Methods of Folk Dance (H0N0701C)
Specialization of study programme Dance Pedagogy
Profile of graduate
The student is able to competently teach dance techniques and repertoire of Folk dance in different age groups and at all levels of expertise of the dance performer.
Rules and requirements for creating study plans
The basic framework for the conception of study programmes at AMU is created by the AMU Rules of Quality Assurance System, specifying the basic principles of accreditation processes. The current practice is further formally anchored by the AMU Accreditation Rules. These set the parameters common to all study programmes taught at AMU and also transfer part of the responsibility for subject specifications (theatre, music, dance, film/television) to the faculties.
The curricula are drawn up in accordance with the AMU Attendance and Examination Regulations. On the basis of the specificities of higher artistic education, this document defines within the typology of subjects the required main subject (PH): this is a key artistic (or talent-based) core course, for which the assessment is always carried out on a commission basis and which does not allow for re-attestation. Another specificity of the curricula is the flexibility allowed in the distribution of credits (60 ECTS per academic year) between the winter and summer semesters, based on the greater workload associated with the completion of artistic outputs in the summer semester in some disciplines
The theoretical and historical background of the field is a compulsory part of all study programmes; these are compulsory core courses co-determining the profile of the graduate and forming part of the state final examination. Each study plan also includes compulsory completion of discipline-specific English language instruction, with a minimum of 6 ECTS per study cycle.
Courses completed by examination are graded on a scale from A to E (F = fail), while „pass/fail“ grades are used for other courses; a combination of the two types of assessment is not possible.
The standard length of a lesson is 45 minutes. The basic organisational forms of teaching are lecture, seminar, exercise, workshop, the last three forms of teaching involving the creation of artistic outputs to varying degrees. Teaching takes place either on a weekly basis or in the form of intensive blocks or workshops.
The curriculum automatically assumes prerequisites in the form of sequences of courses, indicated by an ascending number after the course title. This type of prerequisite is not specifically mentioned in Part BIII for individual courses. If a course has a non-sequential prerequisite, it is explicitly listed in Part BIII for the course. In the same sense, we do not list prerequisites; these are determined by the mandatory inclusion of the course in a particular year and semester along with other courses.
The candidate applies directly to one of the three specializations: Methods of Classical Ballet Technique, Methods of Modern and Contemporary Dance, Methods of Folk Dance. The ratio of the credit load of the specialization part to the common base is 20%.
The common core subjects are: Master Diploma Thesis Seminar 1–4, Didactics of Dance Education 1–2, Pedagogy 1–2, Dance in Europe after 1945 1-2, Kinesiology 1–2, Organization and Management in Dance Education 1–2, Basics of Dance Aesthetics 1–2, English for Students of Theatre 3–4.
The curriculum includes compulsory elective trainings other than the student's own specialization, which increase the student's technical proficiency and his/her perception of methodological work in the context of other dance techniques. Each semester the sudent must elect one of two dance trainings outside their specialization to get at least 2 credits from the compulsory elective trainings per semester.
The curriculum provides for elective courses, which make up 22 credits out of a total of 120. Courses to be listed include Dance and camera, Dance on Points, Folk Dance Repertoire, Dance Interpretation Practice, Stage Practicum, Folk Dance Culture, Dramaturgy of Ballet and multimedia Theatre, Analysis of Dance, Methods of Writing Professional Essays and Thesis, Intermedia and Stage Technology, Historical Dances, Laban movement analysis / dance movement therapy, Kinetography, and others.
Applicability to other types of academic programmes
Graduates of the Master's programme in dance pedagogy may apply for a doctoral programme in a related field - dance science or choreography and choreographic theory. He or she is also eligible to continue in a doctoral program in other humanities or arts disciplines.
