students themselves. The videos shown help to prepare for the Dance History seminars in the second and third years of study. Watching complete recordings of different productions is intended to provide insights into the artistic work of relevant choreographers, give an overview of key developments in dance history and expand students’ knowledge of the professional dance world. Themes include the Imperial Russian Ballet, Romantic ballet, Noverre’s reforms and ballet du cour.

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1. Music Theory Specific to Dance (G)




2. Creative writing (B)


0,5 CPs, 15 h overall 12 h attendance time, 3 h self-study


3. Dance-Video-Film-New Media (G)


1 CP, 30 h overall 30 h attendance time


4. Video Examples (G)

15 TUs / each TU = 60 min

0,5 CP, 15 h overall 15 h self-study





Module examination − Music Theory Specific to Dance: 60-minute written exam in the first semester




Tuition languages

German, English

Module manager

Tatjana Varvitsiotis

Modulnr.: M6 Projects I 8 CPs

Qualification objectives Students gain further experience of movement research in choreographic and process-oriented projects with different guest lecturers. They also learn new forms of choreographic practice and are increasingly able to adapt themselves quickly and flexibly to different ways of working as well as complex demands. Students gather comprehensive stage experience in several performance series they can use to test

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different performance strategies as well as ways of dealing with presence.

Content 1. Artistic and Process-oriented Projects Project work embraces very different approaches that can be technique-based, aimed at developing choreographies, or include other forms of artistic, process-oriented movement research. The work with internationally renowned guest teachers, choreographers and dancers from municipal or national theatres, or the independent scene, establishes direct links with the professional dance world. Students learn different working methods, become familiar with new dance techniques and forms of communication, and have experience of group processes. Many of these projects are conducted with the support of the Hessian Theatre Academy and in co-operation with partners from the Frankfurt Dance Network. 2. Performances Students take part in public presentations of choreographies, performances, pieces or installations. Performances take place on different-sized stages or at site-specific venues.

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1. Artistic and Process-oriented Projects (B)




2. Performances (B)



Participation in three performance series




Module examination − None. The awarding of CPs is contingent on regular participation in the teaching events



Workload in hours overall: 240 Attendance time: 200 Self-study: 40

Tuition languages

German, English

Module manager

Prof. Susanne Noodt

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Second year of study

Modulnr.: M7 Classical Dance II 19 CPs

Qualification objectives Students are able to use improved movement co-ordination to implement difficult elements of classical dance technique and execute complex movement combinations while the same time displaying artistic expression. They also have a broader understanding of differentiated movement qualities.

Content 1. Training Building on the material learned in M1.1, movement combinations become more complex, paces increase and students work on grand allegro combinations. Technique elements taught include tours in big poses, pirouettes with different preparations in place and while moving, and battu ending on one leg. 2. Floor-Barre Expansion and more in-depth study of the knowledge learned in M1.2. 3. Pas de Deux Specific elements of partnering such as supported balance and off-balance poses, tours, lifts and co-ordination between two dancers are explored using extracts from the classical and neo-classical repertoire. For men: expansion and more in-depth knowledge of the elements learned in M1.5. 4. Pointe Work / Variation (women) Increased stability en pointe, strengthening the leg and foot muscles using the grande sissonne ouverte in all directions, poses with progression and pas tombé from one pose and into another at 90° etc. Students are also taught the tour piqué dehors and dedans on a diagonal, tours fouettés, jumps en pointe and their first variations of the classical repertoire. 5. Men’s Training Students improve their tours in big poses, multiple pirouettes and battu technique. The range of big jumps is expanded with emphasis on movement volumes and attacks. 6. Strength Training (men) Specialised strength training complements dance training and prepares students for the demands of pas de deux.

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1. Training (G)




2. Floor-Barre (G)

30 W / 1 TU per week / each TU = 90 min (60-min floor-barre and 30-min classical training)

2CPs, 60 h overall 45 h attendance time 15 h self-study


3. Pas de deux (G) 25 W / 1 TU per W / each TU = 60 min



4. Point Work (women, G, I)




5. Men’s Training (G)




6. Strenght Training (men, G, I)

30 W / 1 TU per W / each TU = 60 min (including 2 h with a tutor)



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Successful completion of module M1


Module examination Two partial module examinations: − For everyone: Classical Technique Training (90-minute practical examination) − For women: Pointe Work (15-minute practical examination) − For men: Men’s Training (15-minute practical examination)

The partial module examinations in classical training and either pointe work or men’s training are weighted 2:1 when forming the module grade.




Tuition languages

German, English

Module manager


Modulnr.: M8 Contemporary Dance II 17 CPs

Qualification objectives Building on the basics acquired in M2, students have refined their dance technique, expanded their range of movement and increased their interpretive capacities. They have learned to appreciate their creative potential and can develop and vary movement material independently.

Content 1. Contemporary Dance Students gain more in-depth knowledge of the material learned in module M2.1 while movement sequences and combinations become more complex. Particular emphasis is placed on refining dance technique as well as the interpretation and configuration of prescribed movement material. Familiarity with other dance forms expands students’ understanding of movement and dance. 2. Improvisation Building on the basics of improvisation acquired in M2.3, students expand their skills and range of possibilities in performances, research or the development of movement material in choreographic processes. Students explore the use of voice, sound and language, look at texts or gestures, or try out different spaces, unusual environments and site-specific locations outside of dance studios or theatres. 3. Contact Improvisation Using the basic knowledge gathered in the module M2.4, students’ movement vocabulary is expanded by acrobatic elements such as lifts or catching jumps, their sensitivity for duo or group work is refined, and they are taught how to observe and appreciate on several levels at the same time.

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1. Contemporary Dance(G, B)




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2. Improvisation (G)

30 W / 1 TU per W / each = 90 min



3. Contact Improvisation (G)







Module examination Two partial module examinations: − Contemporary Technique Training (90-minute practical examination) − Improvisation (15-min practical examination)

The partial module examinations Contemporary Technique Training and Improvisation are weighted 2:1 when forming the module grade.




Tuition languages

German, English

Module manager


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Modulnr.: M9 Folklore II 4 CPs

Qualification objectives Students have knowledge of steps from the Spanish cultural diaspora and are able to shape the material.

Content Students learn dances with castanets, typical step material from Spain and Mexico as well as the basics of flamenco with its special foot technique – zapateado – and polyrhythmic movements. Choreography is developed in which students contribute their own material based on the material they have learned in the module.

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method



1. International Folklore (G)

33 W / 2 TUs per week / each TU = 60 min




Successful completion of the module M3


Module examination − Practical exam (60 minutes)




Tuition languages

German, English

Module manager

Prof. Susanne Noodt

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Modulnr.: M10 The Body II 4 CPs

Qualification objectives Students have refined their perception of the body and gained comprehensive experience of individual body-awareness methods. They are able to apply knowledge of the body (embodied knowledge) in their everyday training as well as movement research.

Content 1. Perception of the Body Expansion and more in-depth knowledge of the material learned in M4.2. 2. Movement Studies In order to expand the experience gathered in module M4.3 as well as learn new approaches to movement, students choose from a range of regular courses in different movement techniques and methods (yoga, gyrokinesis, pilates, tai chi, etc.) or from workshops that form part of the MSBL/KIT or THE ARTIST’S BODY projects.

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30 W / 2 TU per week / each TU = 60 min



2. Movement Studies (G, B)

24 h overall (in block seminars and/or on a weekly basis)










Tuition languages

German, English

Module manager

Prof. Susanne Noodt

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Modulnr.: M11 Theorie II 7 CPs

Qualification objectives Students master dance-related and non-dance related musical forms, have a basic range of techniques for academic work and are aware of the key developments in dance from the 20th century up to the present day.

Content 1. Music Theory Specific to Dance The focus is on musical forms. Dance-related and non-dance forms are developed, analysed and translated into movement, at the same time taking the dance historical context into account. 2. Dance History The focus is on the various manifestations of dance since 1900 with a particular emphasis on the social and aesthetic upheavals of the 20th century as reflected in modern and post-modern dance, contemporary dance, ballet, dance theatre and performance. Social and philosophical questions, research technique issues and adopting a critical approach to the use of historical material form the background to the seminar. 3. Dance-Video-Film-New Media Continuation of M5.3 4. Video Examples Continuation of M5.4 Themes: expressionist dance, Ballets Russes, modern dance, pre-postmodern dance, post-modern dance, dance theatre and concept dance. 5. Academic Work The basic techniques for academic work are taught. Students create and classify academic texts as well as literary and Internet research. They tackle self-selected issues in a scientific manner and develop a close relationship with the subject. Students are encouraged to work with their own themes alongside existing research.

