How To Use This Handbook - University Centre Weston...cover (please do) or you can dip in and out as and when you need to. The contents page, allows you to move freely about the book,

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2017-18

To find out all about the programme, click on the links below

How To Use This Handbook

Introducing the Department How we assess you

Academic Calendar 2013-2014 Assessment

Welcome & Equality of Opportunity A Guide to Undergraduate Modular

Scheme Assessment The Department of Performing Arts

Staff Profiles and Contacts Assessment Criteria

Grading Criteria

Your Course

Course Summary Rules and Regulations

Introduction Attendance

Course Content Statements and Regulations

The Course

What You Will Learn The Quality of Your Course

Assuring the Quality of This Course

Your Modules Being a Student Rep

How to Read a Module Outline

Skills Workshop 1 Support Systems

http://www2.bathspa.ac.uk/schools/education/cpd/pdf-docs/08-09docs/Equality-of-Opportunity-PMP_Student%20Handbooks_1Oct08.pdf

https://www2.bathspa.ac.uk/services/student-services/current-students/your-course/guide-for-students-assessment/


http://www.google.co.uk/url?sa=i&rct=j&q=musical+theatre&source=images&cd=&cad=rja&docid=yKHEKt_VLX7_IM&tbnid=1mweNuyCw7_mZM:&ved=0CAUQjRw&url=http://www.actorhub.co.uk/338/top-five-musical-theatre-audition-songs-for-men&ei=3PAVUszjF4TU0QW07IG4Bw&bvm=bv.51156542,d.ZG4&psig=AFQjCNFIyLy63PN-T0mn7IXLZAxMqNacTg&ust=1377255579975788

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Performance Workshop How We Support You

Musical Theatre In Context 1 Professional Practice

Professional Studies 1 Careers

Skills Workshop 2

Performance Project Appendices

Musical Theatre In Context 2 1 – Research Ethics

Professional Studies 2 2 – Weston College E&D Policy

3 – Weston College Complaints Process

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Welcome to Bath Spa University’s FdA in Musical Theatre, delivered in partnership

with Weston College. This handbook captures the experience of several years of

delivering the course. It explains the course’s structure, content, chief learning

processes, rules and regulations. It is essential information that you need to read

and refer to throughout your studies.

In support of Bath Spa University’s status as a Platinum Ecocampus, this handbook

is in electronic format. To navigate its pages, click on any of the hyperlinks

throughout the text to read more about the course – some links take you to other

pages of the handbook; others take you to relevant websites, external

documentation or email addresses.

We have developed the format of the handbook so that it falls into sections – each

covering some aspect of your time while studying here. You can read it from cover to

cover (please do) or you can dip in and out as and when you need to. The contents

page, allows you to move freely about the book, and it indicates how each section is

colour-coded for easier access. You can return to the contents page by clicking on

‘Go to Contents’ at the end of each section.

We welcome you to the course and we hope you will enjoy your studies; feel

challenged and inspired; and above all, grow in confidence and imagination.

This document should be read in conjunction with BSU’s own Modular Scheme

Handbook. It should also be read within the context of Bath Spa University Academic

Regulations and General Regulations, all of which can be accessed here.

❖Go to Contents

http://www2.bathspa.ac.uk/services/environment/eco-campus/

http://www.bathspa.ac.uk/regulations

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Find out about:

• The University’s structure

• Where you will learn

• The staff that will work with you

This section welcomes you to your course and provides you with all the essential

contacts you need. Think of these as the yellow pages! Most importantly of all, and

so the dates are clear, here are the term dates for this academic year.

ACADEMIC CALENDAR 2017-2018

START DATE

END DATE NOTES

1st YEAR

Term 1 18.09.17 15.12.17

Term 2 02.01.18 23.03.18

Term 3 09.04.18 15.06.18

2nd YEAR

Term 4 18.09.17 15.12.17

Term 5 02.01.18 23.03.18

Term 6 09.04.18 15.06.18

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Welcome to BSU – Bath Spa University. We have been teaching at

BSU for over 160 years and we became a university in 2005. As a

university our vision is to be a leading educational institution in

creativity, culture and enterprise. Through innovative teaching and

research, the University will provide a high quality student

experience.

THE COLLEGE OF

LIBERAL ARTS

BSU has 3 schools of which one is The

College of Liberal Arts (CoLA) and it

consists of two departments.

THE DEPARTMENT OF PERFORMING ARTS

The department in which you will study is DoPA, the Department of Performing Arts,

and you will be a student on one of 9 undergraduate or 3 postgraduate programmes.

https://www.bathspa.ac.uk/

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We deliver these programmes on the main BSU campus at Newton Park, or at

Weston College or Circomedia.

The Wessex Academy of Performing Arts

(WAPA) is a vibrant and exciting part of the

Faculty of Creative Arts at University Centre

Weston. The department offers 2-year

Foundation Degrees in Performing Arts,

Musical Theatre and Professional and

Commercial Dance, and for each there is an

optional 1-year BA (Hons) Top-up route. The

courses are practical in depth and

professionally focussed, aiming to help

students to realise their potential and meet

professional standard.

Circomedia is an internationally recognised

centre for excellence in circus and physical

performance training. Circomedia works

with a variety of core circus, performance

arts and street theatre working groups that

have been instrumental, both nationally and

internationally, in increasing the profile of

the sector and lobbies on behalf of the

circus arts and street theatre industry.

Above all, equality and diversity are crucial to a department that places emphasis on

celebrating the creativity of individuals working in companies, and you can read the

University’s Equality and Diversity policy here. Weston College students can read

the College’s Equality and Diversity Programme in the Appendices.

http://www.circomedia.com/

http://www2.bathspa.ac.uk/schools/education/cpd/pdf-docs/08-09docs/Equality-of-Opportunity-PMP_Student%20Handbooks_1Oct08.pdf

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DoPA currently has over 600 students studying courses in Acting, Contemporary

Circus and Physical Performance, Dance, Drama, Musical Theatre, Performing Arts,

Performing Shakespeare, Theatre for Young Audiences and Theatre Production.

The Department is forever expanding its links with the industry: fostered through

visiting practitioners; professionally-focused training courses; creative and

educational opportunities with professional theatre and arts companies and

professional practitioners from a range of disciplines.

Bath and Bristol are a 90-minute train journey away from both London and Stratford-

Upon-Avon. Weston-Super-Mare is about 30 minutes by train from Bristol. Wherever

you study, you will have access to excellent specialist facilities.

The course is taught in our dedicated rehearsal and performance spaces at the

Wessex Academy of Performing Arts located at the Knightstone Campus of Weston

College in Weston-Super-Mare. The Academy is in the town centre and just a short

walk away from the promenade and within easy reach of shops, banks and other

necessary services.

The Academy has a range of rehearsal and performance studios that have recently

been extensively refurbished. These include, two 150 square metre sprung-floored

dance/movement studios, a 120 square metre rehearsal studio, the Berkoff Studio a

100 square metre fully equipped studio theatre (seating 60) and a 70 sq metre

lecture/seminar room. There is a student green room and 2 IT Suites housing 27

high specification PCs. The department also utilises the Blakehay Theatre in

Weston as a teaching and performance space and supports professional

productions at Weston Playhouse.

http://www.weston.ac.uk/why-choose-us/campuses-and-facilities

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Touring opportunities are available throughout the year through the collaboration

with several venues in the South West as well as numerous prospects for gala

events, a London showcase and work experience abroad. Students also benefit

from Weston’s proximity to Bath and Bristol, which are busy centres for performance

with many international musicals, touring show and concerts.

Whichever campus you study on you will have access to the University Library at

Newton Park. This holds books, journals, performance recordings, CDs, DVDs,

student dissertations and provides access to electronic and on-line resources. Both

Weston College and Circomedia also have their own libraries, so that wherever your

study your course reading is available to you.

Minerva, the University’s virtual learning environment, supports all courses as a

repository for information, and as an interactive learning tool. You submit all written

work on Minerva and staff will contact you using the noticeboard on the relevant

Minerva page. When you enrol, you receive a Bath Spa University email account

and you must check this several times a day for updated information. Students at

Weston also use Moodle – the College’s own VLE.

Moodle is Weston College’s virtual learning environment and supports

• FdA Performing Arts, Professional and Commercial Dance and Musical Theatre,

• BA (Hons) Top-up in Performing Arts and Musical Theatre.

https://minerva.bathspa.ac.uk/webapps/login/?new_loc=%2Fwebapps%2Fportal%2Fframeset.jsp%3Ftab_tab_group_id%3D_1_1

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You submit all written work on Moodle and staff will contact you using the

noticeboard on the relevant Moodle page. When you enrol, you receive a Weston

College email account and you must check this several times a day for updated

information. HE students at Weston are also supported by HE Zone on Moodle,

where you will find handouts, further guidance, links and interactive activities. You

will also find the Library Plus Portal, for further information about Library Plus, and

subject guides to resources. The HELP programme is delivered by the HE Librarian

who is also available in the library to provide 1-2-1 HE support.

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The quality of the teaching you receive while you study and the support we offer you centres on the

staff that work with you. The tables below are a quick reference guide, you can click on any of the

hyperlinks to find out more or contact the staff. Please remember that part-time or fractional staff

might not be able to reply to you immediately, and permanent staff will not always be able to reply to

you immediately, so please be patient with us.

NAME ROLE EMAIL

Rob Mears

Dean of The College of

Liberal Arts

[email protected]

Charles Wiffen Mgmt and

Administration

[email protected]

Mark Langley Writing and

Performance [email protected]

Miranda

Lundskaer-Nielsen Link Tutor

[email protected]

The current link tutor for the FdA Professional and Commercial Dance is Dr Miranda Lundskaer-Nielsen who is

Subject Leader/ Senior Lecturer in Dance at the Department of Performing Arts at Bath Spa University. The

link tutor maintains regular contact with the staff team and students to support and encourage where

appropriate regarding the quality and management of the course. The activities and responsibilities of the link

tutor are in line with Bath Spa University’s documentation Collaborative Provision: Policy and Process for the

approach of new providers and new courses (UK) (July 2012).

Sarah Clark Head of Faculty, Creative Arts

Caroline Morris Faculty

Administrator

[email protected]

Malcolm Stratford Technical Staff [email protected]

Peter Tyler Technical Staff [email protected]

mailto:[email protected]


http://www.bathspampa.com/staff/mark-langley-(head-of-department/personal-statement/



http://www.bathspa.ac.uk/Media/quality-and-standards/Collaborative%20Provision%20(UK)%20Policy%20and%20Process%20document%20-%20Oct%202013%20CURRENT.pdf

http://www.bathspa.ac.uk/Media/quality-and-standards/Collaborative%20Provision%20(UK)%20Policy%20and%20Process%20document%20-%20Oct%202013%20CURRENT.pdf

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PARTNERSHIP MANAGER, HIGHER EDUCATION, ARTS & HUMANITIES

Andrew Cameron HE Partnership Manager, BSU programmes

[email protected]

SUBJECT AREA MANAGER OF PERFORMING ARTS

Jade Hicks Performing Arts [email protected]

CURRICULUM COORDINATOR PROFESSIONAL AND COMMERCIAL DANCE AND MUSICAL THEATRE

Sylvia Lane

Dance, Song

Interpretation,

Professional

Studies, Physical

Theatre

[email protected]

Teaching specialism: Skills Development, especially integrated Voice and Movement Training; Ballet; Jazz;

Tap; Pas Des Deux; Contemporary; Choreography.

Sylvia holds a graduate diploma in Musical Theatre and Theatre Dance from the London Studio Centre, a

PGCE from Bath Spa University and most recently, completed a MA Professional Practice in Higher Education

at Bath Spa University. She is a Fellow of the Higher Education Academy and is an accomplished

singing/voice coach but also teaches all forms of dance, fitness, Body Control Pilates, physical theatre and

movement for theatrical practice. Sylvia regularly attends industry events to keep up to date with recent

developments in the arts and has many high profile connections in the world of show business. She has

choreographed and directed many shows while working for Weston College and has a keen research interest

into the influences of digital developments in 21st century theatre practice which she collaborated on several

projects internationally.

Latest research projects include telematics performances with institutions in the USA, including “Digital

Dancing” in 2017 and “Timelapse” in 2015.

Sylvia has over 20 years’ experience on the professional stage as a singer, dancer and actor. Originally from

Munich in Germany, her career began with the Munich National Opera and credits include Lead Dancer/Singer

for “Spirit of the Dance” (international tours and several years in the USA), roles in “A Chorus Line”, “Chicago”,

“Starting here, Starting now”, “West Side story”, “The American Dream/The Bald Primadonna”, “The Rake’s

Progress” as well as variety shows, Lead Production Singer on major cruise ships and numerous TV and

recording appearances.

Volker Bleck Dance, Musical Theatre [email protected]

Teaching specialism: Tap and Ballet, performance and professional studies.

Volker trained in Mannheim, Germany at the "Hochschule für Musik HD-MA, Abteilung Akademie des Tanzes”

and gained a Masters Degree in Dance and Education. He has worked extensively in Europe as a performer in

Dance, Musical Theatre and Opera, and as a Choreographer, Dance Captain and Resident Director. His

professional credits include roles in Bye Bye Show Biz, La Cage Aux Folles, Singin’ in the Rain, Ludwig II

Sehnsucht nach dem Paradies, Jesus Christ Superstar, Cabaret, Anything Goes and Crazy for You.





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Volker’s main academic interests are methodology of dance training for non-dancers and actors, and the

rediscovery/restaging of the 1920’s-1950’s Musical Comedy. Alongside his teaching commitments, Volker

maintains his industry links through on-going professional work with theatres in Germany, Austria and

Switzerland.