Parts of the state final examination and their contents
The SCP usually consists of two parts:
- Graduate artistic performance - pedagogical output: teaching performance of a 90-minutes lesson on a given topic. (subjects of profiling basis: Didactics and Methodology for Folk Dance, Pedagogical Seminar for Folk Dance)
- Written thesis of min. 40 standard pages
State final exam consists of three parts:
- Defence of the pedagogical output of the given specialization
- Defence of diploma thesis
- Theoretical oral examination
a. Didactics and Methodology for Folk Dance (subjects of profiling basis: Didactics and Methodology for Folk Dance, Pedagogical Seminar for Folk Dance, Didactics of Dance Education, Dance in Europe after 1945)
b. Pedagogy (subject of the profiling basis: Pedagogy)
Thematic areas of the theoretical oral examination
Didactics and Methodology for Folk Dance: Historical layers of folk dance and forms. The influence of the specifics of the area on the bracing and execution of dance steps. The influence of instrumental and vocal music on the development of folk dance.
Didactic procedure for teaching the basic steps. Position and arm work in folk dance, positions, arm positions and posture in pairs and in groups. The difference between twirling dances and dances with fixed musical accompaniment. Natural conditions, costume, footwear and livelihoods (on body posture when dancing) influence the dances of an area. To which area does our slowest dance belong, and how many beats is its dance motif and character of movement. The contribution of other dance techniques to the education of folk dancers, which are they and why. Choreographic figures who have based and are basing their work on folk dance. Czech Beseda. Partner work in folk dance. Composers. The influence of singing in dance. Children's folk dance games. Dance in annual and family ceremonies. Calendar and family cycle of village life. Dance occasions.
Pedagogy: definition of the concept of pedagogy and its position in the system of sciences. Basic sources of information and knowledge in pedagogy. Basic problems of terminology of pedagogy. Problems of professional discourse in pedagogy in the Czech and international context. Key terms of pedagogical science and their relations (education, education, education, education, problems of study and translation of foreign texts). Definition of professional terms education, educational reality, educational processes, educational environment. Definition of the basic pedagogical disciplines in their interrelations and their potential for pedagogical practice. Definition of borderline pedagogical disciplines in their relations to basic pedagogical disciplines and their potential for pedagogical practice. Ethics in education. The development of pedagogy in the period from the earliest evidence of education to antiquity (key figures and their pedagogical ideas in relation to today). The development of pedagogy in the medieval period (comparison with the present). The contribution and legacy of the pedagogical work of J. A. Comenius. The development of pedagogy in the Enlightenment, the 19th century, the main pedagogical trends of the 20th century. Specifics of „classical“ alternative pedagogical trends (Montessori pedagogy, Rudolf Steiner's educational system, Célestin Freinet's concept, forest/nature school, Dalton schools, Jena plan) Czech educational system in comparison with the educational system of other countries. Legal framework of education.
Other academic duties
An obligatory component of the study is active participation of students in professional discussions, shows, analysis or dance-educational seminars and workshops organized by AMU or other institutions. The student systematically examines the topics discussed in his/her teaching practice. He/she observes and compares the teaching methods of different teachers - he/she completes observations with recommended teachers or educational institutions with a dance focus of different types (i.e. state conservatories, dance studios, professional dance companies) and creates a structured record of the visits.
Students work systematically on their master's thesis and engage in research activities as part of their master's thesis. Study the required and recommended professional literature.
During the course of their studies, students create their own professional portfolio, in which they continuously incorporate the outputs of assignments and independent activities within their core courses. The finished portfolio is presented during the final state examination in didactics and methodology of their specialisation.
Characterisation of professional practice
Anticipated job placement for graduates (typical employment)
A graduate of the Master's programme in Dance Pedagogy is able to competently teach dance techniques and repertoire specialised according to the chosen curriculum. He/she is prepared to methodically lead dance classes for all ages. He/she can be employed as a dancer, dance teacher, ballet master, repetiteur, assistant choreographer etc., in theatres and ballet or dance companies as well as in art education.
He or she is also equipped with an overview of dance history and theory, the basics of dance composition, improvisation, choreography, stage practice, dramaturgy and production, so that he or she can pursue artistic creative or organizational work in the field.
He is ale to organize, author-legally, or author-technically secure a public presentation of an artistic performance. He/she is able to coordinate the activities of a creative team in the realisation of an artistic work of a smaller scale and simpler character and to take responsibility for its results, according to the framework assignment and the resources allocated within his/her field.
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