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1. Music Theory Specific to Dance (G)

33 W / 1 TU per W / each TU 90 = min

3 CP, 90 h overall 50 h Attendance time, 40 h Self-study


2. Dance History(B)

25 h of block seminars 2 CP, 60 h overall 25 h Attendance time, 35 h Self-study




1 CP, 30 h overall 30 h Attendance time


4. Video Examples (G)

15 TUs / each TU = 60 min

0,5 CP, 15 h overall 15 h Self-study


5. Academic Work (B)

12 h of block seminars 0,5 CP, 15 h overall 12 h Attendance time, 3 h Self-study


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Module examination Three partial module examinations: − Dance-specific Music Theory (written paper, 60 minutes) − Dance-specific Music Theory (oral examination, 60 minutes) − Dance History (written paper, 60 minutes)

The written and oral partial examinations are weighted 1:2 when forming the grade for the Dance-specific Music Theory module. The Dance History and Dance-specific Music Theory grades are weighted 1:1. The dance history presentation can be given in this module provided the relevant agreement has been made with the head of teaching for seminar M11.2. The mark then used in forming the grade for module M17.




Tuition languages

German, English

Module manager


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Modulnr.: M12 Projects II 9 CPs

Qualification objectives Students gain additional experience of movement research in choreographic and process-oriented projects with different guest lecturers, learn new forms of choreographic practice and are increasingly able to adapt themselves quickly and flexibly to different ways of working and complex demands. Students accumulate more stage experience in several performance series.

Content 1. Artistic and Process-oriented Projects The work with different teachers in module M6.1 is intensified. Interdisciplinary projects as well as joint workshops and seminars with students from other fields and universities as part of the Hessian Theatre Academy project give students the opportunity to encounter different artistic and presentational forms as well as alternative opinions and interpretations of the material seen, heard or experienced. Co-operation is tested and knowledge exchanged. 2. Performances Students can use the experience they have gathered developing technique and creativity with concomitant awareness of the body on the one hand, and combining theory and practice in project work and interdisciplinary processes on the other, in numerous performances on stage or at other venues, at the same time expanding their artistic skills and qualities as performers in very different choreographies and styles.

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1. Artistic & Process-oriented Projects (B)

150 h of block 6 CP, 180 h overall 150 h Attendance time, 30 h Self-study


2. Performances (B)

80 h of block 3 CP, 90 h overall 80 h Attendance time, 10 h Self-study

Teilnahme an den 3 Aufführungsreihen








Tuition languages

German, English

Module manager


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Third year of study In their third year of study, students have the opportunity to focus on either classical dance (Klassicher Tanz / KT) or contemporary dance Zeitgenössischer Tanz / ZT). The focus is reflected in modules M13, M14 and M15. Students must inform the training management department (Ausbildungsdirektion) of their choice of focus in writing by the end of the fourth-semester.

Focus on Classical Dance_KT

Modulnr.: M13_KT Classical Dance III 21 CPs

Qualification objectives Students have more advanced, individual possibilities for movement co-ordination, movement quality and artistic expression. They have very good stamina and poise on half pointe in big poses and master big jumps in movement combinations, including in fast-paced sequences.

Content 1. Training Further development of the elements learned in the module M7.1 and improvement of the movement co-ordination with emphasis on the development of students’ individual skills and their ability to shape movement material artistically. Students learn several tours in big poses with different preparations as well as an expanded form of adagio. Battu technique becomes more complex while big jumps are added into movement combinations and paces quicken. Particular emphasis is placed on movement quality and musicality. 2. Technique & Repertoire Lab The Technique & Repertoire Lab gives students an opportunity to conduct detailed research into specific elements of the classical and neo-classical dance vocabulary, and to look at different movement qualities and compositional concepts as well as the scope for applying different repertoires. 3. Pas de Deux Elements of classical and neo-classical partnering such as supported poses, balance and off-balance, tours and lifts are taught while co-ordination and the demands for co-operation skills become more complex. Students work on the classical and neo-classical repertoire (Petipa, Balanchine, Forsythe, etc.). 4. Variation Students learn the stylistic features of the classical and neo-classical repertoire. Special attention is paid to the virtuoso execution of movement. 5. Pointe Work (women) Further development of the content of module M7.4, e.g. grand sissonne ouverte in all directions and poses with progression, grand fouetté en tournant, grand tour dehors/dedans, combinations with turns on diagonals and in a circle with complex movement transitions as well as jumps on one leg and other elements of the technique. 6. Men’s Training The course builds on the content of the module M7.5. The technique for tours in big poses and multiple pirouettes is improved further, the battu technique refined and the range of big jumps expanded with emphasis on movement volumes and attacks.

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1. Training (G)




2. Technik & Repertoire Lab (G)

45 h of block seminars



3. Pas de deux (G) 25 W / 1 TU per W / each TU = 60 min



4. Variation (G, E) 33 W / 1 TU per W / each TU = 45 min



5. Point Work (women, G)




6. Men’s Training (G)







Module examination Three partial module examinations: − For everyone: Classical Technique Training (60-minute practical examination) − For everyone: Solo Variation (5-minute practical examination) − For women: Pointe Work (15-minute practical examination) − For men: Men’s Training (15-minute practical examination) The partial module examinations Classical Technique Training, Solo Variation and Pointe Work are weighted 2:1:1 in forming the module grade.




Tuition languages

German, English

Module manager

Prof. Andrea Tallis

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Modulnr.: M14_KT Contemporary Dance III 11 CPs

Qualification objectives Students have refined their dance technique and are able to respond creatively in their interpretation of different choreographic demands in varying styles. They can develop movement material, work on it independently, transpose it into other forms and arrange it while at the same time taking compositional issues into account.

Content 1. Training Refining of the skills learned in the module M8.1 and further development of these in relation to movement co-ordination, the adoption and execution of movement material, the differentiation of movement qualities (with emphasis on the development of individual interpretation) and artistic composition. 2. Composition Students learn and explore different concepts concerning the compositional arrangement of themes and material. They look at concept development, movement research and issues relating to content, presentational and representational forms, and social references. 3. Digital Tools & Materials Examples are used to give students an introduction to the work with interactive digital media as well as methods for using other materials.

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1. Training (G)




2. Composition (G) 12 W / 1 TU per W / each TU = 120 min Plus 12 hours of block seminars



3. Digital Tools & Materials (B)







Module examination − Contemporary technique training (60-minute practical examination)




Tuition languages

German, English

Module manager


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Modulnr.: M15_KT Individual Work 4 CPs

Qualification objectives Students are able to conduct movement research on a self-selected theme. They can develop and implement concepts as well as develop movement material and arrange them taking artistic, compositional and choreographic aspects into account.

Content Individual work is the independent formulation, development and implementation of projects. Students discover themes and look at movement research and choreographic considerations. They develop and shape material, process experience and explore working methods and forms of presentation. Students present their interim results in a colloquium during the work process and receive and give each other feedback. Individual work can also be carried out as an interdisciplinary project in co-operation with students from other departments and universities (including in association with the Hessian Theatre Academy).

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1. Individual Work

90 hours of self-organised project work (including 2h with a tutor)


2. Colloquium (B) 20 h of block seminars




Enrolment on the Bachelor Degree in Dance


Module examination − Presentation of the individual work in performance series or in informal studio presentations




Tuition languages

German, English

Module manager


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Focus on Contemporary Dance_ZT Modulnr.: M13_ZT Classical Dance III 14 CPs

Qualification objectives Further development of the material learned in M7. Students are able to use their skills while at the same time taking the artistic interpretation of the material into account.

Content 1. Training Further development of the elements learned in M7.1 and improvement of movement co-ordination with emphasis on the development of students’ individual skills and their ability to arrange material artistically. Students learn how to perform multiple tours in big poses with various preparations as well as an expanded form of adagio. Battu technique becomes more complex, big jumps are added into movement combinations and paces quicken. Particular attention is paid to movement quality and musicality. 2. Pas de Deux (men) Elements of classical and neo-classical partnering such as supported poses, balance and off-balance, tours, lifts and the co-ordination and co-operation skills of the two dancers become more complex. The classical and neo-classical repertoire (including Petipa, Balanchine and Forsythe) is used. 3. Strength Training (women) Women receive specific strength training to prepare them for the demands of contemporary dance partnering.