Abigail Green Voice and Singing [email protected]

Abigail is an experienced vocal teacher and performer with a BEd Mus (Hons) from the University of

Plymouth. . Abigail recently qualified as a Certified Master Teacher for Estill Voice International; she is one

of only few voice coaches in the country to be awarded this prestigious qualification. She also worked

extensively as a performer and is a member of the British Voice Association and member of the

Incorporated Society of Musicians. She has a unique background as a former dental nurse and

pharmaceutical dispenser, both of which have heavily supported and influenced her teaching, research,

learning and development. She is particularly interested in vocal physiology and vocal acoustics; in

particular the effects of the jaw and mouth morphology and its effect on professional voice users. Singing

and vocal development are a major part of her life and passing knowledge onto students gives her great

fulfilment.

Corrin Martin Professional and Commercial

Dance

[email protected]

Corrin completed her professional dance training at Middlesex University in 2011 where she received a BA

(Hons) in Dance Studies. Here, she trained extensively for three years in Contemporary dance techniques

such as Humphrey, Graham, Cunningham and Release, alongside Ballet, Commercial dance and

Choreography. She then went on to gain performance experience through working abroad as a professional

dancer in Cabaret and Showgirl acts and various Musical Theatre productions. Upon her return to the UK,

Corrin worked alongside South West Dance Theatre, performing and choreographing for shows around the

South West and also co-directed a youth dance company called SWDT Signets which was a fusion between

contemporary, ballet, commercial dance and physical theatre.

In 2013 Corrin followed her passion for teaching and completed a PGCE in Secondary Dance Education at

Exeter University where she gained her Qualified Teacher Status (QTS). Since then she has taught at

Secondary and A Level in addition to various dance fitness classes.

Corrin is thrilled to be a part of such an inspiring Creative Arts team here at WAPA and is looking forward to

welcoming students on to the new FdA course in Professional and Commercial Dance.

Kyle Davies Acting, Musical Theatre,

Directing

Kyle has worked extensively as a freelance director in the US and UK and is Associate Director of State of

Play Theatre. Recent directing credits include A Christmas Carol starring Paul Nicholas at the Winter Gardens

Blackpool, Puss in Boots and Cinderella at the York Theatre Royal’s De Grey Ballroom, The Fantasist’s Waltz,

The Revenge of Mr Trout! and The Unholy Trinity (Shanghai International Contemporary Theatre Festival) all

for State of Play Theatre and RashDash’s The Ugly Sisters (Soho Theatre and West Yorkshire Playhouse,



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2012 Total Theatre Award Nominee). In New York his work as a director includes the development and world

premiere reading of Howard Emanuel’s Last Supper, Survived By… at Theatre for a New City, and the

creation of the cabaret review There Goes the Ballgame: The Music of Kander and Ebb for two of New York’s

preeminent cabaret venues, The Duplex and Don’t Tell Mama’s.

He has also assistant directed a multitude of shows on and off Broadway. On Broadway he assisted Lonny

Price on the revival of “MASTER HAROLD”…and the boys starring Danny Glover for Roundabout Theatre

Company, and on the original Broadway musical Urban Cowboy. Other credits include Candide for the New

York Philharmonic (dir. Lonny Price) starring Paul Groves and Kristin Chenoweth, the 2004/2005 Emmy Award

winning production of Sondheim’s Passion for Lincoln Center Live starring Patti LuPone, Audra McDonald and

Michael Cerveris, the U.S. National Tour of The Boyfriend directed by Julie Andrews and the U.S. National

Tour of Trevor Nunn’s Oklahoma!

Along with receiving a B.F.A. in Musical Theatre from Syracuse University, he attended L’Ecole Internationale

de Theatre Jacques Lecoq in Paris and is also a graduate of their Laboratoire d’Étude du Mouvement.

Amy Rose Context [email protected]

Amy has specialisms in socially engaged performance practices, clown, physical theatre, visual theatre and

outdoor arts including street theatre and tactical urbanism. As a freelance practitioner, Amy has worked

internationally for over 20 years as a performer, director and artist/researcher, with companies including Rusty

Squid, Green Ginger, Living Pictures, Royal Welsh College of Music and Drama, The Tobacco Factory, Welsh

National Opera, Kneehigh Theatre, The Desperate Men, Bread and Puppet Theatre. She is the joint artistic

director of Bocadalupa Arts and Performance, Amy holds a BA in Dance and Theatre from Hampshire College

(USA) and an MA in Theatre Practice from University of Exeter. She trained at Scuola Teatro Dmitri, Circus

Space and Ecole Philippe Gaulier.

VISITING PRACTITIONERS

Throughout your degree, you will also benefit from specialist workshops and training by visiting

professional practitioners and companies.

❖Go to Contents


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Find out about

• Course summary

• The course structure

• What you will learn

• Course aims

• Course learning outcomes

• The kind of teaching you will encounter

• How to reference your essays

This section tells you everything you need to know about your course of study. It

explains a lot of the terminology used in HE (Higher Education), and gives an idea of

what the course aims to do. We begin with a summary of the course and then

progressively add layers of detail.

❖Go to Contents

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Major, Joint or Minor Specialised Award

School Music and Performing Arts

Department Performing Arts

Campus Weston College – Knightstone Campus

Final award Foundation Degree: Musical Theatre

Intermediate awards available Certificate of Higher Education

UCAS code WW34

Details of professional body

accreditation None

Relevant QAA Benchmark statements Dance, Drama and Performance (2007)

Date specification last updated March 2014

❖Go to Contents

http://www.bathspa.ac.uk/schools/music-and-performing-arts

http://www.ucas.com/

http://www.qaa.ac.uk/Publications/InformationAndGuidance/Documents/DDP07.pdf

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This course is based around the idea of the “intelligent performer” who combines

practical skills and industry knowledge with an understanding of the historical and

cultural contexts that surround musical theatre. As part of the course you will

explore the socio-historical and cultural underpinnings of Musical Theatre and the

Performing Arts Industry through seminar-workshops; you will undertake weekly

skills classes in acting, singing and dance; and you will learn how to apply both

practical skills and contextual awareness through a series of process-driven, skills-

based practical projects that will explore the relationship between the three

disciplines of acting, singing and dance and give you an increased understanding of

the performer in terms of voice, body and movement. Throughout the course, you

will be asked to reflect critically on your practical work and identify areas for personal

development.

“Whilst at Weston College, we have had the chance to travel to

other countries for live performances, allowing us to gain

knowledge of a touring environment and the high expectations

from the industry of a versatile performer. Auditioning and

training with professionals and learning from some of the best in

our business have allowed us to build an incomparable list of

networking contacts and connections in the industry, which in

years to come one would hope would prove extremely useful

and helpful to our success.”

“I have auditioned for P&O cruises and just been offered a 10-

month contract as lead vocalist! I couldn't have done any of this

without the training and coaching I have received- the lecturers

had such a massive impact on me as a performer and I walked

into the audition with such confidence, so thank you very, very

much!”

The FdA Musical Theatre is a performance-oriented course which includes both

practical and academic training. Throughout the course, you will develop Musical

Theatre performance skills and an awareness of artistic process, as well as an

understanding of the American and European Musical Theatre repertoire in its

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historical and cultural contexts. The delivery of the course will be based on the

concept of the ‘intelligent performer’ who combines technical accomplishments,

contextual understanding and analytical abilities with the necessary business skills

to generate work for themselves within a broad range of employment fields including

musical theatre, music, theatre and media industries, community arts and teaching.

❖Go to Contents

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The following guides you through all three years and you will see that the course

consists of the modules of study explained below, and detailed in full at the end of

this handbook.

The academic year begins at the end of September and finishes at the end of June.

The FdA Musical Theatre is full-time only and lasts for two years. Each year has

three terms, so there are six terms in total. If you are studying for the one year BA

top-up, then you study for a third year and so an extra three terms.

The duration of this course is two years full-time (FT). In the eventuality that you fail

a module, it is possible to retake it in part-time mode. You will progress through two

years to a Foundation Degree (Arts) award. At this point an exit is available or you

can apply for a third year 'top-up' qualification to a BA (Hons) Musical Theatre either

within Bath Spa University (subject to approval) or at another institution. Entry to the

third year of study will be by interview and audition and is normally restricted to

applicants who have completed the Foundation Degree in full.

YEAR 1 YEAR 2

FOR THOSE

STUDENT WHO

PROGRESS TO

THE BA TOP-UP

YEAR 3

LEVEL 4 LEVEL 5 LEVEL 6

Sept- Dec Term 1 Term 4 Term 7

Jan – March Term 2 Term 5 Term 8

April - June Term 3 Term 6 Term 9

Attendance throughout the year is a key requirement for passing the course.

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As you study, you gain credit. Credit is a means of quantifying and recognising

learning, whenever and wherever you achieve it. All higher education courses are

credit rated: within the UK, 1 credit represents 10 notional hours of learning, this

doesn't just include formal classes, but estimates the amount of time you spend

preparing for these classes, along with private or independent reading and study,

plus revision and the completion of course-work required on the module. Please

read the QAA guide on the Higher Education Credit Framework.

The credit rating of an FdA is 240 credits. You take 120 credits each academic year

for two years, so you work at least 1200 hours per academic year (equivalent to a

job where you work 35 hours per week). If you choose to add a BA top-up year to

your FdA, then you complete a third year and so third set of 120 credits, meaning

that your final degree is the result of 360 credits.

Your FdA is an award, because the university ‘awards’ you the title of Foundation

Degree when you successfully complete the course. To be awarded an Foundation

Degree you must obtain 240 credits including:

• A minimum of 120 credits at Level 4


If you choose to then add a BA top-up year, you must obtain an additional 120

credits, and so


http://www.qaa.ac.uk/AssuringStandardsAndQuality/academic-credit/Pages/default.aspx

22

The course is a specialised award; therefore, you do not choose modules of study.

Instead, you follow a prescribed programme, although there are optional projects in

some modules. These help you to adapt your learning journey to suit your particular

needs and your tutors will give you advice about these options throughout the

course. The diagram below illustrates the course structure: the numbers in the

circles identify the credit rating of each module.

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❖Go to Contents

Page 24 of 143

Higher education is part of a wider national framework that begins with further

education and culminates at doctorate level. Within this framework, higher education

begins at Level 4 with the first year of undergraduate study and the final year of

undergraduate study is Level 6. Postgraduate and Master’s study is at Level 7. This

course does not allow you to take option modules in other subject areas.

Chapter A1 of the UK Quality Code provides a nationally recognised definition of

each level of higher education. Writing a programme against the level descriptors

provided ensures that all higher education programmes are of the same standard.

While it is worth reading, the essential thing to understand is that the two years of

your foundation degree are progressive. Study at Level 5 is harder than study at

Level 4. In very simple terms, Level 4 introduces you to your studies, Level 5

develops your understanding. If you chose to add a third top-up year at Level 6, then

it will advance your work to date. This is a very simple definition indeed, but it puts

the following descriptions in context. The idea of progression is important, because if

your studies do not become increasingly harder, then your learning would not

progress. In addition, your foundation degree also reflects the descriptions provided

in the Foundation Degree Qualification Benchmark to ensure that your programme

observes the distinctive features associated with a foundation degree.

http://ofqual.gov.uk/files/2013-02-07-qualification-levels-diagram.pdf

http://www.qaa.ac.uk/Publications/InformationAndGuidance/Documents/Quality-Code-Chapter-A1.pdf

http://www.qaa.ac.uk/Publications/InformationAndGuidance/Documents/Foundation-degree-qualification-benchmark.pdf

Page 25 of 143

Year 1 (or Level 4) of your study on the FdA Musical Theatre introduces you to the

basic building blocks of the subject. There are four modules in the year, which you

can read by clicking below.

LEVEL 4 MODULES

DR4501 Skills workshop 1

DR4502 Performance Workshop

DR4503 Musical Theatre in Context 1

DR4504 Professional Studies 1

Page 26 of 143

Year 2 (or Level 5) studies continues to train your core technique. There are four

modules in the year, which you can read by clicking below.

LEVEL 5 MODULES

DR5501 Skills Workshop 2

DR5502 Performance Project

DR5503 Musical Theatre in Context 2

DR5504 Professional Studies 2

❖Go to Contents

Page 27 of 143

In designing the course, the Department has considered the QAA Subject

Benchmark Statement for Dance, Drama and Performance (2015) to align the

course with all other degrees in the subject area.

The aims of any HE course explain what the University, staff and course aim to do to

enable your learning. This course aims to:

• Develop the necessary skills set required for the role and practice of the Musical Theatre performer with respect to singing, acting and dance.

• Propagate understanding and knowledge of current job requirements and work opportunities within the Musical Theatre industry

• To enable individuals to contribute to the creation and/or production of performance through an understanding of appropriate performance vocabularies, techniques, structures and working methods.

• Foster an understanding of appropriate independent research, whether investigating past or present musical theatre performances or as part of the process of creating new performance

On completion of this course, you will be able to demonstrate the acquisition of a

range of knowledge and skills (be they practical or cognitive). These are the

‘learning outcomes’ of the course, and you will pass the course if you are able to

show you have attained all these outcomes at threshold level – i.e. you can just do

them. If you can surpass the threshold level, you will receive higher grades for your

http://www.qaa.ac.uk/Publications/InformationAndGuidance/Pages/Subject-benchmark-statement-Dance-drama-performance.aspx

Page 28 of 143

work. The learning outcomes for your course are as follows, some outcomes are

about your knowledge, some of them are about your skills and abilities and some of

them are about skills that you can use in all walks of life (transferable skills).

KNOWLEDGE

On completion of the course, students will:

1. The forms and practices of Musical Theatre performance in a historical context

2. The role and practice of the Musical Theatre performer with respect to singing, acting and dance.

3. Key Theatre and Musical Theatre practitioners, theorists and practices within their cultural and historical contexts.

4. The key components of Musical Theatre and the process by which Musical Theatre is created and realised through the application of knowledge, practices, concepts and skills from different disciplines.

