Methodologies for Dance Research
Code: 44825 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 4318300 Theatre Studies | OT | 0 |
Contact
- Name:
- Jordi Jane Llige
- Email:
- jordi.jane@uab.cat
Teachers
- Roberto Fratini Serafide
- Ester Vendrell Sales
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
ET
Objectives and Contextualisation
The objective of this module is to provide students with research and analysis tools to be applied to the singularities of dance. It will provide, first of all, a general overview of the possibilities and lines of research inherent to dance, inherent on the one hand to artistic creation and experimentation, and on the other hand to the social and pedagogical applications of dance languages. In addition to these introductory foundations, the module will unfold addressing different analysis paradigms typical of current research in the field of dance: history of dance, choreographic and formal analysis, theoretical-conceptual analysis of dance, cultural theories and reflection. transdisciplinary on dance. Case studies will be proposed to teach, through applied knowledge, different methodologies, problems and challenges.
Learning Outcomes
- CA17 (Competence) Suitably communicate knowledge, ideas, skills and activities in professional contexts.
- KA30 (Knowledge) Recognise the differentiating elements and world views inherent to the various styles of theatrical and social dance.
- KA31 (Knowledge) Identify the main critical and analytical methodologies deployed in academic choreology.
- KA32 (Knowledge) Recognise, enumerate and describe phraseology and stylistic configuration in a dance show.
- SA25 (Skill) Identify the technical and thematic characteristics of a modern or contemporary dance show, comparing it to a more general stylistic paradigm.
- SA26 (Skill) Apply the correct methodology to the analysis of a dance piece or performance both in terms of choreography and dramaturgy.
Content
The module offers students theoretical and historical research tools in the field of dance. It consists of a general overview of the options and lines of research of current choreology, and a more precise range of analytical paradigms in reference to the dance performance and its theoretical and poetic implications.
Content blocks:
1. General overview of the methods, fields and lines of interpretation that concern both theoretical research in dance and the development of theoretical and critical paradigms regarding recent dance praxis and its creation processes. A methodological map of the different options and objects of study will be provided, as well as the main bibliographical and methodological references of each field (block teacher: Ester Vendrell)
2. Choreographic and stylistic analysis of the danced show. Case study aimed at exemplifying the methodologies and sources that allow the development of an exhaustive reading, both formally and dramaturgically and aesthetically, of the danced performance, with special attention to the relationships between different choreographic languages and the underlying theories and poetics. (block teachers: Ester Vendrell; Roberto Fratini Serafide)
3. Theoretical-conceptual analysis and transdisciplinary study of dance and the cultural genealogy of its components. Elements of methodological reflection that allow the development of a phenomenological reading of dance as "cultural turbulence", using an interdisciplinary conceptualization work aimed at establishing different paradigms of interaction between dance and humanistic, scientific or religious reflection, with a special emphasis on the meaning of said interactions for the theoretical and dramaturgical approaches of the most recent currents. (block teacher: Roberto Fratini Serafide)
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Master classes, case studies, exercises | 30 | 1.2 | CA17, KA30, KA31, KA32, SA25, SA26 |
| Type: Supervised | |||
| Debates, mentoring, written exercises | 60 | 2.4 | CA17, SA26 |
| Type: Autonomous | |||
| Personal study, article reading, written research work | 60 | 2.4 | CA17, KA30, KA31, KA32, SA25, SA26 |
Master classes
Case study (with textual and audiovisual documentation)
Group work: oral and debate exercises
Directed work: written or oral commentary on texts
Autonomous work: written analysis exercise
Note: 15 minutes of a class will be reserved within the calendar established by the center or by the degree for students to fill in the surveys to evaluate the performance of the teaching staff and the evaluation of the subject or module.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Attendance to mentoring activities | 20% | 0 | 0 | CA17 |
| Delivery of written works | 40 % | 0 | 0 | CA17, KA30, KA31, KA32, SA25, SA26 |
| Participation in class activities | 40% | 0 | 0 | CA17, KA32, SA25, SA26 |
Continuous Assessment
The student, in addition to directed and punctually assigned work to the reading section of the module (which includes the autonomous study of audiovisual documents, reading and writing comments), will have to propose, carry out and write at the end of the module a research synthesis work (the purpose of said research will be agreed with the teacher), which meets the formal and academic requirements (in APA protocol), consisting of 7 pages (in addition to bibliography and annexes). For this reason, the student must choose and communicate in which content area and with which of the teachers they wish to carry out the work.