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1. Training (G)




2. Pas de deux (men, G)

25 W / 1 TU per W / each TU = 90



3. Strenght Training (women, G, E)

25 W / 1 TU per W / each TU = 60 min (including 5 hours with a tutor)






Module examination − Classical technique training (60-minute practical examination)




Tuition languages

German, English

Module manager

Prof. Andrea Tallis

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Modulnr.: M14_ZT Contemporary Dance III 17 CPs

Qualification objectives Students have refined their dance technique and are able to respond creatively in their interpretation of different choreographic demands in varying styles. They can develop movement material, work on it independently, transpose it into other forms and arrange it while at the same time taking compositional issues into account. They have also gained experience of contemporary dance partnering, applying digital tools, playing with drama and using the voice

Content 1. Training Further development of the skills learned in modules M8.1 and M8.2 relating to co-ordination, the adoption and implementation of movement material, the differentiation of movement qualities with emphasis on the development of individual interpretation and the artistic arrangement of the material. 2. Composition Students learn and explore different concepts concerning the compositional arrangement of themes and material. The look at concept development, movement research and issues relating to content, presentational and representational forms, and social references. 3. Digital Tools & Materials Examples are used to give students an introduction to the work with interactive digital media as well as methods for using other materials. 4. Improvisation, Partnering, Research, Performance Continuation, consolidation and more in-depth knowledge of the material learned in modules M8.2, M8.3 and M8.4 at the same time integrating scores and elements of contemporary partnering. 5. Dramatic Play Students are given an introduction into theatrical working methods and gain experience with movement techniques that allow for dramatic play. 6. Vocal Composition for Dancers Students familiarise themselves with the vocal apparatus and the formation of voice and speech.

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1. Training (G)




2. Composition (G, B)

12 W / 1 TU per W / each TU = 120 min Plus 12 hours of block seminars



3. Digital Tools & Materials (B)




4. Improvisation, Partnering, Research, Performance (G, B)

20 W / 1 TU per week / each TU = 90 min Plus 43 hours of block seminars



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5. Dramatic Play(B)




6. Vocal Composition for dancers (G)

30 W / 1 TU per week / each TU = 60






Module examination Two partial module examinations: − Contemporary Technique Training (60-minute practical examination) − Improvisation (15-min practical examination)

The partial module examinations Contemporary Technique Training and Improvisation are weighted 2:1 in forming the module grade.




Tuition languages

German, English

Module manager


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Modulnr.: M15_ZT Individual Work 5 CPs

Qualification objectives Students are able to conduct movement research on a self-selected theme. They can develop and implement concepts as well as develop movement material and arrange it while at the same time taking artistic, compositional and choreographic aspects into account.

Content Individual work is the independent formulation, development and implementation of projects. Students must discover themes and deal with movement research and choreographic considerations. They develop and shape material, process experience and explore working methods and forms of presentation. Students must present interim results in a colloquium during the work process and receive and give each other feedback. Individual work can also be carried out as an interdisciplinary project in co-operation with students from other departments and universities (including in association with the Hessian Theatre Academy).

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1. Individual Work

120-hours of self-organised project work (including 2 hours with a tutor)


2. Colloquium (B) 20 h of block semiars




Enrolment in the Bachelor’s Degree in Dance


Module examination − Presentation of the individual work in performance series or in informal studio presentations



Workload in hours

Overall: 150 Attendance time: 22 Self-study: 128

Tuition languages

German, English

Module manager


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Joint modules for all students regardless of the choice of focus Modulnr.: M16 The Body III 4 CPs

Qualification objectives Students have acquired basic knowledge of various body-awareness methods and gained a deeper insight into individual methods.

Content 1. Perception of the Body Expansion and more in-depth study of the content from M10.1 2. Movement Studies Expansion and more in-depth study of the content from M10.2 (e.g. workshops as part of MSBL/KIT and THE ARTIST’S BODY)

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2. Movement Studies (B)

24 h overall (in block and/or weekly seminars)










Tuition languages

German, English

Module manager

Prof. Susanne Noodt

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Modulnr.: M17 Theory III 9 CPs

Qualification objectives Students have broadened their knowledge of dance history and gain their first experience of handling sources in a critical fashion and developing research questions independently. They have basic knowledge of dance dissemination and have learned about self-management, theatre law, contracts, insurance issues and other organisational matters.

Content 1. Dance History Pre-1900 dance concepts are compared using video samples, images and historical, text-based sources. The journey takes in Romanticism, Noverre’s ballet reforms, Louis XIV, the beginnings of ballet and dance in the Middle Ages. The knowledge acquired in M11.2 is used for critical investigations and working creatively with historical sources. Students ultimately work on their own themes, inspired by dance history, with an eye on the upcoming Bachelor’s thesis. 2. Dance-Video-Film-New Media Continuation of M11.4 3. Dance Dissemination Students become familiar with fundamental issues relating to the dissemination of dance as well as principles for planning and developing dance classes. 4. Theory & Aesthetic of Dance and Theatre Most of the seminar is made up of the Hessian Theatre Academy’s lecture series dealing with cultural science issues relating to acting, directing, dance and choreography. 5. Management Students gain experience in self-management, learn how to develop their own organisational structures and become familiar with areas such as theatre law, contracts, insurance, social insurance for artists, taxes and funding applications.

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1. Dance History (B)







3. Dance Dissemination (B)

30 h of block seminars 2 CP, 60 h overall 30 h Attendance time 30 h Self-study


4. Theory & Aesthetic of Dance and Theatre (B)

25 h of block seminars 2 CP, 60 h overall 25 h Attendance time 35 h Self-study


5. Management (G, B)

14 W / 1 TU per W / each TU = 60 min Plus 6 hours of block seminars

1 CP, 30 h overall 20 h Attendance time 10 h Self-study





Module examination • Dance History: 15-20 minute presentation The Dance History presentation can be given in the second year of study provided

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the relevant agreement has been made with the head of teaching in seminar M11.2. In this case, the mark for the presentation is used to form the overall grade for module M17.




Tuition languages

German, English

Module manager


Modulnr.: M18 Projects III 11 CPs

Qualification objectives Working with guest choreographers and lecturers, students have gained further experience of choreographic working methods and are increasingly able to adapt themselves quickly to a broad range of demands as well as play a part in projects. They have acquired further stage experience working with various styles and refined their stage presence.

Content 1. Dance & Stage Students gain an insight into areas such as light or costume design, or make-up. 2. Artistic & Process-oriented Projects Working with guest lecturers, choreographers and dancers from theatres and the independent scene, students have the possibility to familiarise themselves with the latest developments in the professional dance world. They gain experience in relevant new dance techniques and different artistic practices, including in workshops staged in co-operation with the Hessian Theatre Academy. 3. Performances Students can use the experience gained in different projects on stage or in other performance locations in various performance series throughout the year. This also gives them an opportunity to improve their performance skills and qualities as performers in very different choreographies and styles.

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1. Dance & Stage (B)








3. Performances (B)



Participation in three performance series




Module examination − Performances: artistic achievement in all performances during the academic year




Tuition languages

German, English

Module manager

Prof. Andrea Tallis

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Fourth year of study

The structure of modules M19 – M22 in the fourth year of study is fundamentally different to that of modules M1 – M18 in the first three years of study. Modules M1 – M18 are completed with the passing of exams in the practical subjects Classical Dance (years one to three), Contemporary Dance (years one to three) and Folklore (first and second years), the theory subjects Anatomy (first year), Music Theory Specific to Dance (years one and two) and Dance History (years two and three) as well as with assessments of dance and performance achievements (third year). Year four bridges the gap between university and the professional dance world and makes different demands on both students and tutors. Having gathered specific knowledge on either classical or contemporary dance in year three, students can now focus more on the individual paths they wish to take in the professional dance world. They are supported in this by their own choice of tutors and are coached intensively. Year four of study focuses on students’ individual interests and skills and offers more scope for choice as well as different formats so that students gain practical experience while at the same time leaving enough room for questions and individual research. Students are required to show more of their own initiative and independence – particularly in relation to concept development, planning, research, communication, analysis, reflection or teaching/dissemination and helping to shape modules M19 to M22 – and they are supported in this. Students learn to take responsibility for themselves and their decisions and are tasked with documenting their experiences and student accomplishments, including the digital archiving of documents on the university intranet. Modulnr.: M19 Dance Practice 23 CPs

Qualification objectives Students have a broader knowledge of movement. This includes comprehensive experience of different dance styles and body perception methods, solid technique in various dance styles and refined technique skills in particular areas. They can handle dance technique demands confidently, convey movement material and interpret it individually, and conduct movement research.