5. The interplay between practice and theory within the field of study. 6. Current job requirements and work opportunities within the Musical Theatre

industry

THINKING SKILLS


1. Reason critically 2. Apply analytical, critical and historical concepts 3. Identify and solve problems 4. Demonstrate and exercise independence of mind and thought

SUBJECT-BASED PRACTICAL SKILLS


1. Describe, interpret and critically evaluate performance texts (libretto, music score and choreography), production techniques and performance events.

2. Understand and apply the skills and processes of production, design and rehearsal by which performance is created.

3. Contribute to the creation and/or production of performance through an understanding of appropriate performance vocabularies, techniques, structures and working methods.

4. Engage in appropriate independent research, whether investigating past or present musical theatre performances or as part of the process of creating new performance.

5. Identify the cultural frameworks that surround performance events.

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6. Articulate a contextual understanding of Musical Theatre as a craft and as an art form through oral and written communication

SKILLS FOR LIFE AND WORK (GENERAL SKILLS)


1. Develop ideas, construct arguments and present them in appropriate ways; 2. Work creatively and productively as part of a team in the realization of

practice based work; 3. Manage personal workloads and meet deadlines; 4. Gather, sift, synthesise and organise material independently; 5. Use information technology in appropriate ways and have an awareness of its

application and potential.

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The course encourages your learning through participation in a wide variety of

activities including lectures, seminars, workshops, tutorials (face-to-face and online),

rehearsals, blogs and journals, group discussion, collaborative learning and peer

assessment. This section details the nature of the teaching and the kind of study

upon which your learning will centre. By its nature this will be forever changing, so

the following is an outline sketch only.

Your course is vocational, so your practical work will be hour intensive. However,

you will need to prepare for these classes so you will also need to do many hours of

private study (research, text analysis, practice, preparation for rehearsal etc.) in-

between sessions. You do much of your learning in class, supported by

considerable research, reflection and evaluation away from class. The course

requires considerable stamina and continued application. It is not easy.

The Foundation Degree in Musical Theatre is taught through workshops, lectures,

seminars and rehearsals, through different forms of performance (including in-class,

studio and stage work) and through industry workshops and a professional work

placement (For more detailed information on teaching methodology, please refer to

module descriptors at the back of this handbook).

The following explains some of the key approaches to teaching on the course. Some

classes may feature elements from several of the descriptions below.

A lecturer presents large quantities of information to a large group. You should take

your own notes: even if the lecturer provides notes, you should make your own to

guide your reflection afterwards. Lecturers will often provide you with sources for the

information they have used, but these are not an alternative for attending the

lectures.

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Here you practically explore a specific area of study with the intent of developing

your skills or approach to the work. Workshops move freely between tutor-led

instruction, class discussion and practical exercises.

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A mixture of staff and student-led discussions usually held in smaller groups of 15-25

students. You prepare for these sessions and sometimes contribute personally to the

selected theme. Importantly, these open discussions generate ideas for you to

explore and imbed elsewhere in your work.

These classes embed consistent physical behaviour, by using repetition of physical

action; they are of particular use in the training of voice and movement. Current

research suggests that for any physical process to become a part of our habitual

behaviour we must repeat it around 10,000 times. Technical classes are a part of

that process of re-training your habitual behaviour.

These are opportunities to discuss your personal progress, usually in one-to-one or

small group sessions of 10-30 minutes duration. Tutorials are very time consuming

for staff and are not optional: failing to attend a tutorial counts as an absence.

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Here you will work on a project led by a member of staff, a student-director or an

external professional. You draw on the knowledge and skills you acquire in other

areas and bring them to bear on a text or stimulus. You approach rehearsals in a

professional manner.

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It is important that all your written work conforms to the approved academic formats.

Staging, choreographing, designing, rehearsing, managing and performing are all

fundamental activities, but thinking about your subject needs language to

communicate an intelligent personal response and, of course, writing is central to

clear and objective criticism and discussion. This section is not a guide to

researching, planning or writing essays; rather, it gives the correct academic format

for all essay and dissertation work. You must adhere to the presentational academic

conventions.

Think of your essays as potential articles for publication in the many scholarly

journals we subscribe to in the library. Don’t write in the style of popular journalism

or in a familiar, chatty way: you are writing for an academic readership. Always read

and research widely around your topic and support arguments with quotations from

journals, books and internet sources.

Written work must follow the following conventions and house-style:

• All written work must be word-processed with font size 12 OR Arial 12

• Use A4 paper

• Print on one side of the paper only

• Use double spaced lines

• Give wide, clear margins

• All pages must be numbered

• The essay title must be written in full at the top of page 1

• All essays must contain a bibliography

• The bibliography and references must use the following approved format

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You must give the sources of all significant ideas and opinions you take from other

writers, either by direct quotation or in paraphrase. In your reading you will find it

helpful to be able to follow up the leads authors provide through their references to

other writers. If you do not acknowledge a source it might be assumed that

you were trying to pass off those words or ideas as your own. Even if that were

not your intention, if discovered it would damage the credibility of the rest of

your work. Deliberate plagiarism is regarded as a very serious offence in this

University and in academic writing generally. References to other writers should be

acknowledged in brackets and in your bibliography. You should reference after the

author’s name, whether you are paraphrasing ideas or quoting directly, and give the

page number. You do not need to acknowledge your sources for widely held views

or for well-known historical facts; but if you take unusual or significant ideas

from another writer, even though you put them into your own words, you must

acknowledge your source.

Please refer to cite them right accessible via the following link:

http://www.bathspa.ac.uk/library/researching-and-referencing/

1. Quoting or citing single authored texts or multi-authored books

Example:

As theatre historian John Bush Jones (2003: 55) points out in his social history of the

musical, there were crucial differences between European-style operetta and the

new American musicals that started to emerge in the 1920s, While operettas were

mainly set in exotic and often foreign locations, he argues, “musical comedies, set

mainly in the contemporary United States and featuring mostly Tin Pan Alley-type

music, mirrored their audiences’ lifestyles and the good-time spirit of the decade.”

[Your reference in curved brackets informs the reader of the year in which the source

was published and the page number on which the quote may be found.]

2. Use of quotations from books and journals

If your quotation from a book or journal is under 40 words put it in the body of the

text just with quote marks around it - don’t italicise or bold quotes. If the quotation is

over forty words in length it should be set in an indented block by using the Tab key,

rather than quoted in the text. The block should be single-spaced (i.e. not double-

spaced like the rest of your text).

http://www.bathspa.ac.uk/library/researching-and-referencing/

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The quotation should not have quotation marks unless they report speech or another

written account (i.e. a quotation within the passage you are citing). The spelling and

punctuation of the original must be copied exactly, even if it uses American spellings.

If you omit words this should be made clear by the use of three dots (ellipsis),

although this is not necessary at the beginning and the end of a quotation. If you add

anything of your own, or change a word, it should be enclosed in square brackets.

For example:

[Counting] is something that musicians can never get away from... One of the most

common ways...is also one of the worst: that is, tapping the foot. We see it so often

that I am sure students think it is the right way to count. Not only is it distracting to

other musicians and the audience, particularly if it is audible, but it also means that

the player is following the tapping instead of listening to the other musicians or

watching the conductor.

3. Bibliography - books and journals

At the end of your essay you must always give a bibliography which lists all the

authors and their books or articles from which you have taken quotations or

ideas, plus any other sources not directly used in your essay but forming

background reading and research to the essay topic. The authors’ surnames

should be in alphabetical order, followed by the first name initials

When listed in your bibliography or list of references at the end of your essay or

dissertation, the full details will be given as follows:

SINGLE AUTHORED TEXTS

Jones, J.B. 2003. Our Musicals, Ourselves: A Social History of the American Musical

Theatre. Hanover: Brandeis University Press.

[Note that the title of the book is given in italics]

MULTI AUTHORED TEXTS and EDITED WORKS

Horn, D. 1996. Who Loves You Porgy? The Debates Surrounding Gershwin’s

Musical. In Approaches to the American Musical, ed. R. Lawson-Peebles, pp 109-

126

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[Note that here the title of the chapter is given without italics, but that italics are still

used for the title of the book itself. Note also that page numbers are given for the

article itself].

JOURNAL ARTICLES

Hillman, J. (2007). Goyim on the Roof: Embodying Authenticity in Leveaux’s Fiddler

on the Roof. Studies in Musical Theatre, 1.1, 25-39.

[Authors are given as before, but titles of journal articles are given without quotation

marks, and must be followed by the title of the journal italicised. Note that the journal

title is followed by its volume number, and then by the page numbers].

INTERNET SOURCES

Playbill. 2008. Broadway Grosses May 5-11 [online] available from:

http://www.playbill.com [accessed 14.05.2008]

For internet sources, you should cite:

- the author(s) if given. NB: The ‘author’ may be an organisation if no personal

author is given.]

- Year of publication or creation, if given.

- Title of page, if given.

- Site name [online].

- Publisher or organisation.

- available from: (give full URL address)

- accessed: ( give actual date you visited the site)

4. Foreign language accents and titles

Accents are part of the spelling and should never be omitted. If you are using

Microsoft Word or other similar word-processing courses, select <Insert> from the

Main Menu and click on the Symbol option, you can then choose the letter with its

accent, click <Insert>, and it will put the letter at the cursor point in your text.

5. Page numbering

All word-processing courses have automatic page numbering. Again, click on

<Insert> from the Main Menu and choose <Page Numbers>.

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Find out more about

• How to read a module outline

And each of the modules in the course

• Skills Workshop 1

• Performance Workshop

• Musical Theatre In Context 1

• Professional Studies 1

• Skills Workshop 2

• Performance Project

• Musical Theatre In Context 2

• Professional Studies 2

This section tells you everything you need to know about the different modules of

your course of study. The modules are the next layer of detail and the next layer

below the outlines are the module handbooks. These are on the relevant courses on

Minerva, and to which your tutors will direct you.

Each module outline details the aims, intended learning outcomes, methods of

teaching and learning and assessment tasks and criteria for each module of the

programme. The University’s Academic Quality and Standards Committee have

approved these outlines and no change can be made to them without the approval

of the Music and Performing Arts School Board. In line with the University’s quality

assurance processes, any such modifications only happen after a process of review

and consultation.

Again there is a lot of terminology involved so there is an explanation of how to read

a module outline. It is worth looking at the module diagram in the previous section.

THESE ARE THE MOST IMPORTANT PAGES IN THE HANDBOOK, SO PLEASE

READ THEM OFTEN AND CAREFULLY

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All the module outlines for the entire course are, by design, academic texts, but to

maximise your studies you need to read them in close detail and understand them.

The following guide helps you to do so.

First, the header block – this is really the information needed for University systems,

but it works as follows:

Code

This is the unique reference number for the module

• DR is the course identification, Musical Theatre is within BSU’s Drama strand

• The first number identifies the level of study (Level 4, 5, 6 or 7 – see ‘Level’ below)

• The remaining three numbers identity the module number

• The number after the hyphen indicates the credit value of the module

Title The module name

Programme The programme title – in this case, FdA Musical Theatre

Level

This indicates the year in which the module runs

• Level 4 is 1st year FdA or BA undergraduate

• Level 5 is 2nd year FdA or BA undergraduate

• Level 6 is 3rd year BA undergraduate

• Level 7 is postgraduate

Credits The credit value of the module – see Credit Rating above

ECTS

The European Credit Transfer and Accumulation System,

correlates a UK course with other European Higher

Education courses, for more information click here

Contact time This is the total of tutor-led teaching/contact you receive

while studying the module

Acceptable for Because this is a specialised award, the modules are only

acceptable for the FdA Musical Theatre

Excluded

combinations This is relevant only for modular scheme awards

Core/Optional For this specialised award all modules are core

Module

Co-ordinator

The tutor responsible for managing the module and the tutors

who teach on it

http://ec.europa.eu/education/lifelong-learning-policy/doc/ects/guide_en.pdf

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The remainder of the outline details the module content.

Description and Aims

A thumbnail sketch introduces the module concept and the list of aims defines how

the module enables your learning.

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Outline Syllabus & Teaching & Learning Methods

A narrative explanation describes the module syllabus and indicates how staff

deliver it and the activities they set to assess your learning.

Learning Resources

A brief description of the different teaching spaces, resources, library or IT facilities

the University provides to support you throughout the module.

Intended Learning Outcomes

If you successfully complete a module, you attain its Intended Learning Outcomes

(or ILOs). These are subject-specific skills, abilities or bodies of knowledge and

transferable skills. For example, in a Context module, you study theatre history,

which is specific to acting, but you also learn how to research, which is a

transferable skill. ILOs are pivotal to a module, everything the module aims to do is

to enable you to attain them, and the way tutors assess you measures that

attainment.

Assessment Scheme Weighting %

Tutors devise assessment tasks carefully to measure

your attainment of the ILOs. The Assessment

Scheme lists the tasks for the module, but the tasks

may consist of several activities – module handbooks

provide more detail.

This indicates each task’s

percentage weighting within

the module.

Reading Lists/Key Texts & Websites

Tutors list these books, articles and electronic resources to support your study.

Students familiar with all the items on the list will understand more about the

subject, and get more out of their study. The more you study, the more you learn.

The individual module outlines for your course now follow.

