DANCE301-21A (HAM)

Performing Dance

15 Points

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Division of Arts Law Psychology & Social Sciences
School of Arts
Theatre Studies and Dance


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Paper Description

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An advanced study of choreography and production and culminates in a formal public dance performance.

The assessment includes a choreographing and sharing a solo in a studio showing, writing a reflective essay (or other form) on your own experiences of embodiment, gender and culture, and performing in a public performance at the end of semester.

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Paper Structure

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This paper is taught through 'workshops' that combine practical dance classes, workshops, lecture/discussions and rehearsals. All scheduled hours are in the Gallagher Academy of Performing Arts Dance Studio (PA.G.03).

Students should attend all 5 scheduled hours each week. One of these hours (as negotiated with the students in the paper), will typically be self-directed or group rehearsal time.

Please come to all 'lectures' with pens, Creative Journal, textbook and outline, AS WELL AS a plastic water bottle and appropriate clothing for dance. (Bare feet, comfortable long shorts, leggings or track pants, loose t-shirts or long sleeved tops and appropriate underwear. Please avoid socks, leotards, short shorts or rugby shorts, and any clothing with extra zips or studs.)

All students should endeavour to conduct themselves appropriately in all activities, demonstrating effective personal self-management and responsibility through classes, workshops, rehearsals and in relation to theatre protocols for production and performance.

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Learning Outcomes

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Students who successfully complete the paper should be able to:

  • demonstrate extended embodied knowledge of dance through engaging in a range of activities
    Linked to the following assessments:
  • show enhanced embodied understandings of dance through reflection, analysis, critique and synthesis using relevant reading, practical activities, research and class discussion (information literacy)
    Linked to the following assessments:
  • show extended understandings of and apply improvisational techniques and choreographic principles in the development of solo and/or group choreography
    Linked to the following assessments:
  • investigate and communicate understandings of choreography and performance with a focus on issues of body, gender and culture
    Linked to the following assessments:
  • reflect, critique and analyse their own solo choreography and performance, justifying a personal perspective on issues of body, gender and culture in dance.
    Linked to the following assessments:
  • demonstrate effective cooperation, decision making and problem solving within group activities, demonstrating respect for diversity of movement experiences and forms
    Linked to the following assessments:
  • demonstrate embodied understanding of performance techniques in dance
    Linked to the following assessments:
  • demonstrate effective personal self-management and responsibility through classes, workshops, rehearsals and in relation to theatre protocols for production and performance
    Linked to the following assessments:
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This paper involves internal assessment and does not have a final examination.

Please note that Assessment Four, the final public performance, will occur outside of regular scheduled classes, on the evening of Tuesday 8th June during Study Week. Students need to be available all day from 9am to 9pm on Tuesday to participate in technical and dress rehearsals. The public performance will be on Tuesday evening (start time to be confirmed).

During busy rehearsals and performance times, please ensure that you have cleared your schedule of work, family and social commitments so that you can be fully present for performances. Please note that appropriate conduct is expected of all students during these busy times.

Please note that some activities in workshops and assessments may be recorded on video for the purposes of internal student, staff and course reflection and assessment. Recorded material will not be used in any other form without prior permission.

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Assessment Components

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The internal assessment/exam ratio (as stated in the University Calendar) is 100:0. There is no final exam. The final exam makes up 0% of the overall mark.

The internal assessment/exam ratio (as stated in the University Calendar) is 100:0 or 0:0, whichever is more favourable for the student. The final exam makes up either 0% or 0% of the overall mark.

Component DescriptionDue Date TimePercentage of overall markSubmission MethodCompulsory
1. Dance Worksheet
17 Mar 2021
9:00 AM
  • Hand-in: In Lecture
2. Solo Studio Showing (during workshops)
13 Apr 2021
9:00 AM
  • Other: In class studio showing
3. Reflection on journeys in dance making
4 May 2021
9:00 PM
  • Online: Submit through Moodle
4. Public Performance
8 Jun 2021
7:00 PM
  • Other: Performance during study week
Assessment Total:     100    
Failing to complete a compulsory assessment component of a paper will result in an IC grade
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Required and Recommended Readings

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Required Readings

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There is a required textbook for this paper and a compilation of required readings available through the Waikato Reading List.

Students should purchase the following textbook for use in this paper and read set chapters. A copy of the textbook will also be available in the Library on Reserve for this paper.

Smith-Autard, J.M. (2010). Dance composition. A practical guide to creative success in dance making (6th ed). London: AC & Black.

Required readings have been compiled through the Waikato Reading List for this paper. Students must complete the readings on dance topics prior to each class as outlined by the lecturer. Required reading list follows, noting that in some cases students should select the relevant articles and that one or two additional papers may be added during the semester.

Creative process and choreography

Erkert, J. (2003). Dancing roots. Technique. In Harnessing the wind. The art of teaching modern dance, (pp.3-7). Champaign, IL: Human Kinetics.

Erkert, J. (2003). Flying souls. Artistry. In Harnessing the wind. The art of teaching modern dance, (pp.11-17). Champaign, IL: Human Kinetics.

Schrader, C.A. (1996). Body intelligence. In A sense of dance. Exploring your movement potential. (pp.103-115). Champaign, IL: Human Kinetics.