Content 1. Training Training is a key aspect of everyday life as a professional dancer, is the best way to prepare dancers for specific demands in dance practice and is concerned with rehearsals, movement research, performances or teaching. Students are free to choose between classical or contemporary training, or training in another movement technique, depending on their work situation. 2. Embodied Knowledge Another relevant aspect of dance practice and artistic training is “embodied knowledge” – experience-based knowledge of the human body and different body systems that in turn contributes to knowledge of, and experience with, different movement methods and practices, the aim being to refine perception of the body and increase body awareness. Students are free to choose their preferred movement methods as well as their preferred way of acquiring more in-depth knowledge of them. 3. Knowledge in & about movement Students expand their range of movement and their knowledge in and about movement via movement research in workshops. Students are free to choose workshops from other cross-discipline teaching events either at the university itself or made use of offers for professional dancers made by other institutions/organisations. 4. Laboratory The laboratory is an exchange forum students organise themselves. Students share experiences of internships, projects or workshops.

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1. Training (G) 38 W / 5 TUs per W / each TU = 90 min


Participation in training sessions and the writing of two different training descriptions (one per semester) on a session taken in the course of the fourth year of study (2,000 characters incl. spaces) as well as the digital archiving of the documents on the university intranet.

2. Embodied Knowledge (G, B)

20h overall (in block and/or weekly seminars)


Participation in body-perception classes, workshops or seminars and the writing of a report about experiences with a specific body awareness method (4,000 characters incl. spaces) as well digitally archiving the document on the university intranet.

3. Knowledge in & about movement (B)



Participation in movement research sessions and/or classes, workshops or seminars, drawing up of a list of these events and archiving them digitally on the university intranet.

4. Laboratorium 1 CP, 30 h overall 30 h Self-study


Successful completion of either modules M13_KT and M14_KT or M13_ZT and M14_ZT


Module examination • None. CPs are awarded for the production of non-graded work.




Tuition languages

German, English

Module manager

Prof. Andrea Tallis

Modulnr.: M20 Vocational Orientation 22 CPs

Qualification objectives As a result of participation in performances and internships, students have gained insights into the vocational dance world as well as into work processes and structures at theatres and/or on the independent dance scene. They are able to plan

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and carry out projects independently and analyse dance, theatre and musical theatre performances.

Content 1. Internship Students complete internships in theatres or on the independence dance scene in order to prepare them for the transition to professional dance practice. They plan and organise the internships themselves, prepare any necessary content in advance and document their experience in a written report. 2. Auditions Students provide evidence of their participation in at least four auditions each. If one of the first auditions leads to a job or run-of-show contract, students can submit an application to the head of training asking to be released from any remaining auditions. 3. Self-management In order to prepare students for organisation tasks in the professional dance world, they are required to produce, on their own: • − 2 semester plans that are to be handed in at the start of the winter and

summer semesters • − Plans for those weeks in which they are not involved in internships or

productions. 4. Performance reports Students have to analyse eight performances (5 from dance, 1 from theatre, 1 from music theatre and 1 from the field of performance) in written form.

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1. Internship Praktika im Umfang von 450 h

15 CP, 450 h overall

Writing of a post-internship report and publishing it digitally on the university intranet.

2. Auditions (B) Four auditions, 60h overall

2 CP, 60 h overall

Independent organisation and documentation of the auditions.

3. Self-manage-ment (B)


Independent compilation of semester and weekly plans as well as documenting the plans and archiving them digitally on the university intranet.

4. Performance Reports

2 CP, 60 h overall 60 h Self-study

Writing of eight performance reports and archiving them digitally (and independently) on the intranet.


Enrolment on the Bachelor’s Degree in Dance


Module examination − None. CPs are awarded for the production of non-graded work.



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Tuition languages

German, English

Module manager


Modulnr.: M21 Bachelor’s Thesis 8 CPs

Qualification objectives Students are able to conduct research projects independently, select and discuss an issue specific to dance, draw their own conclusions and substantiate them in a differentiated fashion, and present the entire work process in written form.

Content 1. Bachelor’s thesis Students have to carry out a research project from one of three areas of theory: anatomy, music theory or dance history. In addition to the written work required, students are also allowed to document their research work in another presentational form, e.g. an oral presentation or lecture performance, a DVD/video production or a website. In such cases, the amount of written work required reduces by a maximum of 30%.

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Titel und Lehrform



1. Bachelor’s Thesis

- 8 CP, 240 h overall Attendance time: 4 Self-study: 236 h


Successful completion of the modules M13-M18


Module examination Bachelor’s thesis




Tuition languages

German, English

Module manager

Prof. Susanne Noodt

Modulnr.: M22 Projects IV 7 CPs

Qualification objectives Students have gained experience in choreographic and process-oriented projects and have a wide range of stage experience.

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Content 1. Artistic & Process-oriented Projects Students acquire artistic experience in internal and extramural projects. 2. Performances Students take part in public presentations of choreographies, performances, pieces or installations shown on stages or in site-specific locations.

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2. Performances (B)


Participation in performances




Module examination − None. CPs are awarded for regular participation in workshops, projects and performances.




Tuition languages

German, English

Module manager


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Body, body perception and movement are fundamental themes that are taking on greater significance in artistic training generally and concern all students and tutors at the Frankfurt University for Music and Performing Arts (HfMDK) in equal measure. Members of the Body & Movement working group have developed a comprehensive overall concept called THE ARTIST’S BODY. All offers and information relating to the theme of the body are available at www.tab.hfmdk-frankfurt.info where you can also register electronically for workshops and seminars on body perception and movement methods. The creation of the information-and-exchange platform at is a visible sign of HfMDK’s focus on body perception, movement experience and interdisciplinary and transdisciplinary approaches. THE ARTIST’S BODY is a highly complex entity that can think in an interdisciplinary fashion and is capable of developing and learning. THE ARTIST’S BODY comprises the following components: TAB symposiums TAB1_The body & body perception in artistic training TAB2_Body presence & stage TAB3_The body / images / people images / value systems TAB4_Body & Movement in Topics / Approaches / Methods TAB5_BODY TALK! MSBL/KIT MSBL_Workshop series: music-specific movement studies KIT_ Workshop series: the body on stage msbl/kit am morgen HANDSET Body & Movement Music-specific movement studies Aesthetic and cultural education The dialogue between science and practice HfMDK FORUMS ÜBERBLICK_ Teachers working with the body, body perception and movement RÜCKBLICK_ Congresses I symposiums I lecture series since 1991 The symposium THE ARTIST’S BODY, the MSBL and KIT workshop series as well as the daily msbl/kit am morgen offers give students the opportunity to learn the methods and approaches of different body and movement techniques that support and promote learning and development processes in artistic and teacher-training courses. Students can discover new academic knowledge, gather practical experience in workshops, link artistic work, research, theory and practice, and discuss and exchange experience and ideas with students from different disciplines. The MSBL/KIT workshop series – 10 intensive seminars across 2 semesters – presents body and movement techniques that improve students’ stage presence using the body-mind link involved in artistic learning processes and provides them with a joyful, effective and artistically successful access to practice, making music, presentation and stage appearances. msbl/kit am morgen offers regular daily training (Monday to Friday from 8.45-9.45am, yoga on Tuesdays from 8.30-9.30am) in body perception and movement. The courses are open to students of all disciplines.

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M4 The Body I / M10 The Body II / M16 The Body III

Anatomy and training science are taught at the beginning of the course and are part of module M4 The Body I. Perception of the body (M4.2, M10.1 and M16.1) and movement studies (M4.3, M10.2 and M16.2) are taught throughout the entire degree course and are part of modules M4, M10 and M16 (The Body I, II and III) as well as part of M19.2 Embodied Knowledge in the fourth year of study.