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Appendix 4 Module Descriptors

Module Descriptor: Skills Workshop 1

1 Module code DR4501-40

2 Module title Skills Workshop 1

3 Subject field Writing and Performance

4 Pathway(s) FdA, Cert HE

5 Level 4

6 UK credits 40

7 ECTS credits 20

8 Core or Compulsory or Optional Core

9 Acceptable for FdA Musical Theatre

FdA Professional and Commercial Dance

10 Excluded combinations None

11 Pre-requisite or co-requisite None

12 Class contact time: total hours Total Hours: 300

13 Independent study time: total hours Total Hours: 100

14 Duration of the module 30 weeks

15 Main campus location Knightstone Campus

16 Module co-ordinator Sylvia Lane

17 Additional costs involved £300 approx. for dance clothes/materials

18 Brief description and aims of module

This module will provide students with a broad initial grounding in the core

performance disciplines of singing (technique and repertoire for Musical Theatre and

voice for Professional and Commercial Dance), acting (text, improvisation, physical

theatre) and dance (ballet, jazz and tap).

The module aims predominantly at fostering students’ practical skills as necessary for

employment in the industry. Ongoing development of these core skills is essential to

flourish in a global workplace (Graduate Attribute 1).

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19 Outline syllabus

The module has a practical focus with emphasis placed on frequent repetition and

practice of skills and techniques of acting, singing/voice and dance (ballet, tap and

jazz).

The module has particular diagnosing and balancing skills to bring students up to the

level required in the industry. Classes will be organised to reflect ability levels.

As part of the module students study the work of existing practitioners across the sub-

disciplines and undertake independent research to inform their practice.

An in-depth look at a range of traditional methodologies and new developments in

technical skills training will provide a platform to challenge and nurture critical

understanding of current practice and trends within the sector. As an indicative

example, students may research the differences between traditional breathing

techniques as used in “Bel Canto” and physiological approaches of the, more

contemporary, Estill Voice Method in singing/voice lectures; “Inside out versus outside

in ”approaches in acting (inside” (i.e: mood, psychology, flavor, internal life, intention),

“outside” (function, a given object, period or style, a given circumstance) and Russian

Vaganova method of forcing turnout versus the RAD approach to work with natural hip

alignment for dance.

Regular practice will enable students to trial various methods in line with theories to

foster dynamic versatility and understanding of the breadth of approaches. Students

will discover the necessity of training for employability opportunities and gain

competence within the core disciplines of singing, acting and dance.

20 Teaching and learning activities.

The module is taught through a series of weekly specialist skills classes in the core

disciplines: acting, singing and dance (ballet, tap and jazz). You will be taught as a

group but together with your tutors you will start to identify particular areas for

development for each discipline.

You are expected to take a full and active part in all aspects of the work, to complete

practical assignments to a high level and to come to class ready to share your work

with other students.

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Master classes: A number of established practitioners and industry professionals offer

workshops and seminars on a range of skills and practices.

21 Intended learning outcomes

By successful completion of the module, you will be able to

demonstrate:

1. Understanding of basic professional working practices and

conduct in terms of skills development. (A1, A6, C1, C2)

2. Critical skills in reflecting on your practice, assessing your

personal skills levels and identifying key areas for growth in all

three skills areas (acting, singing, dance). (B1, B3, B4)

3. Technical ability in core musical theatre performance skills

(acting, singing, dance) covered within the module. (A1, C1, C2)

How assessed

S2

S1, S2

S2

22

Assessment and feedback

Formative exercises and tasks:

F1. Written assignment plan.

F2. Ongoing feedback on practical performance.

Summative assessments:

S1. Coursework (1500 word written assignment reflecting on

practice in a selected sub-discipline of the module –acting singing

dance (ballet, jazz tap).

S2. Practical (Performances of technical skills studied in the

module)

Weighting%

15%

85%

23 Learning resources

University Library print, electronic resources and VLE:

•Ashley, L. (2008). The Essential guide to Dance, 3rd edition. London: Hodder Arnold.

•Callaghan, J. (2014) Singing and Science: Body, Brain and Voice. Abington: Compton

Publishing Ltd.

•Homans, J. (2013) Apollo's Angels: A History of Ballet [ebook]. New York:

RandomHouse Publishing. Available from: https://www.amazon.co.uk/Apollos-Angels-

History-Jennifer-

Homans/dp/1847082564?ie=UTF8&qid=1462284157&ref_=tmm_pap_swatch_0&sr=1-

24

•Houseman, B. (2002). Finding Your Voice: A Complete Voice Training Manual for

Actors. London: Nick Hern Books

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•Kayes. G. (2004). Singing and The Actor (Ed 2). A&C Black Publishers Ltd. London.

•Orti, P. (2014) Your Handy Companion to Devising and Physical Theatre. 2nd Edition.

Singapore: Paper Play

•Peckham, A. (2000). The Contemporary Singer: Elements of Vocal Technique with

CD (Audio). Boston: Berklee Press Publications

•Stanislavski, C. (1980). An Actor Prepares. London: Methuen Drama.

•Vaganova. A. (1969). Basic Principals of Classical Ballet. Dover Publications.

Specialist resources:

Bespoke studio spaces

The module draws on a range of specialist studios and workshop spaces, audio/visual

equipment and resources. Students must submit all written work in word-processed

form; they have computer access via the HE Performing Arts Computer Suite, along

with access to physical and online learning resources and remote internet access to

the Library’s electronic collection.

24 Preparatory work

Development of physical fitness, flexibility and vocal health will benefit progress on this

module. Taking fitness classes, using gym equipment in order to improve cardio

vascular fitness will help to strengthen the muscles and respiratory tract regardless of

prior experience.

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Code DR4502-40

Title PERFORMANCE WORKSHOP

Programme Drama

Level 4

Credits 40

ECTS 20

Contact time 150 Hours (including visiting practitioner workshops)

Acceptable for FdA Musical Theatre students only

Excluded combinations All other students

Core/Optional Core

Module Co-ordinator Abigail Green

Description

In this module, you will have the chance to explore different approaches to rehearsal and theatre-making in the context of musical theatre repertoire from 1900-present. The focus will be on developing your skills as a reflective practitioner and theatre-maker.


Throughout the module, you will explore different practical and theoretical approaches to Musical Theatre repertoire. The module will be taught through weekly workshops, including visiting companies and practitioners, and there will be strong emphasis on active student participation through class work, group work and directed study assignments. You will have the opportunity to build your PDP skills through undertaking research assignments and reflecting on your work through discussions and written assignments.

Learning Resources

The module draws on a range of specialist studios and workshop spaces, audio/visual equipment and resources. Students must submit all written work in word-processed form; they have computer access via the HE Performing Arts Computer Suite, along with access to physical and online learning resources and remote internet access to the Library’s electronic collection. Masterclasses: A number of established practitioners and industry professionals offer workshops and seminars on a range of skills and practices.

Intended Learning Outcomes How assessed

1. Ability to work creatively and constructively as part of a team in a workshop environment.

2. Critical and reflective engagement with practical work in the context of musical theatre repertoire.

3. Understanding and application of appropriate performance vocabularies, techniques and subject knowledge in the context of works studied.

Portfolio Portfolio; Performance Performance

Assessment Scheme

FORMATIVE

• In-class presentations and discussions

• Key filmed rehearsals of performed repertoire

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SUMMATIVE Weighting %

• Portfolio: - Individual Contribution - Written assignment - Performance

100%


• Alfreds, M. (2007). Different Every Night: Rehearsal and Performance Techniques for Actors and Directors: Freeing the Actor. London: Nick Hern Books.

• Novak, A and Novak, E. (1997). Staging Musical Theatre: A Complete Guide for Directors, Choreographers and Producers. Romford: Players Press (U.K.).

• Berry, C. (2001). Text in Action: A Definitive Guide to Exploring Text in Rehearsal for Actors and Directors. London. Virgin Books

• Lamb, A. (2001). 150 Years of Popular Musical Theatre. New Haven. Yale University Press

❖Go to Contents

http://www.amazon.co.uk/exec/obidos/search-handle-url?%5Fencoding=UTF8&search-type=ss&index=books-uk&field-author=Mike%20Alfreds

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Code DR4503-20

Title MUSICAL THEATRE IN CONTEXT 1

Programme Drama

Level 4

Credits 20

ECTS 10

Contact time 52 Hours



Core/Optional Core

Module Co-ordinator Abigail Burkinshaw

Description

In this module, you will explore the historical development of musical theatre as a performance genre from 1900 – present. Indicative areas of study might include the historical and socio-political contexts for well-known shows like Oklahoma!, West Side Story and Rent, the development of different musical theatre forms and styles (e.g. musical comedy, musical plays, concept musicals, pop and rock musicals) and the contributions of practitioners like Cole Porter, Rodgers and Hammerstein, Stephen Sondheim, Harold Prince, Kander and Ebb, Michael Bennett, Bob Fosse, Andrew Lloyd-Webber and Jason Robert Brown.


This module will be taught through a mixture of tutor-led lectures and discussion seminars and student presentations. You will be expected to participate actively in all sessions and to complete Directed Study assignments outside class, such as research into the socio-cultural contexts of the works studied, and to share your discoveries through in-class discussions, oral presentations and written work. This module will also develop your core academic skills in areas such as research methodologies, planning and writing argumentative essays, and correct use of sources.

Learning Resources



1. Demonstrated understanding and ability to engage with seminar discussions with respect to key musical theatre works, movements and practitioners from the 1900 to the present in their cultural, historical and artistic contexts.

2. Demonstrated ability to conduct specific contextual research into the topics studied using academic

Portfolio Portfolio

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sources and to communicate findings clearly using ICT.

3. Demonstrated ability to conduct independent research in the topic areas covered, to engage with academic and professional sources, and to sift, synthesise and organise material into a formal written essay.

Written Assignment

Assessment Scheme

FORMATIVE

• Written research assignment, (e.g. annotated bibliography, essay plan)


• Portfolio (Individual Contribution, Oral Presentation(s))

• Written Assignment (2000 words)

60% 40%


• Block, G. (2004). Enchanted evenings: the Broadway musical from Show Boat to Sondheim. London: Oxford University Press.

• Everett, W. and Laird, P. (2002). The Cambridge Companion to the Musical. Cambridge: Cambridge University Press.

• Jones, J B. (2003). Our Musicals, Ourselves: A Social History of the American Musical Theater. Hanover: Brandeis University Press.

• Lamb, A. (2000). 150 Years of Popular Music Theatre. Newhaven: Yale University Press.

• Woll, A. (1991). Black Musical Theatre: From Coontown to Dreamgirls. Cambridge. Da Capo Press

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Module Descriptor: Professional Studies 1


2 Module title Professional Studies 1



5 Level 4

6 UK credits 20

7 ECTS credits 10



FdA Professional and Commercial

Dance







16 Module co-ordinator Sylvia Lane

17 Additional costs involved None


This module will serve as a practical stepping-stone, to the world of work.

Students will assess their skill sets in the different disciplines and identify which

areas of work they are particularly interested in. Students will further find,

analyse and prepare audition material that reflects who they are as a performer,

and research and create a professional portfolio relevant to industry application

and auditions.

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Opportunities will include engagement with a breadth of employment

opportunities in the industry as well as increased awareness of how a range of

transferable skills are applicable to a range of career prospects.

Gaining knowledge of global markets, national and international networking

communities and influences of technology and social media in recruitment

processes will equip students for the employment market (Graduate Attributes 4,

5, 8).

19 Outline syllabus

In addition to individual preparation and research, students will receive practical

workshops in topics such as audition techniques, finding an agent, business

skills for managing your work and careers, performing arts funding mechanisms,

and personal presentation skills. The module will be taught by experienced

industry professionals and will include simulated auditions.

Topics of study include:-

• Stages involved in becoming an independent, self-employed artist

• Web site design and self-marketing

• Relevant governing bodies and their role and purpose as regulators

(PRS, Equity, Spotlight)

• Running a successful company in the discipline

• Theatre hierarchy and etiquette

• Audition technique

Study of implications of legal requirements will inform decisions on self-

promotion and portfolio materials such as website design and show reels, (i.e.

PRS licensing requirements for music used for promotional materials).

Investigations into societies and career platforms such as Equity and Spotlight

will provide the basis for research into future employment opportunities.

20 Teaching and learning activities

This module will be taught through a mixture of tutor-led lectures, seminars and

workshops. Students are expected to take a proactive role in preparing for the

workplace and to provide constructive advice and feedback to fellow students as

required. During the module, students will receive informal feedback alongside

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formative assessments that will help to identify strengths and weaknesses in

advance of summative assessments.



demonstrate:

1. Skills in undertaking research into a specific area of industry

practice and communicating findings through a formal oral

presentation using ICT as appropriate. (B1, C4)

2. Practical understanding of professional audition and interview

requirements. (A1, C3, C4)

3. Understanding of the practical business aspects of being a

working musical theatre practitioner and ability to conduct relevant

industry research and generate professional audition and job

application materials. (A6, B4, C1, C3)

How

assessed

S2

S1, S2

S2

22



F1. Oral Presentation practice

F2. In-class performed mock audition presentations


S1. Coursework (Portfolio and oral presentation)

S2. Practical (Performance consisting of Mock Audition and

interview)

Weighting%

70%

30%



•Annett, M. (2004). Actor's Guide to Auditions and Interviews. London: A & C

Black.

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•Balavage, C. (2014) How To Be a Successful Actor: Becoming an

Actorpreneur. Eastleigh: Frost Creative Media

•Emory, M. (2005). Ask an Agent: Everything Actors Need to Know About

Agents. Washington: Backstage Books.

•Gillespie, B. (2006). Self-Management for Actors: Getting Down to (Show)

Business. Hollywood: Cricket Feet Publishing.

•Kohlhaas, K. (2000). The Monologue Audition: A Practical Guide for Actors.

London: Nick Hern Books.

•Macdonald, M. (2011) Creating a Website: The Missing Manual. Farnham:

O'Reilly Media

•Smith, R. (2015) I can start your business: Everything you need to know to run

your limited company or self-employment - for locums, contractors, freelancers

and small business. [online] : Create Space Independent Publishing Platform.