Grade Review: June 15
Recovery process: The process will imply a redrafting of the autonomous synthesis work that allows correcting the formal or content defects of the first version delivered. Delivery of recovery work: June 27.
The / the student will receive the qualification of "not evaluable" whenever she has missed more than 4 of the 10 classes that make up the module, and whenever she has not delivered the research synthesis work at the end of the module.
Additional notes:
1) At the time of carrying out each evaluation activity, the teacher will inform the students of the procedure and of the date for reviewing the grades.
2) In the event that the student performs any irregularity that may lead to a significant variation in the qualification of an evaluation act, this evaluation item will be qualified with a 0, regardless of the disciplinary process that may be instructed. If various irregularities occur in the activities under evaluation, the final grade for this subject will be 0.
Single assessment:
In case of having chosen the single evaluation option, the student will have to carry out the following tasks:
1) Writing 3 article comments (minimum 4 pages per comment)
2) Writing 6 video comments (min. 4 pages per comment)
3) Writing a book commentary (min. 7 pages)
4) Writing a final research synthesis paper (book review or comparative monographic study of videos) (minimum 8 pages)
The articles must be chosen freely among the articles of the basic bibliography of the module. The titles of the videos and the book mentioned in points 2 and 3 will be communicated to the student at the beginning of the module lecture period. The subject of the synthesis work will be agreed upon with the coordinator of the module at the beginning of the lecture period.
The evaluation items mentioned in points 1,2,3,4 will contribute to the final grade according to the following weighting:
1) Average grade for article comments: 10%
2) Average score for video comments: 20%
3) Mark of the book comment: 30%
4) Mark of the synthesis work: 40%
In the case of a single evaluation, the work will be carried out independently and without tutorial accompaniment.
The set of written works will be delivered to both teachers of the module in the period between June 2 and 6 2025.
The student will be considered "not evaluable" in case of delivering all the evaluative items in the terms provided.
Grade review procedure:
When carrying out each activity subject to evaluation, the teacher will inform the students (Moodle) of the procedure and date for reviewing the grade.
Recovery procedure:
A) CONTINUOUS EVALUATION: To be considered recoverable is the grade obtained in the written analytical exercises about videos and articles carried out during the school period. The optionfor recovery will only be considered if the overall grade for these activities is equal to or less than 4.5. The teacher will inform the students whose partial grade is the one indicated at the end of the teaching period. Only then will the students be able to benefit from the recovery. In this case, the student will have to submit, in a period between May 20 and 31, 2025, the missing works, or rewrite the works whose evaluation did not meet the minimum requirements for approval. The evaluation obtained in the written final work of the module will also be considered recoverable, as long as the grade obtained is equal to or less than 4.5. A new version of the work shall be delivered in the period between June 20 and 30, 2025. The evaluations obtained in the oral analysis exercises and in the discussion groups are not considered recoverable.
B) SINGLE EVALUATION: The same recovery system will be applied as for the continuous assessment.
Bibliography
Basic Bibliography
Abad Carlés; Historia del Ballet y la danza moderna (2a ed.), Alianza Editorial, 2012.
Adshed, J.; Briginshaw, V. (Ed.), Teoría y práctica del análisis coreográfico, Centre Coreogràfic de la Comunitat Valenciana, 1999.
Borgdorff, H. “El debate sobre la investigación en las artes “. Cairón 13. Revista de Estudios de danza. en Pérez Royo, V.; Sánchez, J.A. (Eds.) Pags.34-40, Universidad de Alcalá, 2010.
Carter, A. (Ed.) Rethinking dance History. A Reader, Routledge, 2004.
Fraleigh S., Hanstein P. (ed) . Researching in Dance. Evolving modes of inquiry, University of Pitsbrug Press, 1999.
Franco Susanne and Nordera Marina; Dance discourses. Keywords in dance research, Routledge, 2007.