M4.2 Perception of the body The basis of dance and movement teaching is solid knowledge of the body and good body-perception skills. Perception is taught using examples from different approaches and methods e.g. Feldenkrais, Alexander Technique, Body-Mind Centering (BMC), ideokinesis or spiral dynamics, all of which aim to increase students’ awareness of the body as well as movement efficiency. Movement analyses allow students to recognise movement patterns and restructure them, thereby reducing the risk of injury. The Feldenkrais Method is taught in groups although two one-to-one sessions can be arranged. M4.3 Movement Studies Different approaches and methods such as gyrokinesis, pilates, yoga, tai chi, ideokinesis, Laban/Bartenieff or spiral techniques teach students how to train the muscles and joints systematically but carefully, at the same time giving them an opportunity to learn about the body. The experience acquired in seminars and workshops can be transferred to other areas and integrated into daily training and individual warm-up and cool-down sessions. M10.1, M10.2, M16.1 and M16.2 Students’ individual choices from the regular msbl/kit am morgen courses in different movement techniques, from the MSBL & KIT workshop series, or as part of THE ARTIST’S BODY symposium, give them the opportunity to broaden the knowledge they have acquired in the modules M4.2 and M4.3 as well as get to know additional movement techniques. M19.2 Embodied Knowledge Knowledge of the human body and different body systems acquired as a result of sensory experiences is known as embodied knowledge. Knowledge of, and experience with, the methods and practices of different movement techniques help to sharpen perception and increase awareness of the body. Module M19.2 is intended to expand students’ knowledge of specific body awareness methods, their experiences with which are to be considered and documented in a report. Students are free to choose how they expand their knowledge and the methods they use to do this. In the module sections described above, apart from a few compulsory courses, students are free to choose regular classes from msbl/kit am morgen and the MSBL/KIT workshops. Students have to document the regular classes or workshops they choose in their personal folder or in the HfMDK’s digital archive on the intranet using the template for The Body I – III.

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Template for The Body I – III The template for The Body I – III as well as supplementary sheets to record specific courses being taken in the coming year of study can be found in the M4.3 module folder for the respective year.

FB 3 > AB_ZuKT > BAtanz > 2 Studierende > Jahrgänge > your year > 1.Jahr > Modul 4 Körper I > M4.3 Bewegungslehre The completed template is to be filed in the folder “The Body” in the personal folder at the end of the third year of study. Only the relevant students, tutors and examination body staff have access to the personal folder.

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M5 Theory I / M11 Theory II The video examples shown in M5.4 & M11.4 help prepare students for the seminar M11.2 Dance history in the second year of study and M17.1 in the third year of study. Watching complete recordings of different productions is intended to give students an insight into the artistic work of relevant choreographers, provide an overview of key developments in dance history and expand students’ knowledge of the professional dance world. Organisation Both events are organised by the students themselves. Year groups come together every 1–2 weeks to watch videos together. Students who are not able to attend the viewing can borrow the video and watch it later. One student from each year group is chosen to record of the videos watched, and when, on the sheet I_ M5.4 + M11.4 in the Exemplarische Videobeispiele.xlsx file.

Exemplarische Videobeispiele 2012_13.xlsx I_ M5.4, M11.3 Column A Order in which videos are going to be watched B_D Choreographer E_G Piece H Archive number & video archive

I__L Tags M Date the video was watched N Additional literature

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II_ Choreographers List with more videos of the choreographers and periods covered in M5.4 and M11.4. III_ Stadt- & Staatstheater List of videos and DVDs of various choreographers working in city and state theatres, including Heinz Spörli, Martin Schläpfer, Marguerite Donlon, Christian Spuck and Stefan Thoss. IV_ Digital Tools List of CD-ROMS and DVD-ROMS relating to the module M14.3 Digital Tools & Materials.

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Templates for modules M19 – M22 All templates needed for modules M19 – M22 can be found in the Excel file Vorlagen M19 – M22 2012_13.xlsx comprising sheets I, II, III, IV, V and VI. Instructions on how to fill out the templates, name the documents and where to file them on the intranet can be found on sheet VII_user manual. The Excel file can be found in the module file for M17.5 in the third year of study. FB3 > AB_ZuKT > BAtanz > 2 Studierende > 1 Jahrgänge > 12_13 Example > 3.Jahr > M17 > M17.5

Sheet I_ M19 M19.1 Training

Daily 90-minute training units / 5 days per week / 38 weeks Non-graded work Participation in training sessions, the writing of two different training descriptions (one per semester) as well as the archiving of the documents digitally on the HfMDK intranet. Scope 2,000 characters incl. spaces per training description Content of the training description What was the nature of the material presented in the class? What was the teacher’s intention? How was the lesson structured? What interested you about the approach? What did you get out of it?

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M19.2 Embodied Knowledge

Another relevant aspect of both dance practice and artistic training is embodied knowledge – knowledge of the human body and different body systems acquired as a result of sensory experiences. In addition, knowledge of, and experience with, the methods and practices of different movement techniques help to sharpen perception and increase awareness of the body. Students are free to choose how they expand their knowledge and the methods they use to do this. Non-graded work Participation in body-perception classes, workshops or seminars, the writing of a report outlining the student’s experience with a specific body awareness method and the digital archiving of the documents on the HfMDK intranet. Scope 4,000 characters incl. spaces M19.3 Knowledge in & of movement

Students expand their range of movement and knowledge in and of movement via movement research sessions as well as in workshops they choose freely from the HfMDK’S range of interdisciplinary teaching events or offers for professional dancers made by other institutions and organisers. Non-graded work Participation in movement research sessions and/or workshops or seminars (a total of 120 hours), the compilation of a list (Form 1) of these events as well as the digital documentation of the document on the university intranet.

Formular 1 | Form 1

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Sheet II_ M20 M20.1 Internship

Students complete internships in theatres or on the independent dance scene in order to prepare them for the transition into professional dance practice. They plan and organise the internships themselves, prepare any necessary content in advance and document their experience in a written report. Non-graded work Independent planning of the internship, preparation of its content and writing a report once the internship has been completed. The report is to be submitted to the head of the training department and stored digitally on the university intranet. Scope min. 4,000 / max. 6,000 characters incl. spaces Content of the report What kind of training was given as a preparation for the rehearsals? Describe the choreographic process and the working conditions (working hours, spaces and working atmosphere). Did you participate in projects and performances? How would you describe the type of dancer in the company?

Planning

Formular 1 | Form 1

Please scan and send the completed form 1 to > [email protected].

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Declaration

Formular 2 | Form 2.

Internship reports are intended to give current and future ZuKT_BAtanz students an insight into the working methods of the respective choreographers, the profiles of their dance companies as well the working conditions at the theatres and on the independent dance scene. They should be available to ZuKT BAtanz students on the intranet, which is why your agreement is required (Form 2). M20.2 Auditions

Formular 3 | Form 3

Students have to prove their participation in at least four auditions. Should one of the first auditions lead to a job or run-of-show contract, the particular student can apply to the head of the training department to be released from having to participate in the remaining auditions. Non-graded work Independent organisation and documentation of the auditions and the compilation of list using Form 3 as well as the archiving of the list on the university intranet.

Students have to prove their participation in at least four auditions. Should one of the first auditions lead to a job or run-of-show contract, the particular student can apply to the head of the training department to be released from having to participate in the remaining auditions. Documentation As documentation, students can upload scans of attestations from the relevant dance companies as well as train tickets, e-mail/written invitations or a reference mail from the ZAV (International Placement Services of the Federal Employment Agency / Bundesagentur für Arbeit Zentrale Auslands- und Fachvermittlung).

www.ba-kuenstlervermittlung.de Bundesagentur für Arbeit Zentrale Auslands- und Fachvermittlung / ZAV Gotenstr. 11 20097 Hamburg Ms Juliane Rößler is responsible for HfMDK students [email protected] Künstlervermittlung Hamburg TANZ (professional placement services) Tel: +49 (0)40 284015–39 Once registered, the ZAV covers the costs of travelling to auditions. We therefore recommend registering with the ZAV.

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M20.3 Selbstmanagement | Self-management

In order to prepare for organisational tasks in their professional dance lives, students are required to draw up two semester plans, to be handed in at the beginning of the winter and summer semesters, as well as weekly plans for the weeks in which they are not involved in internships or productions. Non-graded work Independent compilation of semester and weekly plans as well as the archiving of these plans digitally on the university intranet. The template for the weekly plans can be found in Sheet III_M20.3.1

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The templates for both semester plans can be found in Sheet IV __ M20.3.2

Winter semester 2012/13 -

Summer semester 2013 -

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M20.4 Aufführungsberichte | Performance reports

Formular 4 | Form 4 Non-graded work Writing eight performance reports from the fields of dance _5, acting_1, musical theatre_1 and performance_1 as well as archiving the eight reports digitally on the university intranet (Form 4). Students can choose a tutor to supervise the performance reports. Further information on page 62 onwards.