Available from: https://www.amazon.co.uk/can-start-your-business-

contractors/dp/1519453388/ref=sr_1_1?ie=UTF8&qid=1462285383&sr=8-

1&keywords=self+employment



The module draws on a range of specialist studios and workshop spaces,

audio/visual equipment and resources. Students must submit all written work in

word-processed form; they have computer access via the HE Performing Arts

Computer Suite, along with access to physical and online learning resources

and remote internet access to the Library’s electronic collection.

24 Preparatory work

Research into professional interview and audition processes

Page 57 of 143

Module Descriptor: Skills Workshop 2


2 Module title Skills Workshop 2



5 Level 5

6 UK credits 40

7 ECTS credits 20




Dance







16 Module co-ordinator Abigail Burkinshaw

17 Additional costs involved None


In this module, students will continue their professional development as a

technical artist in Acting, Singing and Dance (ballet, tap and jazz). Building on

previously acquired skills, students will undertake increasingly sophisticated

practical work and develop a sense of their self as an “intelligent performer” by

understanding how particular skills intersect with the professional world of

musical theatre and professional dance performance.

While continuing to receive training in all three disciplines, students’ practical

work will be more focused on their chosen field(s) of specialisation, and they will

Page 58 of 143

assume an increased responsibility for leading parts of the skills training within

their specialist field. (Graduate Attributes 1, 3)

19 Outline syllabus

The module has a practical focus. Emphasis is placed on frequent repetition and

practice of skills and techniques of acting, singing/voice and dance (ballet, tap

and jazz).

Leading on from the work studied at level 4, students will continue to develop

and improve technical skills in core disciplines, but with a greater outlook on

advanced performance techniques.

Indicative examples for study:-

Singing:

• Onsets, decays and releases to assist phrasing

• Phrase weight and placement in line with musical interpretation

• Acting the song

• Stylistic approaches, i.e. Rock, Gospel, Pop, Opera etc.

Acting:

• Concepts of analysis for moderns plays

• Mechanical and physical approaches to acting

• Psychodynamic Clinical Theory in Contemporary Texts

Dance:

• Techniques for jumps (ballet and jazz)

• The work of practitioners such as Matt Mattox and Luigi (jazz)

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• Black bottom (tap)


This module will be taught through tutor-led practical workshops and will include

practical student presentations. There will be a strong emphasis on student

contributions, with a requirement to undertake substantial practical and research

assignments and to arrive at class ready to share their work in a professional

manner. During the module, you will receive informal feedback and more formal

Formative Assessments that will help you to identify your strengths and

weaknesses in advance of the graded module assessments.

Master classes: A number of established practitioners and industry

professionals offer workshops and seminars on a range of skills and practices.



demonstrate:

1. The ability to function as a constructive and creative participant

in the work covered. (A7, B1, C2)

2. Critical, reflective and creative skills in relation to your on-going

practical training in singing, dance and acting. (A1, B4, C1)

3. The ability to apply all three core performance skills (acting,

singing and dance) to the creative contexts of the module’s work.

(A3, B3, C1)

How

assessed

S2

S1, S2

S2

22



F1. Proposal for an oral presentation


S1. Presentation of portfolio of class work

Weighting%

15%

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S2. Practical (Performances of technical skills studied in the

module)

85%



•Adrian, B. (2008). Actor Training the Laban Way: An Integrated Approach to

Voice, Speech, and Movement. New York: Allworth Press.

•Carter, A & O‟Shea. (ed.) (2010) The Routledge Dance Studies Reader

Second Edition. London and New York: Routledge

•D’Albert, C. (2013) Dancing, Technical Encyclopaedia of the Theory and

Practice of the Art of Dancing. London: The Noverre Press.

•Fraleigh, S H. (1995). Dance and the Lived Body. Pittsburgh: University of

Pittsburgh Press.

•Hamady, J. (2016) The Art of Singing on Stage and in the Studio:

Understanding the Psychology, Relationships, and Technology in Recording

and Live Performance. New York: Applause Theatre Book Publishers

•Melton, J. (2007). Singing in Musical Theatre: The Training of Singers and

Actors. New York: Allworth.

•Pugh, M. (2016) America Dancing: From the Cakewalk to the Moonwalk. New

Haven: Yale University Pr

•Seibert, B. (2015) What the Eye Hears: A History of Tap Dancing. New York:

Farrar, Straus and Giroux

•Wilson, P. (1997). The Singing Voice: An Owner's Manual. Sydney: Currency

Press








Page 61 of 143

24 Preparatory work

Continued development of physical fitness, flexibility and vocal health which will

benefit progress on this module. Taking fitness classes, using gym equipment in

order to improve cardio vascular fitness will help to strengthen the muscles and

respiratory tract regardless of prior experience.

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Code DR5502-40

Title PERFORMANCE PROJECT

Programme Drama

Level 5

Credits 40

ECTS 20

Contact time 150 Hours (including rehearsals with professional practitioners).



Core/Optional Core

Module Co-ordinator Sylvia Lane

Description

This module builds on the learning and understanding gained in Performance Workshop through one or more performance projects. You will have the opportunity to work as part of a company in the preparation and performance of a musical theatre piece and to work with professional practitioners either as a performer and/or as an Assistant Director or Assistant Choreographer. You will be expected to function as an active member of the company and will be required to contribute to the research and preparation work as well as working on individual roles.


This module will be taught through workshops, rehearsals and directed study. You will be expected to participate actively in all sessions and will be expected to complete substantial assignments outside class time, including practical work and research tasks. During the module, you will receive informal feedback and more formal Formative Assessments that will help you to identify your strengths and weaknesses in advance of the graded module assessments.

Learning Resources



1. Demonstrated ability to operate confidently within a professionally led rehearsal and production process.

2. Demonstrated ability to engage critically, reflectively and practically in the preparation and performance of a musical theatre work.

3. Ability to communicate ideas through the application of appropriate performance vocabularies and techniques.

Portfolio Portfolio Performance

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Assessment Scheme

FORMATIVE

• Key performance milestones


• Portfolio of Class work (Written assignment, Oral Presentation)

• Performances - Performance 1 (Full scale MT piece) - Performance 2 (devised MT piece)

20%

40% 40%


• Barstow, A. (1988). The Directors Voice, Theatre Communications Group, New York.

• Berkson, R. (1990). Musical Theatre Choreography: Practical Method for Preparing and Staging Dance. A & C Black Publishers Ltd. London.

• White, M. (1999). Staging a Musical. London: Routledge.

• Oddey, A. (1994). Devising Theatre - a practical and theoretical handbook, Routledge, New York.

❖Go to Contents

Page 64 of 143

Code DR5503-20

Title MUSICAL THEATRE IN CONTEXT 2

Programme Drama

Level 5

Credits 20

ECTS 10

Contact time 52 Hours



Core/Optional Core

Module Co-ordinator Amy Rose

Description

Building on the work in Musical Theatre in Context 1, this module will allow you to explore the musical as a cultural phenomenon by looking at the wider influences that have shaped the musical, and the way in which the musical has reflected, challenged and commented on the cultural and social “status quo”.


Throughout the module, you will have the chance to explore the wider cultural and social significance of musical theatre by studying the intersection of the musical with topics such as race, gender and sexuality as well as the economic and cultural shifts that have led to shifts in producing models. Indicative areas of study might include the relationship between the musical and gay culture; women and the musical; gender, sexuality and power in the musical; black musical theatre; “orientalism” and the musical; the economic and cultural factors behind the shift in producing models from e.g. the “Golden Age” commercial model to Disney and the American non-profit musicals. This module will be taught through a mixture of tutor-led lectures and workshops and student presentations. This module will also develop your core academic skills in areas such as research methodologies, planning and writing argumentative essays, and correct use of sources - you will be expected to conduct research into key works and practitioners and to share these through in-class presentations and written work. During the module, you will receive informal feedback and more formal Formative Assessments that will help you to identify your strengths and weaknesses in advance of the graded module assessments.

Learning Resources


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1. Demonstrated ability to engage critically and reflectively with key musical theatre movements and repertoire from 1900-present.

2. Demonstrated ability to research and communicate findings about a specific area of musical theatre history using appropriate ICT skills.

3. Demonstrated ability to research, organise and execute a formal argumentative essay.

Portfolio; Written Assignment Portfolio Written

Assessment Scheme

FORMATIVE

• Mock presentations

• Essay outline


• Research Portfolio

• Written assignment

25%

75%


• Banfield, S. (1993). Sondheim’s Broadway Musicals. University of Michigan Press. Michigan

• Kenrick J. (2008). Musical Theatre: A History. London: Continuum International Publishing Group Ltd.

• Lundskaer-Nielsen, Miranda. (2008). Directors and the New Musical Drama: British and American Musical Theatre in the 1980 and 90s. New York and London: Palgrave Macmillan.

• Riddle, P H. (2003). American Musical: History and Development. Oakville: Mosaic Press.

❖Go to Contents

http://www.amazon.co.uk/exec/obidos/search-handle-url?%5Fencoding=UTF8&search-type=ss&index=books-uk&field-author=John%20Kenrick

Page 66 of 143

Module Descriptor: Professional Studies 2


2 Module title Professional Studies 2



5 Level 5

6 UK credits 20

7 ECTS credits 10




Dance







16 Module co-ordinator Corrin Martin

17 Additional costs involved Potentially costs related to travel


In this module students will have the opportunity to undertake a practical

research project into a particular branch of contemporary musical theatre or

dance careers of interest (e.g. pantomime, cruise ships, European operetta, a

job role, a company) through a professional work placement and relevant

supporting research.

The module aims to prepare students for a diverse outlook on employment

opportunities in their chosen field. While some students might deliver musical

theatre or dance workshops in community-based contexts with councils, studios

and local festivals, other students could work in dance organisations as

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administrators, as interns with dance/theatre companies, as production

assistants on performance events, or as teachers who develop and deliver

curriculum in schools.

(Graduate Attributes 1, 2, 5, 8)

19 Outline syllabus

The main context will provide an insight into policies and procedures that need

to be adhered to when considering a work placement. Guidance on legal advice,

health and safety regulations, risk assessments and correct correspondence

with employers will form the initial core investigation to allow for efficient

proceedings within the practice.

Indicative areas of study include:

• What is a work placement- an introduction

• Work placement policies and procedures

• Companies’ rights and responsibilities for safe practice

• How to find the right work placement

• The diversity of the market

The practical experience and feedback from employers will inform the written

work and in-class critical presentation and evaluation of individual experiences.

Practitioners and theories will be selected in line with individual interests and

placement opportunities.


After initial preparation for the research projects, students will be supervised

individually by tutors who will advise and support them throughout their

placement and research process. Students will be asked to produce a project

proposal, to reflect on their experiences and on employer feedback throughout

the placement, to undertake research into their chosen area of practice and to

share your findings with other students once you have completed the

placement.

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Master classes: A number of established practitioners and industry

professionals offer workshops and seminars on a range of skills and practices.

During the module, students will receive informal feedback alongside Formative

Assessments that will help to identify strengths and weaknesses in advance of

the graded module assessments.



demonstrate:

1. Ability to work confidently and appropriately in a professional

theatre environment. (A2, B1)

2. Ability to reflect critically on your experiences and discoveries in

this module and to communicate your ideas through appropriate

use of oral communication and ICT. (C3, C4)

3. Ability to engage in first-hand, industry-based research and to

present findings in a formal written assignment or report. (B2, B4,

C1)

How

assessed

S1, S2

S1, S2

S2

22



F1. In-class presentation

F2. Written assignment plan


S1. Practical; (Oral Presentation – 10 mins) (equivalent to 3000

words)

S2. Coursework (Essay) (2000 words)

Weighting%

60%

40%



Page 69 of 143

•Gottesman & B. Mauro. (1999). The Interview Rehearsal Book. New York:

Berkley Publishing Group.

•Gregory, J. (2013) Winning That Job: A kill or be-killed guide to job search and

interview preparation for students and graduates. Lewes: Firewalk Technology

Ltd

•Henry, M. and Rogers, L. (2008). How to Be a Working Actor The Insider's

Guide to Finding Jobs in Theater, Film, and Television (How to Be a Working

Actor: The Insider's Guide to Finding Jobs). Washington: Back Stage. (5th

Edition)

•Helyer, R. (2015) The Work-Based Learning Student Handbook. London:

Palgrave Macmillan.

•Neugebauer, J. (2009) Making the Most of Your Placement; London: Sage

Publishing

•Rutherford, N. (2012) Musical Theatre Auditions and Casting: A performer's

guide viewed from both sides of the audition table. London: Methuen Drama








24 Preparatory work

Work placement discussion with tutor.

Completion of paperwork prior to commencing a work placement.

Evaluation of suitability of placement in meeting Intended Learning Outcomes.

Contribution to the ‘communication plan’ associated with the work based

learning or placement.

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Find out more about

• The kinds of assessment activity involved on the course

• Degree classifications

• How the assessment criteria for the programme work

• How the assessment criteria for you programme help you learn

• How we grade your work

This section provides an overview of assessment on the course. As ever, the more

you engage with the course, the more detail you will receive, so for each

assessment activity you do, you will receive an assignment brief that details exactly

what you need to do. All of this information is on the relevant section of Minerva and

your tutors will direct you towards this and go through the briefs with you. Here we

explain how assessment works in general.

Assessment is something about which students constantly ask questions, this

section will answer many of these questions, so you really need to read it in detail.

❖Go to Contents

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Assessment is how your tutors measure your learning: your final degree result

reflects those judgements. This process is therefore very important and one that

tutors consider very carefully to ensure fairness and accuracy. For more information

about how the university manages assessment see here. The section on How to

Read a Module Outline, explains how assessment fits into your learning process.

