VISPFA-DCS1001-SEM1-A-2024-5-O - L-Università ta' Malta

Course Title

DCS1001 - Dance Techniques Lab 1

MQF Level

Duration and Credits

Semester 1

5 ECTS

Mode of Study

Part-Time Day

Information for International applicants

Refer to the list of country-specific qualifications

You are viewing the entry requirements for International applicants. Switch to Local qualifications.

Need help? Request more information

Apply

Please check your eligibility to join this short course and time-tabling details with the School of Performing Arts. The short course will only be delivered subject to a minimum number of applications being received.

The study-unit consists of technique classes, practice-led anatomy workshops and discussion sessions which will explore concepts of dance performance in relation to the field of professional contemporary dance practice, focussing on the following:

The performer's employment of the body as an expressive instrument through:
- Kinaesthetic awareness;
- Basic skills and practices of dance techniques and their application within the creative process;
- The exploration of movement dynamics, rhythm and musicality;
- The exploration of the dancer in space.
The exploration of the body as a technical instrument through:
- Alignment, posture, coordination, flexibility, weight, flow and gravity;
- Anatomical, skeletal and muscular structures;
- Use of breath, stamina;
- Injury prevention.

Main Reading List

Anderson, Zoe. 2016. The Ballet Lover's Companion (New Haven: Yale University Press).
Arnheim, Daniel D. 1986. Dance Injuries: Their Prevention and Care (London: Dance Books Ltd).
Elsworth Todd, Mabel. 2008. The Thinking Body. A Study of the Balancing Forces of Dynamic Man (USA: The Gestalt Journal Press, Inc.).
Haas, Jacqui. 2010. Dance Anatomy (USA: Human Kinetics).
Horosko, Marian. 2002. Martha Graham: The Evolution of Her Dance Theory and Training, Sec.Ed. (Florida: University Press of Florida).
Howse, Justin. & Shirley Hancock. 2000. Dance Technique and Injury Prevention (London: A. & C. Black).
Isacowitz, Rael, and Karen Clippinger. 2011. Pilates Anatomy. (USA: Human Kinetics).
Koutedakis, Yiannis & N. C. Craig Sharp. 1999. The Fit & Healthy Dancer (Chichester: John Wiley & Sons).
Martin, Peter. 2001. NYC Ballet Workout: Fifty Stretches And Exercises Anyone Can Do For A Strong, Graceful, And Sculpted Body (USA: William Morrow Paperbacks).
Laws, Kenneth. 2008. Physics and the Art of Dance (Oxford: Oxford University Press).
Lewis, Daniel. 1999. The Illustrated Dance Technique of Jose Limon (Hightstown, N.J.: Princeton Book Company).
Preston-Dunlop, Valerie. 1998. Looking at Dances: A Choreological Perspective (Ightham: Verve Publishing).
Siler, Brooke. 2013. The Women's Health Big Book of Pilates: The Essential Guide to Total Body Fitness (USA: Rodale Books).
Stodelle, Ernestine. 1990. The Dance Technique of Doris Humphrey, and its Creative Potential (New Jersey: Dance Horizons).
Sweigard, Lulu E. 2013. Human Movement Potential: Its Ideokinetic Facilitation (USA: Allegro Editions).
Thomasen, E . 1996. Anatomy and Kinesiology for Ballet Teachers (London: Dance Books).
Warren, Gretchen W. 1989. Classical Ballet Technique (Florida: University Press of Florida).

Study-unit Aims

This first technical training lab aims:

To train the body to attain a range of different techniques;
To execute specific stylistic principles with coherence and clarity;
To inculcate a range of spatial and dynamic awareness;
To instil commitment to developing the necessary practical skills for dance and performance;
To enable students to recognise factors which influence their own personal effectiveness in performance.

Learning Outcomes: Knowledge and Understanding

By the end of the study-unit the student will be able to:

Demonstrate skills developed in at least two different technical styles;
Execute given specific stylistic principles with coherence and clarity;
Demonstrate rhythmic, spatial and dynamic awareness in a set study;
Demonstrate commitment to developing the necessary practical skills for dance and performance;
Recognise factors which influence personal effectiveness in performance and demonstrate these in written log form.

Learning Outcomes: Skills

By the end of the study-unit the student will be able to:

Engage in performance and production, based on an acquisition;
Understanding of appropriate performance and production vocabularies, skills;
Structures and working methods;
Describe and define key concepts in dance techniques;
Perform under direction;
Prioritise and organise personal schedules;
Identify and articulate personal skills and abilities.

Non EU Applicants:

EUR325

You are viewing the fees for non EU nationals. Switch to EU nationals if you are a national of any country from within the EU/EEA.

Micro-credentials offer the possibility of providing flexible learning pathways to respond to evolving needs and new developments, thus enabling students to tailor their studies to their needs. Micro-credentials may be combined or transferred into larger credentials, such as certificates, diplomas and degrees, provided that the relevant programme requirements are met. Applicants wishing to transfer micro-credentials to a programme of study are encouraged to seek the advice of the relevant academic entity.