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Sheet V__ M21

M21.1 Bachelor’s thesis

Module examination Written work documenting a written research project on a subject from one the three theoretical areas – anatomy, music theory or dance history. The thesis can be supplemented using audio-visual or performative elements. Details of the following aspects of the Bachelor’s thesis are outlined in the Study and Examination Regulations:

Goal Specification of themes

Changing the subject of the thesis Selection of a supervisor

Time Number of copies

Language Assessment

Weighting of the individual parts Inability to work

Submission of the thesis An appropriate tutor is selected to monitor the work students carry out for their thesis. Students must inform tutors about the progress they are making with their thesis. The topic of the Bachelor’s thesis students hast o be announced tot he department Studium & Lehre (Studies & Teaching). From this date on the three-month long period for completing the thesis starts. For further information and recommendations, see the section on the Bachelor’s thesis, starting on page 66.

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Sheet VI_ M22 M22.1 Artistic & process-oriented projects

Students gather artistic experience in university and extra-university projects – a total of 90 hours of workshops, block seminars or projects offered either by the HfMDK or other organisers, or teaching events available in a different context. Voluntary additional work carried out during the first three years of study can be credited here. Non-graded work Participation in workshops and projects, compilation of a list of these using Form 1 as well as the digital archiving of the document on the university intranet.

M22.2 Performances

Participation in public presentations of choreographies, performances, pieces or installations, either on stage or in site-specific performances (50 hours in total), is part of the course. Non-graded work Participation in performances, the compilation of a list of these performances as well as the digital archiving of this list on the university intranet.

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Sheet VII_ user manual

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M20.4 peformance reports

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_ A first performance report will be written and discussed in the first year in the block seminar creative writing. _ The reports can be written in the first 3 years of study. _ The students can choose a teacher from the staff of the dance department to assist them with their ideas. The following suggestions and questions are thought of as stimuli for gaining perspectives on and analysing each choreography, performance and production for reports. The reports should deal with the following issues or describe the impact the piece has on the audience. Analysis: How to perceive a choreography / a dance performance. I_ Dance = movement/motion in space and time Movement material Motives in the whole body, body parts or body zones Historical motives Figures/roles Impulse: which part of the body does it come from? Power, dynamics Use of gestures Style of movement How can the movement material be described?

Is it monoton / heterogen? Are there typical, characteristic movements? Are the movements significantly related to the content? Do the movements reflect the content in a meaningful way? Space Level: low, mid-level, high Foreground, middle, background Long/short distances Uses the whole space or a single spot Space in-between Formations Diagonals, circles, lines, block, etc. Time Slow/fast Quick-motion/slow motion How do time and space play together? (Teshigawara: impression of standstill) II_ Dramaturgy

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Is there a plot / action? A recognisable structure? Structure based on scenes that are connected to each other? Short summary of the structure.

Motifs Which motifs are repeated (movements or other), when and why? Are there any contrasts?

Scenes Various scenes, breaks and images Is there a visual or musical connection, or a connection in terms of content?

Does it resemble a collage? Transitions Description of transitions: flowing, abrupt, blended (overlapping)

Dance Solo, duet, trio, quartet, group, whole ensemble History Conventional / fractured, fragmented, cut (unconventional) Theme Does the dramaturgy reflect the theme of research? Suspense is there suspense, highlights, resting points? Is there a clear story? III_ Stage What can be said about the spatial situation and the performance location? What is the spatial relation between the audience and the performers like?

Location, Setting Theatre – proscenium, black box, white box, regular stage, studio situation, 1000 person auditorium, museum, outdoors, public space, other locations Audience Size For how many spectators? Intimate, 200-300 people, a big crowd: 1000….

Perspective Proscenium–frontal / 2 or more fronts /arena / interactive, etc. Is it an Installation / performance? What role does the audience play? Are people sitting, standing, moving around... What kind of atmosphere is created?

Are there sounds? Objects for making sounds? Is music used? If yes, what kind?

Music Classical or contemporary music? Orchestral, chamber music, solo instruments / singing / electronic music, jazz, rock, pop ambient, tango,…. Source of sound Live instrumentalist, orchestra, singer, dancer/performer Describe the structure of the music Where do the sounds come from? Stage, orchestra pit, auditorium,… Text Is it a text or just sounds? What language? What kind of text? Theater piece or book?

Stories/words/scraps of conversation, poem, questions? Foreign language?

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How do music, text and dance relate to each other? Lighting What does the lighting look like? Is there a light designer? Is there a basic lighting: sidelight, top-/ front-/ backlight, white/coloured light specific moods? day, night/ neon/colours singular stage parts lit? cross fades or abrupt changes Spaces Spots – clear, shaped or diffuse, round or angled, small or big Darkness Parts of the scenery illuminated/ in the dark Sources Following the movement/spot/single lighting source Laser, electric light bulb, disco shot, stroboscope, ... Outside/inside/stage hand/dancer Projections slides/overhead projector/TV screens How is video used? As electronic wallpaper or a narrative? Is it related to the content of the piece or the choreography?

Costumes Accent on the body: naked/accent on certain parts/members of the body/tights

Accent on gender/neutral Figures (character)/historical allusions Alienated body outlines (Oskar Schlemmer Triadic Ballet)

Do the costumes refer to a certain period of time? Baroque, classical, science-fiction … Does everybody wear the same? Are there clear distinctions by dresses / costumes ...

Colour Choice of colour – can colours be attributed to the characters? Fabric, Materials Plush, patent leather, leather, plastic, paper, linen, silk ...

Shoes Pointe shoes, ballet slippers, ordinary shoes, boots, stilts, high heels, socks, barefoot?

Stage setting Empty space, with specific walls of stone or wood, with/without windows

Is there a stage setting? Real or virtual via projections? Painted prospects? Historical allusions Correlated to a specific period Props, Objects Use of props/objects? If yes, which ones? How many, objects of daily use, art objects, rubbish…? What kind of materials?

What does it evoke? How are props handled? How is the setting related to the dance?

Describe the connection between the stage setting and the dance. IV_ Play/Acting

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Language Semantic content? Story/words/scraps of conversation Figures Same role throughout/characters What other performative means are used apart from movement/motion? Where do the limits between dance and theatre disappear? V_ Context

Choreographer Artistic development. Find out about the choreographer, Director director, performer before the performance.

Check the Internet for articles on previous works The work Title – sub-title? Date of the work? Is it a premiere? Technical Data Period of creation Historical setting, historical copy (model),

Influence of other choreographers Innovation Aesthetical/topic (thematically) Art market Audience/number of performances/claim/scope, e.g. festival Frame Festival, series of performances, single event ... Category Can the work be clearly categorised? Ballet, neo-classical, dance theatre, musical, performance,...

If no category can be found, can you make any comparisons to other choreographers?

Theme What is the theme? What reaction arouse in the spectator?

Are there any gender issues? Are there roles that can be defined according to examples in literature and is there a historical background? E.g. Hans Kresnik: Hannelore Kohl, Frida Kahlo, Ulrike Meinhoff ... Where do the limits between dance and theatre disappear? A distinction between dancer and actor no longer exist in the works of Wanda Golonka. You may use the term “enchantment on the stage” (Bühnenzauber) when Heiner Goebbels misleads the audience by sophisticated (refined, ingenious) productions. What is your personal opinion of the choreography / the work?

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M21 Bachelor’s Thesis Extract from the Study and Examination Regulations for the Bachelor’s degree in Dance § 9 Bachelor’s thesis (1) The Bachelor’s thesis is an opportunity for students to demonstrate their ability to select and discuss an issue specific to dance and to use different sources in their research. Students should draw their own conclusions, substantiate them in a differentiated manner and present the entire working process in written form. Students should also demonstrate their ability to acknowledge other people’s research results and to cite these correctly. Students must conduct and document a research project from one of the three areas of theory: anatomy, music theory specific to dance, or dance history. The Bachelor’s thesis is an individual piece of work or a group project whose individual sections are commensurate in scope with an individual thesis. Approval for a group thesis will only be granted if individual students are able to demonstrate that the work they submit will be clearly distinguishable. The assessment is conducted on this basis alone. (2) The Bachelor’s thesis can be produced in the following formats: a) Written work: around 22-24 sides of continuous text (1,650 characters per side). This amounts to 33,000 – 36,000 characters including spaces and corresponds to a workload of 240 hours. The text submitted can exceed the number of characters by a maximum of 10%. Headings, images, footnotes, bibliography, etc. are not part of the abovementioned number of characters. One of the following formats can be used to complement the written work required: b) Oral presentation / lecture performance: no more than 20 minutes long, which corresponds to a workload of 72 hours. c) DVD / video production: no more than 20 minutes long, which corresponds to a workload of 72 hours. d) Website: developing a concept, creating an index and collecting material. The site must feature an article, researched and written by the student, that tackles an issue from the selected range of topics in a scholarly manner and from a dance theory viewpoint. This corresponds to a workload of 72 hours. Should b), c) or d) be used, the scope of the written work is reduced by a maximum of 30%. The workload for the written work will then amount to 168 hours. The same form and content guidelines apply. If students select an additional presentation format alongside the written Bachelor’s thesis, the overall grade for the thesis is calculated based on the arithmetic mean of the grades given for each part of the examination, the grades for the written work and additional presentation format being subject to the following weighting: a) and b) = 2:1; a) and c) = 2:1; and a) and d) = 2:1 respectively. (3) Students enrol for the Bachelor’s thesis by submitting a written suggestion to the Examination Board for a supervisor as the primary reviewer as well as a suggestion for a second reviewer. The suggestion does not justify any claim. Reviewers are appointed by the Examination Board. If students are unable to find a supervisor or second reviewer, these are determined by the Examination Board. (4) The topic for the Bachelor’s thesis is decided by students in conjunction with their supervisors. It must be possible to complete the Bachelor’s thesis within the stipulated time period. The Examination