Here we explain the assessment tasks themselves.

This Handbook tells you much of what you need to know in general about

assessments but you will also receive individual module handbooks at the beginning

of each module with specific detailed information e.g. weekly schedules,

reading/listening lists, essay questions and topics, and specific assessment criteria

for each assignment.

All your work, whether essays, performances, rehearsals or portfolios of tasks, is

marked by your class tutor and moderated / second marked by another academic

tutor. Student work and grades are also regularly moderated by the external

examiner. Due dates for assignments, presentations and performances are strictly

adhered to.

All assessment tasks comprise of a series of activities, which collectively require you

to:

• Reflect on one activity before completing the next

• Synthesise your learning


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This process of reflection and synthesis is the key to the way you progress

developmentally throughout each module, and therefore the whole course. In simple

terms, the more you reflect on what you do in one assessment activity, and then

build on that for the next one, the more you will develop. With this in mind, the staff

set a combination of the activities within each assessment task to measure your

learning accurately, but also to encourage your process of reflection and synthesis.

The assessment tasks and order of assessment activities within them encourage

you to engage in the necessary reflection. You must therefore keep an actor’s

logbook

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• Assesses your ability to do the job of acting, scriptwriting or directing

• Assesses how you utilise all the elements of your training to underpin your performance work

• The activities in this task are incremental: they move from presenting in class, through workshop presentations to public performances

• The Personal Development Plan evaluates your performance work and its preceding processes

• Assesses your ability to self-evaluate, analyse, identify strengths and weaknesses and plan strategies to focus your development

• In years 1 and 2, the activities are self-evaluations/action plans related to your development across the course

• These ask you to consider how you can improve your ability to learn

• In year 3, the activity is a professional profile event that requires you to utilise your knowledge of your strengths and weaknesses to positively promote yourself in a realistic workplace scenario: the focus is on planning for a professional career.

• Your PDP draws on the contents of your Actor’s Logbook

• The PDP reflects university and QAA guidelines

• Your PDP draws on the academic skills required to create your academic file

http://www.qaa.ac.uk/AssuringStandardsAndQuality/Pages/PDP-publication.aspx

Page 74 of 143

These are formal oral presentations in which you will be asked to present material to the

class. It will often be accompanied by (a) written component(s) such as a hand out and/or

bibliography and/or a PowerPoint presentation. You will be assessed on your performance

in the following areas:

Skills (Presentation and structure)

• Correct house style for any hand outs or PowerPoint presentations,

• Including references and bibliographies

• Appropriate use of language

• Fluency of delivery

• Clarity and organisation of presentation

• Correct length

• Engagement with the audience

Knowledge (Research and Content)

• Extent and quality of research

• Thoroughness and attention to detail in references and sources

• Relevance to question / topic

• Effective use of examples where appropriate

Understanding (Original thought and engagement)

• Analysis, synthesis and evaluation of facts

• Originality of insights or argument

This is a piece of formal written work which might take the form of e.g. a research

question arising from your practical work, an argumentative essay, a case study or

reflection and evaluation of practical research. . It will usually be research-based and

will often ask you to engage with wider historical, cultural or industry based

developments in Musical Theatre. You will be assessed on performance in the

following:

Skills (presentation and structure)

• Word processed and correctly formatted

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• Clear structure, including correct use of paragraphs

• Clear line of argument / point of entry

• Correct spelling and punctuation

• Correct length

• Correct use of referencing and bibliography according to the House Style

Knowledge (research and content)


• Attention to detail in use of sources

• Relevance to the question / topic

• Effective us of examples where relevant

• Ability to relate personal practice to a wider contextual framework

Understanding (original thought and argument)

• Analysis, synthesis and evaluation of available facts

• Originality of insights and argument

This is a presentation of practical work (e.g. performing, directing, choreography)

within a formal performance frame. This might take the form of performing a learnt

sequence, a short piece of work (a dance, a song, a scene from a play), it might

assess your overall performance in a full-length theatrical work or it might take the

form of a mock audition and interview. The Performance may also include a verbal

presentation and/or written documentation in which you will have a chance to reflect

on and show evidence of your processes and performance.

Although the PERFORMANCE may be in the form of a group activity, you will be

assessed individually and therefore be awarded an individual grade for each

learning outcome covered. For further details, please refer to the module

handbooks.

You will be assessed on some or all of the following areas (see individual module

handbooks for specific assignments):

• Level of technical skill demonstrated in the relevant discipline, e.g.:

Mastery of dance steps

Vocal support, placement and projection

Breathing

Diction and articulation

Physicality

• Understanding of the specific demands of the work (e.g. genre, style)

Page 76 of 143

• Depth of character work (as appropriate)

• Appropriate relationship to the audience and the performance frame

• Musical Interpretation

• Engagement with the processes of preparation, rehearsal and performance

• Ability to apply contextual awareness and theoretical ideas of process in performance

This a portfolio made up of industry research and employment-related materials. It

may include a personal CV, cover letters for applications, a show reel, headshot

photographs and relevant industry research (e.g. funding sources, agents, audition

technique, recent cultural and political developments). You will be assessed on

performance in the following areas:

Skills (presentation and structure)

• Professional presentation of material

• Correctly formatted with correct spelling and grammar

• Appropriate tone and length

• Appropriate use of text, images and data

Knowledge (research and content)


• Attention to detail in use of sources

• Ability to relate personal practice to a job application

Understanding (original thought and argument)

• Analysis, synthesis and evaluation of available data

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There are no examinations on this course, but performances and presentations

serve the same function. They require you to demonstrate your knowledge and skills

in a ‘pressurised’ environment. While tutors consider your work throughout the

rehearsal process, this counts for nothing if in the moment of performance you forget

everything you have discovered and developed. Performance activities therefore

simulate professional practice. The assessment activities require you to bring

together all the various skills, processes and ideas you have studied. This is a

professional training: you have to be able to meet professional demands and the

course will develop your ability to do so.

The assessment tasks described above are summative assessments, meaning the

grades you receive contribute to your final award: the grades are a judgement about

your learning; they are not a judgement about you. In designing the course, tutors

have scheduled the moments of summative assessment to avoid over-burdening

you and to allow you to develop your practice, based on the feedback you receive.

Individual module handbooks explain the timings of each activity.

For each activity, tutors provide summative feedback explaining the grades they give

you, but this also helps you prepare for the next activity: the feedback is therefore

formative as well. Formative feedback is advice about how to improve the way you

work and tutors provide this throughout your studies. Sometimes tutors give you a

notional grade for any formative assignments they set, this is to prepare you for your

summative assessments, these formative ‘marks’ do not contribute to your degree,

but help you to prepare you for those activities that do.

On this course – where you rehearse, present work or receive technique tuition daily

– your tutors give you constant verbal feedback, suggesting different approaches, or

things you need to do to improve. This is all formative feedback, which you should

record in your actor’s logbook, because on such an intensive course it is simply not

possible for staff to record every bit of formative feedback they give to you. Staff do

provide written formative feedback at key points: for example, during tutorials,

following a summative assessment activity. If the staff set a formative assignment

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they will give you feedback in the format they will use for the summative activity –

regard this as a ‘dry run’ or like a ‘mock exam.’

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The University has a policy of marking all student work anonymously, unless the

nature of the work makes this impossible.

As mentioned when discussing learning outcomes, if you demonstrate you have

attained the outcomes at a basic level then you pass. But the more you demonstrate

you have surpassed that threshold, the more your tutors will reflect this in the grades

they award you. We therefore ‘classify’ your degree by using different letters or

classifications. The following table indicates the grading bands for your degree and

the corresponding classifications.

FdA DEGREE CLASSIFICATIONS

% GRADE CLASSIFICATION

69.5-100% Distinction

59.5- 69.49% Merit

40-59.49% Pass

0-40% F

All assignments must be submitted by the due date. Failure to meet the deadline

could result in you receiving a maximum mark of 40%. Published deadlines are just

that. They refer equally to submissions of written coursework, presentations,

http://www2.bathspa.ac.uk/services/student-services/current-students/your-course/guide-for-students-assessment/modular-scheme-assessment-guide-2013-2014.pdf

Page 80 of 143

tutor/student demonstration of work and performances. If you do not meet this

deadline your work is late.

Work submitted within one week of published deadlines is marked, but the grade is

capped at 40%. Staff will not receive work beyond this period.

Staff may grant extensions of up to one week to students who can demonstrate a

need based on disability, illness, bereavement or other serious and documented

situations that prevent submission. This does not usually include what are

considered ‘normal life challenges’ to which we are all subject for much of the time.

This should be made to the tutors who deliver the module(s), even though the

Programme Co-ordinator may be aware of an issue. This must be sought in advance

of the submission deadline and confirmed by email to support any later claim.

We will always be as responsive as possible where there are mitigating

circumstances to consider alongside assessment or non-submission, for example

illness or bereavement. For all courses validated by BSU, if you wish to have

mitigating circumstances considered you must apply direct to the Director of Student

Services and Registrar, Mr Christopher Ellicott. He must be informed in writing, and

third party evidence (e.g. medical certificate) produced. Your teaching staff play no

part in the process of determining if you are granted mitigating circumstances.

Weston College staff are not involved in this adjudication process but will direct you

to the HE Unit: Student Advice and Guidance for support.

HE Student Services at Weston College can assist you with this process.

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Find the full policy details via this link:

https://thehub.bathspa.ac.uk/services/student-services/mitigating-circumstances

Assessment tasks presume you work steadily at improving your practical skills and that you work closely and consistently with your group. Poor attendance therefore has a direct impact on several areas of assessment as follows.

• HEALTH AND SAFETY – Missing practical classes raises health and safety issues, both in terms of your personal practice and your work with others. If you do not attend enough classes in preparation for an assessment activity, staff must consider if you can perform the activities safely. They reserve the right to withdraw you from an assessment task because you fail to meet that basic requirement.

• PROFESSIONALISM – Some tasks assess your understanding of, and responsiveness to, professional etiquette. For example, performers often perform 8 times a week: they cannot be absent or late. If anybody is late on a film set, it costs tens of thousands of pounds for every minute wasted. The industry demands good timekeeping and reliability. Some tasks assess how reliable you are. Again, if you fail to meet such professional standards (for example in a production module) the director/choreographer will re-cast you or the production manager replace will you.

• COLLABORATIVE WORKING – Some tasks assess the way you work with others. If you are working on a group project, your poor attendance prevents others from working effectively. This not only means you fail to fulfil the assessment criteria, but if your failure has a negative impact on the others in your team, staff reserve the right to withdraw you from an assessment task to ensure your colleagues’ assessment is not jeopardised.

The following table explains how attendance and professional discipline issues influence assessment. It matches professional practice against the required academic practice and identifies the action staff will take if you fail to achieve the required standards.

WITHDRAWAL FROM ASSESSMENT

ISSUE PROFESSIONAL EXPECTATION

ACADEMIC EQUIVALENT

ACTION TAKEN

LATENESS The industry expectation is that you will arrive 30 minutes before rehearsals

If you arrive after the tutor calls the register for class, you are late.

The tutor will mark this as an unauthorised absence


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begin to allow time for personal preparation

INSUFFICIENT ATTENDANCE

or

FAILURE TO MEET

PRODUCTION TARGETS

Whether absence is authorised or not, employers reserve the right to remove you from a project if they believe your absence is having a detrimental effect on the production and/or cast morale. Similarly, if you fail to learn lines/routines, endanger others or fail to behave responsibly, producers will re-cast you or remove you from the project.

If you are absent 3 times from a group project – whether the absence is authorised or not. **

The tutor will withdraw you from the relevant group or modular assessment activities. This will lead to a mark of zero for those activities. Should you successfully apply for mitigating circumstances, you can re-take the activities and receive the full mark. If you have not made an application for mitigating circumstances or if your application is unsuccessful, you will have the chance to re-sit the activity. However, if you pass at this attempt, your overall module grade will be capped at 40%.

If your absence in any

aspect of a module of

study (for example

technical classes or

production rehearsals)

falls below a level

where your practice is

no longer safe or

reliable.

** You will receive a warning after 2 absences (be these lateness or non-attendance) ❖Go to Contents

Page 83 of 143

The module outlines not only give a brief description of the kinds of assessment

activity on the course, but they also indicate the qualities that the staff look for in

your work. These qualities are assessment criteria. As the course develops in

complexity, the assessment activities become harder and the criteria by which the

staff measure your learning reflect this.

Assessment in HE requires a lot of careful planning to ensure that the activities

demonstrate to your tutors that you have truly learned what they have taught you.

The staff cannot say how much of the course learning outcomes you have learned,

because they are not inside your head. Instead, they set assessment tasks and look

at how well you do them. The principle is that if you can perform the assessment

activities, then you must have learned: the assessment activities indicate your level

of learning.

For any assessment activity, there is a threshold of knowledge and ability that

assures your tutors that you have learned enough of the basics. That threshold is

40%. If you step over that threshold, then you have done enough to pass. In reality,

most of the time you will do more than just step over the threshold, and in assessing

your work, tutors have to decide how far over that threshold you have stepped. To

help them decide, the assessment criteria are qualities like how broad is your

knowledge? How deep is your understanding? How effective? How sensitive? In

other words, the criteria ask the staff to quantify the qualities your work

demonstrates. Obviously, the better the quality of your work, the higher your grades.

100% is the maximum, and 40% is the minimum pass and the staff make a

judgement about where you on a scale of 0 to 100.

As the course progresses, the tasks get harder (if they didn’t, then you wouldn’t

really learn anything), so if you get 50% in one task, and then 50% in the next, you

have clearly improved, because the second task was harder. If you want to improve

your grades, you have to do more than just maintain your level of engagement, you

have to work hard and consistently. It is no good pulling it out of the hat in the

performance; you have to work hard all the way through.