Green, D.F. (2010). Chapter 1: Discovering the dance. Choreographing from within. Developing the habit of inquiry as an artist. (pp-3-16). Champaign, IL: Human Kinetics.

Green, D.F. (2010). Chapter 2: Creating with intent. Choreographing from within. Developing the habit of inquiry as an artist. (pp. 17-26). Champaign, IL: Human Kinetics.

Quin, E., Rafferty, S., & Tomlinson, C. (2015). Chapter Two: Alignment. Safe dance practice, (pp. 23-53). Champaign, IL: Human Kinetics.

Embodiment, gender and culture:

Barbour, K.N. (2011). Becoming: Feminist choreography and dance research. In Dancing across the page: Narrative and embodied ways of knowing (pp.27-43). Bristol, UK: Intellect Books.

Novack, C.J. (1990). Experiencing the body. In Sharing the dance. Contact improvisation and American culture, (pp.150-178). Madison, WI & London: The University of Wisconsin Press.

Leib, A.Y., & Bulman, R.C. (2009). The choreography of gender: Masculinity, femininity, and the complex dance of identity in the ballroom. Men and Masculinities, 11(5), 602-621. Available from

Risner, D. (2008). When boys dance: Cultural resistance and male privilege in dance education. In S.B. Shapiro (Ed.), Dance in a world of change: Reflections on globalization and cultural difference, (pp. 93-115). Champaign, IL: Human Kinetics.

Matthews, N. (Dec 2004). The physicality of Maori message transmission – Ko te tinana, he waka tuku korero. Junctures. Journal of Thematic Dialogue, 3, 9-18. Available from

Bradshaw, S. (2015). Looking Back: Contemporary dance: A Māori perspective (part one and two). Dance Research Aotearoa, 3(1), 76-94.

Hereniko, V. (2006). Dancing Oceania. In L. Seear & S. Raffel, (Eds.). The 5th Asia-Pacific Triennial of Contemporary Art. Queensland Art Gallery, South Brisbane, Qld. Available from

Teaiwa, K. (2014). Cultural Moves? The Festival of Pacific Arts and dance remix in Oceania. Dance Research Aotearoa, 2(1), 2-19.

Ponifasio, L. (2002). Creating cross-cultural dance in New Zealand. In Creative New Zealand (Ed.), Moving to the future. Nga whakanekeneke atu ki te ao o apopo, (pp.52-56). Wellington, NZ: Creative New Zealand.

Osumare, H. (Winter 2002). Global breakdancing and the intercultural body. Dance Research Journal, 34(2), 30-45. Available from

Kuppers, P. (2000). Accessible education: Aesthetic, bodies and disability. Research in Dance Education, 1(2), 119-131. Available from

Public performance:

Penrod, J. (1994). Expression in dance: Teaching beyond technique. Impulse, 2, 3-15.

Ambrosio, N. (1999). Dance production. Behind the scenes of a dance production. In Learning about dance (pp.125-137). Dubuque, IO: Kendall/Hunt Publishing Co.

Franklin, E. (1996). Imagery and performance quality. In Dance imagery for technique and performance, (pp.213-227). Champaign, IL: Human Kinetics.

Olsen, A., & Mchose, C. (2014). The place of dance: A somatic guide to dancing and dance-making (pp.175-185). Middletown, CT: Welsleyan University Press.

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Recommended Readings

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Additional recommended readings are listed below:

Albright, A.C. (1997). Choreographing difference. The body and identity in contemporary dance. Hanover, NH: Wesleyan University Press.

Barbour, K.N. (2011). Dancing across the page: Narrative and embodied ways of knowing. Bristol, UK: Intellect Books.

Green, D.F. (2010). Choreographing from within. Developing the habit of inquiry as an artist. Champaign, IL: Human Kinetics.

Minton, S.C. (1997). Choreography. A basic approach using improvisation. Champaign, IL: Human Kinetics.

Penrod, J. & Plastino, J.G. (2005). The dancer prepares. Modern dance for beginners. NY: McGraw-Hill.

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Online Support

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There is an online Moodle community for this course. Moodle can be accessed via iWaikato. Additional materials, online links, assessment information, important dates and the paper outline are all available from this site.

Learning in dance is embodied – that is, you have to be present and actively participating in movement to learn in this paper. Students are thus required to attend and participate in all practical activities including dance classes, workshops and rehearsals.

Please note that students are encouraged to create their own notes in a personal Creative Journal following classes. Standard 'lecture notes' are not provided.

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The expected workload for this paper is approximately 150 hours total.

Students are expected to attend all five hours scheduled each week and eight additional hours scheduled for the final assessment presentation (total of 68 contact hours).

Students should complete 82 hours for independent study (approximately 6 hours each week including during the teaching break and study week), researching, undertaking activities and rehearsals associated with assessments. Workload should include attending other weekly dance classes on campus such as Open Contemporary Dance class or Wednesday lunchtime Unity Dance Collective class, other dance classes in the community, and complimentary practices such as yoga, pilates and aerobics.

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Linkages to Other Papers

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This paper links well with the following papers: THSTS308 Creating Theatre; MAORI357 Mahi Whakaari: Māori Performing Arts.
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Prerequisite papers: 15 points in Dance at 200 level.




Restricted papers: SPLS308

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