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Board will approve the topic provided it satisfies the criteria given in Paragraph 1. A record of the date of approval of the topic is kept at the Student Affairs Department (Abteilung Studium und Lehre). The three-month period within which the thesis must be completed starts as soon as the Examination Board has approved the topic. (5) The subject of the Bachelor’s thesis can only be changed once and only within the first two months of the three-month period for completing the thesis. A new three-month period begins once the Examination Board has confirmed the new topic and made a record of it. (6) The Bachelor’s thesis must be submitted to the Student Affairs Department where a record will be made of its receipt. (7) The Bachelor’s thesis must be submitted on time in quadruplicate – three printed, bound copies and one write-protected electronic version. It can be written in either German or English. A declaration in lieu of an oath stating that the candidate has produced his or her own work and used no sources or aids other than those stated must be attached to the thesis. (8) The Bachelor’s thesis is assessed by both reviewers separately. The assessment process should not exceed eight weeks. The overall grade awarded to the thesis is calculated based on the arithmetic mean of the grades given by each of the reviewers. If the gap between the reviewers’ grades is two or more grades apart, a third assessment will be made by a reviewer appointed by the Examination Board and the overall grade is calculated based on the arithmetic mean of the three assessments. The Student Affairs Department of the Frankfurt University of Music and Performance Art will inform students of their grades in writing once the assessment process has been completed. If the Bachelor’s thesis is assessed as “insufficient” (grade 4.1 or below), students can request to repeat it. The Bachelor’s thesis can only be written once. Students repeating their thesis must choose a new topic.

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Application Form

FB 3 > AB_ZuKT > BAtanz > 2 Studierende > Jahrgänge > your year > 4. Jahr > Modul 21 Bachelorarbeit

Hochschule für Musik und Darstellende Kunst

Frankfurt am Main

Anmeldung Tanz_BAtanz

� Modul 21 Bachelorarbeit

Name, Vorname:

Thema:

1. Gutachter/In:

2. Gutachter/In:

Datum Unterschrift Studierender

Bestätigung des Themas und der Gutachter/Innen:

Datum Unterschrift Leitungsteam BAtanz (Prof. S. Noodt)

Abgabetermin:

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Additional information Footnotes Footnotes can be inserted at the bottom of the page or at the end of a chapter. Bibliography Books and journal/newspaper articles should be cited in addition to Internet sources (minimum: three books and five articles). It is possible to deviate from the regulations if the research project breaks new ground. Such cases are to be discussed with the first reader.

Rules for Quoting Different styles are in use for the quoting of literature. We use the “bibliographic” version of the Chicago Turabian style sheet. It originated at Chicago University; Kate Turabian has simplified it over the years. This way of quoting is used widely in the arts, in literature studies and humanities – in Anglo-American publications as well as in Dance Studies in Germany. We have simplified these rules even more and listed only those cases, which occur frequently in BA Theses. If you have questions about certain details, please use the FAQ on page 74 or visit the Turabian Quick Guide offered by Chicago University: http://www.press.uchicago.edu/books/turabian/turabian_citationguide.html Note: (F) is used to describe how you write the footnote at the end of the page; (B) is used to describe how you list the same source in the bibliography at the end of your research paper. Books One author F: 1. Sally Banes: Democracy’s Body: Judson Dance Theater, 1962-1964 (Durham and London: Duke University Press, 1993), 45. B: Banes, Sally. Democracy’s Body: Judson Dance Theater, 1962-1964. Durham and London: Duke University Press, 1993

Note: In the footnote, you share the page number from which you quoted (here: 45). In the bibliography, you share the document as a whole. Two authors F: 2. Valerie Preston-Dunlop and Ana Sanchez-Colberg, Dance and the Performative: A choreological perspective – Laban and beyond (London: Verve, 2002), 223. B: Preston-Dunlop, Valerie and Ana Sanchez-Colberg. Dance and the Performative: A choreological perspective – Laban and beyond. London: Verve, 2002.

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Note: In a footnote, authors are written as they are being spoken: First name and last (family) name. In a bibliography, readers want to be able to find authors quickly, so the order is alphabetically by last (family) name. Three or more authors (often as in this case as editors) F: 3. Sabine Gehm et al. (Ed.), Wissen in Bewegung: Perspektiven der künstlerischen und wissenschaftlichen Forschung im Tanz (Bielefeld: Transcript, 2007), 339. B: Gehm, Sabine, Pirkko Husemann und Katharina von Wilcke (Ed.). Wissen in Bewegung: Perspektiven der künstlerischen und wissenschaftlichen Forschung im Tanz. Bielefeld: Transcript, 2007. Note: The English abbreviation for editor is Ed., the German abbreviation for Herausgeber - is Hg. Chapter of a book F: 4. Thomas McManus, “ENEMY von innen,” in William Forsythe: Denken in Bewegung, ed. Gerald Siegmund (Berlin: Henschel, 2004), 83. B: McManus, Thomas. “ENEMY von innen.” In William Forsythe: Denken in Bewegung, edited by Gerald Siegmund, 81-88. Berlin: Henschel, 2004. Note: In the footnote, you only share the exact page number for your citation (here: 83). - In the bibliography entry, you give the length of the article (here: from page 81 to page - 88). This way, when readers browse your bibliography, they can estimate the length and scope of the cited article immediately. Preface or introduction of a book o F: 5. Robert Pincus-Witten, introduction to Fluxus Codex, by Jon Hendricks (New York: Harry N. Abrams, 1995), 15-18. B: Pincus-Witten, Robert. Introduction to Fluxus Codex, by Jon Hendricks, 15-18. New York: Harry N. Abrams, 1995. Note: When quoting from a preface, you don’t share the page number. (Usually, the pages - here are numbered by a different system, f.e. i, ii, iii, iv, v etc.) In the footnote, you - share the total length of the preface (here: pages 15 to 18). In the bibliography entry, - pages numbers are not shared. Book published electronically o F: 1. Andreas Backoefer, Weder Ding noch Zeichen: Anmerkungen zur ästhetischen Autonomie (München: epodium, 2011), http://www.epodium.de/pdf/9783940388230.pdf (accessed Oct. 31, 2012). B: Backoefer, Andreas. Weder Ding noch Zeichen: Anmerkungen zur ästhetischen - - Autonomie. München: epodium, 2011. - http://www.epodium.de/pdf/9783940388230.pdf (accessed Oct. 31, 2012)

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Journals ü Article in a print journal o F: 8. Jean-Luc Nancy, “Stirring, Stirring up, Uprising,” Scores 1 (2011): 11. B: Nancy, Jean-Luc. “Stirring, Stirring up, Uprising.” Scores 1 (2011): 6-13. Note: In the footnote, you share the exact page you quote from (here: page 11). In the bibliography, you share the whole length of the article (here: page 6 to 13). Article in an online journal o F: 33. Helmut Ploebst, “History II: Allan Kaprow’s ’18 Happenings in 6 Parts’ Redone,” - Corpus Wirbelsäule, (Nov. 2006), http://www.corpusweb.net/history-ii-allan-kaprows- - q18-happenings-in-6-partsq-redone.html (accessed October 31, 2012) B: Ploebst, Helmut. “History II: Allan Kaprow’s ’18 Happenings in 6 Parts’ Redone.”