❖Go to Contents

Page 84 of 143

Page 85 of 143

Grading criteria explian how lecturers quantify your achievement. In marking an

assessment activity, staff look at the work you produce and the assessment criteria

against which they judge the quality of that work. So if you submit an essay and one

of the criteria is the clarity of your writing, then the staff use the grading criteria to

detemrine how clear your writing is. In simple terms assessment criteria define the

quality the work should demonstrate, the grading criteria define how your tutors

quantify that quality.

❖Go to Contents

Page 86 of 143

Find out more about

• The Attendance Policy

• Referencing

• Plagiarism

• Mitigating Circumstances

To treat everybody on the course fairly and equally there have to be rules and

regulations. Some of these are University-wide and others are specific to this

course. Our aim is not to be difficult, but to ensure your training prepares you for the

realities of the professional environment. This section introduces you to the key

policies and regulations that govern your time here at university. Some of them you

will need to know intimately, others you will only need to refer to from time to time.

In such a large institution there are many policies and procedures, all of which you

will find online here, but the ones here are the critical ones that you really must know

like the back of your hand.

❖Go to Contents

http://www.bathspa.ac.uk/regulations

Page 87 of 143

Bath Spa University regulations on attendance state:

Students will be regarded as in attendance at the University whether they are present within the University buildings or engaged elsewhere on some legitimate activity pursuant to the programme (e.g. attending a field course), always provided that they maintain regular academic contact with tutors and adhere satisfactorily to the programme for which they are registered.

We do not assess your attendance, but because all DoPA courses involve some practical element, poor attendance will have a negative impact on your grades.

If you are not in class, you will not learn! Students who fail to attend class soon fall behind in their studies. Unlike other subjects, you cannot cram or revise physical training. Once you fall behind in a practical subject, it is impossible to catch up.

As part of your preparation for a professional career, we expect you to meet industry standards surrounding punctuality and attendance. Staff accept some absences are unavoidable, but they expect you to keep these to a minimum. A legitimate absence is authorised in one of two ways. TO REQUEST AN ABSENCE IN ADVANCE – If you know in advance that you cannot be in class, for example to attend a funeral or for an essential medical appointment, you must seek permission from the Subject Leader. You must do so no later than 24-hours before the appointment. However, you should plan any personal appointments for times when you are not in class. The Subject Leader will only authorise an absence if you can prove that it is important and its timing essential. FOR ANY SICK LEAVE YOU MUST SELF-CERTIFICATE – We encourage you to work through minor illnesses, as you would do in a professional situation. We do not expect you to work on an injury, but we do expect you to attend class and observe. Minor colds, sore throats, aches and pains are unavoidable and you need to learn how to work through them. However, if you are genuinely unwell and cannot attend class, then the professional practice is to contact the company manager about any potential absence: this course applies the same principle.

• You must self-certificate all periods of sickness absence, but you should provide photocopies of any prescription or medical appointment cards to verify your self-certification.

• Any absence longer than 7 calendar days must be supported by a doctor's medical certificate. Failure to produce a doctor's medical certificate will result in the absence being considered unauthorised.

http://www.bathspa.ac.uk/regulations/student-general-regulations

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To request an absence or to self-certificate for sick leave click on the link below.

ABSENCE REPORT FORM

We need to be clear – we want you to record authorised absences so that should you have to apply for mitigating circumstances you have evidence to support your request. Any absence not described above, or not reported as described above, is unauthorised and unacceptable. This does not meet the required standard of professional etiquette required of the course. Unauthorised absence are as follows. UNAUTHORISED ABSENCE – If you fail to self-certificate an absence or if you fail to request an absence, this counts as unauthorised absence. If you have not arrived in class before the tutor has taken the register you are last and the tutors will record this as an unauthorised absence. Any unauthorised absence or pattern of repeated absence may result in your withdrawal from an assessment event. The College term times are in this handbook. It is your responsibility to make sure you record these accurately and do not arrange any holiday leave during published term times or reading weeks. Staff will record any such absence as unauthorised, and the penalty for unauthorised or unreported absence will apply. We strongly advise you to inform your family and friends of these dates too. Sometimes, with the best of intentions, they will book birthday or Christmas treats for you. If they contact us, data protection law means we cannot acknowledge you are even a student here. We can only speak to them about you if you give us written permission (which somewhat kills the nature of the surprise). We don’t want to spoil anybody’s fun (especially a surprise trip), but end of term is usually a major assessment point, so we will not give permission for you to be absent. Marking Guide - Performance

Indicative

Mark Range Criteria

FIRST CLASS CATEGORY – 1st

90-100 % The work is profoundly original with a high degree of accomplishment in all respects. It is of a professional standard meriting public presentation.

https://docs.google.com/a/bathspa.ac.uk/forms/d/1Eu92JXuJATkvvk1jmvdpj9U3TNyMHuQwQKvYaaisbos/viewform

https://docs.google.com/a/bathspa.ac.uk/forms/d/1Eu92JXuJATkvvk1jmvdpj9U3TNyMHuQwQKvYaaisbos/viewform

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80-89 %

The work is innovative and authoritative, demonstrating evidence of intellectual rigor, independence of judgement and insightful contextualisation including relevant theory/literature/artefacts/performance. The practice is very accomplished technically, sophisticated in style, original and imaginatively realised, with no significant technical errors.

70–79 %

The work is coherent and imaginative, with an excellent grasp of its material. It is technically accomplished and has been approached and/or executed/performed in an original way, with no serious technical errors. There is an exceptionally well-assimilated consideration of audience and performance context and demonstrates high levels of initiative, clarity, playfulness, personal responsibility, decision-making and achievement.

UPPER SECOND CLASS CATEGORY – 2:1

60 – 69 %

The work has been approached and/or executed/performed in a comprehensive and appropriate way showing creativity and originality. The work may show breadth and depth of response, which could compensate for some weaknesses in the coherence of practical work in relation to course concerns. The performance material and its execution is consistently of a high standard although some fluency is lost in the presentation of the work and the overall cohesion. There is a well-assimilated consideration of audience and performance context. The individual student demonstrates playfulness and an ability to function as a cohesive member of an ensemble. In some cases this mark will be awarded where, although the practical work has been well achieved, the general guidelines of the assessment criteria have not been met in full, e.g., inability to work in a group, uneven commitment to practical work, a critical appraisal that is sound but lacks sustained coherence of argument.

LOWER SECOND CLASS CATEGORY – 2:2

50 – 59 %

The work has been approached and/or executed/performed in a standard way showing that a portion of the course material has been absorbed; there will be some understanding of the central ideas in practice. Some practical work will have a relevance to the course work, and there is occasional creativity demonstrated. There is a satisfactory consideration of audience and performance context. The individual student demonstrates some playfulness and a fairly standard ability to function as a member of an ensemble.

THIRD CLASS CATEGORY – 3rd

40 – 49 %

An attempt to undertake the practical work and/or complete the brief has been made to an adequate, albeit weak, response to the task. There is a threshold consideration of audience and performance context. The individual student demonstrates some playfulness and a basic ability to function as a member of an ensemble although there may be serious omissions in one or more areas. The student is not confident in performance and needs more control over the material and its execution. The individual student demonstrates some playfulness and a basic ability to function as a member of an ensemble although there may be serious omissions in one or more areas and the work is not consistent or sustained. Key weaknesses in practical work, such as lack of attendance, limited commitment to the group, or idleness within practice, will be taken into account.

FAIL CATEGORY

30 - 39 %

The work shows a very limited ability to recognise the issues represented by the practical brief. It may show some evidence of commitment to the course practice but a clear inability to use this work within the given practical assignment(s). The performance material and its execution is of an extremely poor standard. The work demonstrates no consistent or sustained engagement. There are significant omissions in the consideration of audience and performance context. The individual student demonstrates little or no playfulness and the threshold ability to function as a member of an ensemble may be absent or excessively poor.

Page 90 of 143

20-29% The work has insufficient evidence of commitment to the course practice with little evidence of understanding what was required.

1-19% There is little to no evidence of commitment to the course practice with inappropriate materials and submissions.

0% Failure to submit work

Marking Guide: Written

Indicative

Mark Range Criteria

FIRST CLASS CATEGORY – 1st

First-class work (70% or above) should be outstanding and show creative or original thought. It should demonstrate an accurate grasp of the issues raised by the question or brief, as well as an excellent knowledge of appropriate texts, techniques, and relevant theoretical perspectives. The essay should conduct a sustained, coherent argument in a style that is fluent and should demonstrate excellent skills in marshalling appropriate evidence. The following criteria apply within the band:

90-100 % The essay/presentation is highly lucid in style and outstanding in its originality: a genuine contribution to knowledge meriting publication in current or revised form in an academic journal. There are no errors in spelling, syntax, and punctuation.

80-89% The essay/presentation presents a rigorous and sophisticated analysis with a high degree of originality/independent thought, is lucidly and gracefully written, and contains no significant errors in spelling, syntax, and punctuation.

70 –79%

The essay/presentation presents a cogently argued analysis that shows an excellent grasp of its

material, is lucidly written, and contains no serious errors in spelling, syntax, and punctuation.

There is clear evidence of originality and insight and an ability to sustain an argument and/or solve

discipline-related problems, based on critical analysis and/or evaluation. An authoritative grasp of

concepts, methodology and content appropriate to the module content and to the assessment

task will be demonstrated

UPPER SECOND CLASS CATEGORY – 2:1

60 – 69%

The essay/presentation is likely to demonstrate some creativity and originality or breadth and

depth of response. It is likely to present ideas with a sense of analysis, reflection and coherence

demonstrating a sound and above average level of understanding of concepts, methodology and

content appropriate to the subject/discipline and to the assessment task. The work is well

organised, coherent and the standard of presentation, including referencing where appropriate, is

at least good; this should include a good standard of grammar and syntax. This grade might

alternatively be awarded where the quality of the argument is mitigated by clear weaknesses in

written expression, e.g. a detailed answer, with considerable insights, marred by a lack of fluency,

poor organisation of material or persistent grammatical or syntactical irregularities.

LOWER SECOND CLASS CATEGORY – 2:2

50 – 59%

The essay/presentation demonstrates work of a sound quality which is based on satisfactorily

referenced sources and/or creative input and which demonstrates a grasp of relevant material

and key concepts, together with the ability to structure and organise arguments or materials

effectively. There is a partial recognition of issues and the material presented has some focus with

a sense of direction. There is some understanding of the need to construct an argument, although

Page 91 of 143

this may not be fully sustained or relevant. Received ideas may be acknowledged but not

interrogated. The work is of a suitable standard of presentation, including referencing where

appropriate. This class is also appropriate where much of the content seems worthy of a higher

grade but where poor syntax, grammar, etc., obscure meaning.

THIRD CLASS CATEGORY – 3rd

40 – 49%

The essay/presentation makes an attempt to answer the question or fulfil the brief, but without understanding its implications. There is evidence of research, and a reasonable level of understanding, but the approach tends to the descriptive and may show difficulties in analysis and argument. Problems with written expression and use of grammar, syntax and spelling may impede readers’ understanding.

FAIL CATEGORY

30 – 39%

The essay/presentation demonstrates an unsatisfactory response to the task. The work shows evidence that the candidate has not understood central ideas or presented material relevant to the question or brief. The understanding shown is simplistic, the approach tends to be descriptive, and consistent difficulties in style, expression and/or presentation obscure any argument. Organisation is excessively disordered. The written work is superficial, with little or no evidence of the candidate having studied the work set for the course.

20-29%

The essay/presentation demonstrates work which indicates insufficient evidence of engagement

with the subject material and learning process; which contains substantial errors or irrelevancies;

which shows minimal evidence of planning and there is no use of references and

acknowledgement of sources; which clearly fails to meet threshold standards at the level

concerned. The work reveals substantial misunderstandings, over-simplifications and/or

inaccuracies; expression, organisation and presentation are poor.

1-19% The essay/presentation demonstrates little to no evidence of commitment to the task and subject

material.

0% Failure to submit work

❖Go to Contents

Page 92 of 143

Professionally, for any unauthorised absence employers would reduce your pay.

Likewise, if your absence were such that it delayed the production process, your

employers would remove you from the production and replace you, even if for

unavoidable absence. Accordingly, the following penalty system applies on the

course.

TYPE OF

ABSENCE

PROFESSIONAL

STANDARDS

PENALTY

INCURRED IF… PENALTY

LATENESS

The industry

expectation is that you

will arrive 30 minutes

before rehearsals

begin to allow time for

personal preparation

…you arrive after the

tutor calls the register

for class

The tutor will mark you

absent and not allow

you into the class

INSUFFICIENT

ATTENDANCE

(Module handbooks

indicate to which

assessment activities

this rule applies)

Whether absence is

authorised or not,

employers reserve the

right to remove actors

from a project if they

believe that their

absence is having a

detrimental effect on

the production and/or

cast morale.

... you are absent 2

times from any project

where your absence

affects the work of

others, this is whether

the absence is

authorised or not.

The tutor will deny

you the opportunity to

take part in the

relevant group or

modular assessment

activities. This will lead

to a mark of zero for

those activities. Should

you successfully apply

for mitigating

circumstances, you

can re-take the

activities and receive

the full mark. If you

have not made an

application for

mitigating

circumstances or if

your application is

unsuccessful, you will

have the chance to re-

sit the activity.

However, if you pass at

this attempt, your

overall module grade

will be capped at 40%.

... your absence in any

unit of a module of

study (for example

technique classes or

production rehearsals)

falls below 80%,

whether the absence is

authorised or not.

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The University term times are listed in this handbook. It is your responsibility to

make sure you record these accurately and do not arrange any holiday leave during

published term times or reading weeks. Staff will record any such absence as

unauthorised, and the penalty for unauthorised or unreported absence will apply.