Garcia Alvarez , Ercilia; “Aproximación a la danza desde una perspectiva cualitativa. Enfoques teóricos, metodológicos y nuevas tendencias.” A La Investigación en danza en España 2012, Mahali, 2012.
Franko, M., Dancing Modernism/Performing polítics, Indiana University Press, 1995.
Kozel, S., Performance, Technologies, Phenomenology, MIT Press, 2008.
Lepecki, A., Agotar la danza. Performance y política del movimiento, Mercat de les Flors, 2008.
Louppe, L., Teoria de la Danza Contemporánea, Universidad de Alcalá, 2012.
Midgelow, Vida L., Reworking the ballet. Counter- Narratives and alternatives Bodies, Routledge, 2007.
Sánchez, J. A.; Conde-Salazar, J. (Ed.), Cuerpos sobre blanco, Universidad de Castilla-La Mancha, 2003.
Extended Bibliography:
Albarrán,J.; Estella, I., Llámalo performance: historia, disciplina y recepción, Brumaria, 2015.
Banes, S. (Ed.) Dancing women: Female bodies on stage, Routledge,1999.
Benjamin, W., Libro de los pasajes (trad. Fernández Castañeda, L.; ed. Tiedemann, R.), Akal, 2005.
Boisseau, R., Sirvin, R. (ed.), Panorama des Ballets Classiques et Néoclassiques, Textuel, 2010.
Boisseau, R., Panorama de la Danse Contemporaine, Textuel, 2006.
Bremser, M., Fifty Contemporary Choreographers, Routledge, 2000.
Burt, R., The male dancer. Bodies spectacle,sexualities, Routledge, 1995.
Copeland, R., Merce Cunningham. The Modernizing of Modern Dance, Routledge, 2004.
Deleuze, G.; Guattari, F., Mil mesetas. Capitalismo y esquizofrenia II, Pre-Textos, 1997.
Didi-Huberman, G., La imagen superviviente. Historia del arte y tiempo de los fantasmas según Aby Warburg, Abada, 2009.
Dixon, S., Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation, MIT Press, 2007.
Fanti, S., Corpo sottile. Uno sguardo sulla nuova coreografia europea, Ubulibri, 2003.
Fischer-Lichte, E., Estética de lo Performativo, Abada, 2011.
Fratini, R., A Contracuento. La danza y las derivas del narrar, Mercat de les Flors, 2012.
Fratini, R., Escrituras del silencio. Figuras, secretos, conspiraciones y diseminaciones de una dramaturgia de la danza, Paso de Gato, 2019.
Fratini, R., Polo, M. (eds.), El cuerpo incalculable. William Forsythe, Gerald Siegmund y los diferenciales de la danza, Mercat de les Flors, 2018.
Gombrich, E. H., El sentido del orden. Estudio sobre la psicología de las artes decorativas, Phaidon Press, 2010.
Guilbert Laurence; Danser avec le III Reich. Les danseurs modernes sous le nazisme, Ed. Complexe, 2000.
Izrine, A., La danse dans tous ses états, L’Arche, 2002.
Joy, J., The Choreographic, MIT Press, 2014.
Lepecki, A.; Joy, J.(Ed.), Planes of composition. Dance, Theory and the Global, Seagull, 2009.
Leigh Foster, S., Choreography and Narrative. Ballet’s staging of story and desire, Indiana University Press, 1998.
Preston –Dunlop, Valerie; Looking at dances, Verve, 1998.
Ross, J., Anna Halprin. Experience as Dance, University of California Press, 2007.
Sorell, W., Dance in its time, Doubleday, 1981. Ed. It. Storia della danza. Arte, cultura, società (trad.Falletti, C.), Il Mulino, 1994.
Sibony, D., Le corps et sa danse, Seuil, 1995.
Siegmund, G., Abwesenheit, Eine performative Ästhetik des Tanzes, Transcript Verlag, 2006.
Sloterdijk, P.¸ Esferas I. Burbujas. Microsferología, Siruela, 2014.
Spier, S. (ed.), William Forsythe and the Practice of Choreography, Routledge, 2011.
Software
Teams
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (TEm) Theory (master) | 1 | Catalan/Spanish | second semester | afternoon |