Corpus Wirbelsäule, (Nov. 2006), http://www.corpusweb.net/history-ii-allan-kaprows-q18-happenings-in-6-partsq-redone.html (accessed October 31, 2012)

Note: Always try to find out when the article first went online. In this case, it was November 2006. Article in a popular magazine o F: 1. Adam Gopnik, “ Faces, Places, Spaces: The renaissance of geographic history,” The New Yorker, October 29, 2012, 22. B: Adam Gopnik. “Faces, Places, Spaces: The renaissance of geographic history.” The New Yorker, October 29, 2012. Newspapers o F: 10. James Hoberman, “All about Yvonne,” Village Voice, February 1, 1980, 47. B: Hoberman, James. “All about Yvonne.” Village Voice, February 1, 1980. (or: leave out entry altogether.) Note: In the bibliography you can choose if you want to include newspaper articles or not – often, they are so superficial that they are of little interest. In the footnote however, you have to give full credit. And differing from Turabian, we also include the page number. Thesis or dissertation F: 1. Julie Perrin, De l’espace corporel à l’espace public, (PhD diss., Université Paris 8, 2005), 102-104. B: Perrin, Julie. De l’espace corporel à l’espace public. PhD diss., Université Paris 8, 2005.

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Paper presented at a conference F: 1. Ramsay Burt, “’Don't give the game away’: Rainer's 1967 reflections on dance and the visual arts revisited,” (paper presented at the conference on occasion of the exhibition Yvonne Rainer – Raum, Körper, Sprache hosted by Zentrum für Zeitgenössischen Tanz/ Hochschule für Musik und Tanz and Museum Ludwig, Cologne, Germany, May 4-5, 2012). B: Burt, Ramsay. “’Don't give the game away’: Rainer's 1967 reflections on dance and the visual arts revisited.” (paper presented at the conference on occasion of the exhibition Yvonne Rainer – Raum, Körper, Sprache hosted by Zentrum für Zeitgenössischen Tanz/ Hochschule für Musik und Tanz and Museum Ludwig, Cologne, Germany, May 4-5, 2012).

Note: Often lectures get published later. See whether you can find a printed version already. In the case above, you were at a conference and want to quote directly from one lecture. Web site F: 1. Siobhan Davies Dance, “Analysis of Rotor,” http://www.siobhandaviesreplay.com/record.php?id=3075&view=metadata (accessed October 3, 2012).

B: Siobhan Davies Dance. “Analysis of Rotor.” http://www.siobhandaviesreplay.com/record.php?id=3075&view=metadata (accessed October 3, 2012). E-mail message F: 12. Trisha Brown, e-mail message to author, October 1, 2010. B: For e-mail messages, you do not need to make a bibliography entry Note: You mostly use this if you want to quote from an e-mail interview or correspondence you have had with f.e. a choreographer. In the case above, you asked a question to Trisha Brown, which she answered on October 1st 2010.

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FAQ In this document, you will find answers to questions that students have come up with regularly over the years. Please read this document, before you contact a theory teacher for your question. Q: Does every footnote end with a period sign? A: Yes. Always finish a footnote with the dot you use at the end of a normal sentence, called “period”. Q: What is the difference between authors and editors? A: Authors write their own texts, editors correct the texts of others. Often, an editor sends a “Call for Papers”, and interested researchers submit their ideas for the book. In this case, you indicate the editor as such, writing: Sabine Gehm et al. (Ed.), which immediately signals to the reader that there are mainly texts by other people in the book. (If you are writing in German: The editor is called “Herausgeber”, so your entry reads: Sabine Gehm et al. (Hg.)) Q: What does “et al.” mean? A: It is the abbreviation for “et alii” (latin), which means “and the others”. It is used if there are more than two authors and the list of names would become too long. Q: The book was originally published in 1941. I am using the edition of 1984. Which date should I use? A: Always use the date of the edition you used. A reader will then find your quote on the page number you cited. (In another edition, the page numbers might be different.) Q: If the Publishing house is called “Verve Publishing”, do I have to use the word “Publishing” or “Ltd. (limited)” or any other words which specify the legal form of the company? (Auf deutsch wäre dies “Verlag” oder “Verlagshaus” oder “KG” usw.) A: No. You can quote it by only mentioning the name. It is evident to the reader that it is a publishing house, so can drop that part of the information. The bibliography entry here would read: Preston-Dunlop, Valerie and Ana Sanchez-Colberg. Dance and the Performative: A choreological perspective – Laban and beyond. London: Verve, 2002. Q: Do we write abbreviations for page numbers, like “p.” or “pp.” (several pages)? (Auf deutsch: Seitenzahl als “S.”) A: No. In Chicago-Turabian, you give the page numbers right after the comma. So your quote from page 45 would read in a footnote entry: Sally Banes: Democracy’s Body: Judson Dance Theater, 1962-1964 (Durham and London: Duke University Press, 1993), 45. … to be continued: titles: capitalization of titles, (various styles, only the practice of capitalizing nouns, pronouns, verbs, adverbs and adjectives but not articles, conjunctions or prepositions (though some styles except long prepositions) is considered correct in formal American English writing, according to most style guides, though others are found in less formal settings.), translator, include or not, etc…

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Structure example Title page

The HfMDK Logo is filed in the module file for M17.5 Management in the third year of study. It can be used, but there is no obligation to do so. Frankfurt University of Music and Performing Arts Faculty 3 / Contemporary and Classical Dance Department BAtanz degree course Bachelor’s thesis Title of BA thesis in bigger and bold letters / Titel in größeren, fetten Buchstaben Prüfer/in: Full name of first reader Matrikelnummer/ Matriculation number: Your full name: Your postal address:

Example of a clear structure for a Bachelor’s thesis on a comparative analysis of the content of works of a particular choreographer and which leads the reader through the research argument. The structure of this example should be adjusted for other themes, if necessary.

Table of contents Page

1. Introduction 1 2. N.N. as choreographer 3 3. Analysis of selected works 5 3.1 Work I / Title of Choreography 5

3.1.1 Structure 6 3.1.2 Analysis 7 3.1.3 Assessment 9

3.2 Work II / Title of Choreography 10 3.2.1 Structure 10 3.2.2 Analysis 11 3.2.3 Assessment 14

3.3 Work III / Title of Choreography 15 3.3.1 Structure 15 3.3.2 Analysis 16 3.3.3 Assessment 19

4. Comparison of the works analysed 20 5. Conclusion 23

Literature 25 (Possible: attachment (appendix or annex) (27) Declaration of originality (29)

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Declaration of originality "I hereby declare that this thesis represents my original work and that I have used no other sources except as noted by citations. The thesis has not been used for examination purposes elsewhere. Individual points (wording and spirit) borrowed from works included in the literature and source list are acknowledged as such. The declaration of originality also covers all the sketches, sketch maps and illustrations that appear in this thesis. I am aware that non-compliance leads to exclusion from, or invalidates, the examination." __________________________ Place, date, signature Declaration of agreement "I agree for the digital version of my Bachelor’s thesis to be made available for viewing by interested person or institutions provided it contains no corrections or assessment notes." __________________________ Place, date, signature Assessment The assessment looks at _ The quality of the research _ The key ideas of the argument and presentation _ The ability to use well-founded criticism _ Formal aspects such as the correctness of quotes and literary details, the correctness of spelling and grammar, the architecture (headlines and sections) as well as a sensible layout. Processing time Theses are read and assessed by two examiners. Assessments should be available eight weeks after submission. Around three months are needed to read and grade the work, to process the other module results and for the dean and president of the HfMDK to sign the BA certificates, after which time the certificates can be collected from the examination office or, if desired, sent out to students’ current addresses.

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Book tips Standop/Meyer: Die Form der wissenschaftlichen Arbeit Signatur C 19 006 (Quelle und Meyer Verlag Wiebelsheim, 2004) Umberto Eco: Wie man eine wissenschaftliche Abschlussarbeit schreibt Signatur C 19 007 (C. F. Müller Heidelberg, 2005) Michael Huber: Keine Angst vor schriftlichen Abschlussarbeiten! Signatur C19 012 (Institut für Musikologie, Universität für Musik und darstellende Kunst Wien, 2010)

EDITORIAL AND LEGAL NOTICES Published by the Frankfurt University of Music and Performing Arts Eschersheimer Landstr. 29–39 60322 Frankfurt am Main Germany Concept | Sina-Mareen Retolaza, Dieter Heitkamp Editing | Dieter Heitkamp, Susanne Triebel Design / layout | Dieter Heitkamp The use of texts, photos and sketches, even extracts thereof, without the prior agreement of the publisher is punishable under copyright law. This also applies to copies, translations, microfilming and processing using electronic systems. Please inform the publisher immediately if copyright has been breached unintentionally on our part.

module handbook 2016-06-30 - hfmdk frankfurt · dance & stage. contemporary dance contemporary...

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