We strongly advise you to make sure your family and friends know these dates too,

so that they don’t book any surprise trips during term times. In our experience some

family and friends with the best of intentions will book birthday or Christmas treats

for you, but not check your term dates first. We don’t want to spoil anybody’s fun

(especially a surprise trip), but ends of terms are usually major assessment points,

which you have to attend.

❖Go to Contents

Page 94 of 143

To read Bath Spa University’s Academic Regulations click here

Bath Spa University has adopted two alternative house styles: these are Harvard

and Numeric. The Department of Performing Arts has adopted the Harvard (or

‘Author-date’ system) as its house style so all written work should conform to this.

You must use the following format that is accepted in academic writing and

publishing. Further details of the Harvard system are available here.

You must present your own words, your own analysis and your own argument. It is

acceptable to use the work of others to support arguments and analysis, and tutors

will inform you as to what constitutes good practice and give you help with areas

such as referencing and the provision of footnotes. If you are in any doubt about

what constitutes good practice rather than plagiarism, consult your tutors for advice.

Plagiarism (presenting the ideas or words of others as if they were your own) is a

serious academic offence; if your tutors suspect this, they will report it to the Unfair

Practice Subcommittee.

http://www.bathspa.ac.uk/about-us/quality-and-standards/assessment

http://www.bathspa.ac.uk/Media/Library/Documents/Harvard%20Referencing%20Guidance%202013%20October%201st.pdf

http://www.bathspa.ac.uk/regulations/unfair-practice

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Plagiarism could cost you your degree.

Remember you need to acknowledge the source of your ideas and information as

well as direct quotations. If in doubt, always include a reference. This applies

whether you are quoting directly or not.

The use of someone else’s ideas, unless referenced, is plagiarism.

Look at how authors reference their books and articles. Ask if you are unsure -

especially if lecturers have noted inadequate referencing in your coursework. Be

particularly careful about your use of the internet. You must reference material from

the internet and it is very easy for lecturers to detect its usage. Do not attempt to get

away with plagiarising and remember that academic staff read widely and are

familiar with stylistic variations. You will not be penalised for copious referencing,

though this should be relevant to your topic and you should use it to justify your

argument rather than simply to add to your word count. Remember that plagiarism is

an offence wherever it occurs in written assignment, course notes or actor’s

logbooks.

Mitigating circumstances is the method through which you can formally tell the

University that you are experiencing problems outside of your control that are

affecting your studies. Mitigating circumstances are unforeseen, unpreventable

circumstances such as an illness affecting you, a serious illness affecting a close

family member, unanticipated or unavoidable events or bereavement that

significantly disrupts your academic performance.

To verify mitigating circumstances, you must provide independent documentary

evidence, such as medical certificates or supporting letters from your GP. Sections

6.10 to 6.12 of the Undergraduate Modular Scheme: Guide for Students explain how

to report mitigating circumstances, how cases are considered and what action might

be taken should your circumstances be accepted.

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Please follow this link for more information:


If you have any questions about the mitigating circumstances process please

contact Student Services at [email protected]

For more information about the examination board process please read here

Should you wish to appeal against an examination board decision please read here.

Should you wish to make a complaint, please read here

If you are student at either Weston College or Circomedia then you should follow

your institution’s complaints process. Only when you complete that process should



http://www.bathspa.ac.uk/about-us/university-governance/academic-board/examination-boards

http://www.bathspa.ac.uk/regulations/appeals-procedure

http://www.bathspa.ac.uk/regulations/complaints-policy

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you bring a complaint to the University. Weston Student can see a copy of the

College’s complain procedure in Appendix 3

Weston College seeks to continually improve the quality of its higher education

provision and actively encourages higher education students to evaluate their

course and overall experience, providing feedback through a variety of

methods. Whilst much of the feedback received is positive, it is recognised that

there may be occasions when problems arise. We hope that the majority of

these situations can be resolved informally. However the College HE Complaints

Policy and Procedure is broad and covers any aspect of your experience.

You should always try to speak to someone close to the source of the issue, but

if the matter cannot be resolved informally you can submit a formal request as

detailed in the HE Complaints Policy and Procedure and the matter will be

investigated. If you are not satisfied with the result you may be able to appeal

and the complaint may be referred to the university at this stage. If you still do

not feel the complaint is resolved and you wish to take the matter further you

may be able to take your complaint to the Office of the Independent Adjudicator

if your complaint is eligible under its rules.

A copy of the Complaints Policy and Procedure is available here (Link).

You can also seek advice or support from HE Student Services

([email protected]).

For any further information about University policies and procedures, click here.

❖Go to Contents

https://moodle.weston.ac.uk/mod/glossary/view.php?id=93970&mode=entry&hook=1143


http://www.bathspa.ac.uk/about-us/quality-and-standards/a-z

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Find out more about

• What quality means in an academic context

• About being a student rep

This section explains the University systems for maintaining the quality of the

programme. The staff all take quality very seriously and spend much of their meeting

time ensuring that everything is done correctly. This is to ensure that you can trust

the marks you get for your work and that staff respond to your suggestions and

those of people like the external examiner.

❖Go to Contents

Page 99 of 143

The course went through several processes to assure the University that its

standards were of the highest quality. Those processes are on-going, and the team

and the subject leader monitor the course throughout the academic year. They will

ask you to contribute to that process in several ways. This section outlines the key

quality processes used to create this course and used to monitor it through each

academic year. If you wish to read further, go to the Academic Office pages on the

University’s website.

Before the course started, the University checked that

• There would be enough qualified staff to teach the course

• Adequate resources were in place

• The overall aims and objectives were appropriate

• The content of the course met national benchmark requirements

• The course met any professional/statutory body requirements

• The proposal met other internal quality criteria covering a range of issues such as admissions policies, teaching, learning and assessment strategies and student support mechanisms.

The University did this by consulting academic experts, including subject specialists

from other institutions – both academic and professional. This final version of the

handbook reflects any changes made in response to any comments raised during

this iterative process. Here are some of the comments advisors made.

http://www.bathspa.ac.uk/about-us/quality-and-standards/a-z

Page 100 of 143

This course has a course committee comprising all relevant teaching staff, student

representatives and others who make a contribution towards the effective operation

of the course (e.g. library/technician staff). The committee has responsibilities for the

quality of the course. The course committee plays a critical role in the University’s

quality assurance procedures. For more information about being a student rep, see

the next section.

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At Weston College you are also represented on the FdA Performing Arts

Staff/Student Liaison Committee (SSLC). You choose your representatives at the

beginning of the year. These committees meet termly and it is vital that you feed

ideas into ‘management’ and be a part of the running of the course. At the end of

each module there is a short student evaluation form where you can make more

detailed comments on individual modules.

This course has an SSLC comprising all teaching staff, student representatives and

others who make a contribution towards the operation of the course (e.g.

library/technician staff). The committee has responsibilities for the quality of the

course and plays a critical role in the College’s quality assurance procedures.

An external examiner monitors the standard of this course, currently this is Richard

Cheshire. External examiners have two primary responsibilities:

• To ensure the standard of the course

• To ensure that justice is done to individual students.

The External Examiner verifies grades, ensures they are consistent, meets students

and sees your work.

Page 102 of 143

As the diagram above explains, each year, the University monitors the quality of this

course by evaluating a range of information that we use to develop the course for

the next year:

Page 103 of 143

• External examiner reports (considering quality and standards)

• Statistical information (considering issues such as the pass rate)

• Student feedback (module evaluation questionnaires)

• Reports generated by the Course Committee and the Steering Committee.

Drawing on this and other information, the course team undertake annual monitoring

and the University's Quality and Standards Committee monitors this process. Once,

every six years, a panel (including at least two external subject specialists)

undertakes an in-depth review of the whole area. The panel considers documents,

looks at student work, speaks to current and former students and speaks to staff

before drawing its conclusions. The result is a report highlighting good practice and

identifying areas for action.

Page 104 of 143

The Quality Assurance Agency (QAA) upholds quality and standards in UK

universities and colleges. It guides and checks the quality of teaching, learning and

assessment in UK higher education, because it wants every student to have the best

possible learning experience. QAA reviews all higher education provision on a

regular basis to assure the government and its funding body that every higher

education institution meets those standards. QAA often recruits students to be a part

of its review teams, and if you wish to be involved in that process then you can read

more here.

The course uses the following methods for gaining student feedback:

• Module evaluations

• Student Representatives attending course level and departmental meetings

• Personal Tutor

• Module Leaders

• National Student Survey results

When we take action based on something you have said, we will notify through:

• Your Student Representatives

• Meetings with Staff

• Email

• Notice boards on Minerva

• Facebook pages

http://www.qaa.ac.uk/Pages/default.aspx

http://www.qaa.ac.uk/Partners/students/student-engagement-QAA/Pages/default.aspx

Page 105 of 143

We also seek the views of other interested parties, which include:

• Feedback from former students

• Academic advisors

• Employers and industry specialists

• Employer advisory board and from work based learning providers

❖Go to Contents

Part of the way the course team listens to students is through the student rep

system. As a group, you elect a student to represent you at all course committees

and other meetings. We expect there to be between 2 or 3 reps in each year, and

usually we hope you will elect at least one male and one female student. However

we leave the choice to you.

Student reps need to be communicators, people who will listen to your views as a

group and be willing to talk to key staff to make sure they know what the students

think as a body (be it bad, or indeed good – we hope we get things right more often

than not). Likewise, the staff might ask you to talk to students about certain issues,

dates, or ask you to gather information.

Page 106 of 143

On a more formal basis each term, student reps attend a department staff and

student meeting (see below) and usually one or more meetings with the subject

leader. The role of the committees is so that if things require a resolution, you can

formally raise these and through the committee process track their successful

completion. You will also have the opportunity talk to other reps on other courses

and in other years. Further to this, there are School Student Rep meetings where

music and DoPA reps meet with the Dean of School. All of these processes are

there to ensure that if you raise an issue it is dealt with at the right level, but also to

assure you that every issue you raise is followed through.

Page 107 of 143

❖Go to Contents

ADD WESTON MEETING CYCLE HERE: POST PERIODIC REVIEW

Page 108 of 143

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Find out more about

• How to raise issues about your course

• Your personal tutor

• Student support

• The professional focus of the course

• The kinds of careers you might consider

This section highlights some of the many services or additional aspects of the

department that exist to enhance your studies, but also to help you if you are

struggling, need help, counselling or advice.

❖Go to Contents

Page 109 of 143

Three years of intense study are not easy and you will struggle more than once. You

are only human. Your tutors know this, and although they will push you, make

demands of you and not let you take the easy options, they are there to support you,

to encourage you, to help you when things go wrong and to congratulate you when

you get things right.

Given the nature of the course, you will have constant contact with many of the staff.

They will clarify any issues or questions you may have about the course. Many of

the staff are permanent full-time members of the team, while some are part-time

specialists. Because they work in other institutions or on other courses, they might

not always be able to respond instantly, so we do ask you to be patient. However, if

matters require urgent attention, another member of staff will help you to deal with

things in the short-term.

While studying at Weston College you will have:

• Extensive personal support from friendly and caring staff

• Open door policy to staff

• A good practical and theoretical education

• Availability of careers advice and support

• Purpose built studio and workshop facilities

• Excellent student support services

• Highly qualified, motivated staff and visiting lecturers.

Sylvia Lane ([email protected]) is programme co-ordinator, but different

members of staff coordinate the individual modules. Likewise, different members of

staff support the module coordinators in the delivery of each module (see the


Page 110 of 143

relevant module handbook). If you have any issues about the delivery of the course

then you should:

It is vital you follow this sequence, because staff need to follow it to ensure they

resolve your issue. If you jump a stage, tutors will ask you to complete that stage

first. However, if your issue is an emergency, then any member of staff will help you

to find a short-term solution and then get the sequence ‘back on track.’

Sylvia Lane is responsible for the effective day to day delivery of the course. She

has overall responsibility for the assessment of modules and the implementation of

teaching and assessment procedures within the course. Please contact Sylvia if you

have any questions regarding the delivery of the course.

Other members of staff lead individual modules – these are the module co-

ordinators, whose names appear in the module outlines. In turn, different members

of staff support the module co-ordinators in the delivery of each module (see the

relevant module handbook).

1st Speak to the tutor delivering the class where the issue arises – s/he

is the person most likely to be able to help

2nd If this does not resolve the matter, speak to the module

coordinator – s/he will try to find a solution

3rd If this does not resolve the matter, speak to the Subject Leader

Page 111 of 143

Undergraduate students meet their Personal Tutor during the induction week. This

member of the academic staff is there to ensure you receive adequate academic

guidance and pastoral care. If you have an issue not related to the delivery of your

course then your Personal Tutor is your first port of call.

Personal Tutors encounter a wide range of issues, including problems with study

skills, anxiety about finances, the need for guidance on progress and achievement,

advice on changing courses, career issues and personal issues that impact on

learning. Sometimes this support will take the form of direct personal advice; but in

many instances, your Personal Tutor will arrange for you to access appropriate help

from Student Support.

You can arrange to see your Personal Tutor any time a need arises: to do so,

contact your tutor by email or in person. The key contacts are here. Your Personal

Tutor is:

• Year One: Abigail Burkinshaw [email protected]

• Year Two: Sylvia Lane [email protected]

Similarly, tutors might want to contact you and it is therefore essential that you check

your Bath Spa University email account throughout the day. You will receive your

email address when you enrol. Again, if there is an emergency, any member of staff

will help you in the short term until you can talk to your personal tutor. The diagram

below explains the support system.


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Student Support Services offer help and advice you on many issues, including

health and well-being, as well as any disability needs. Both Student Support

Services and your Personal Tutor act in total confidence, but if you feel you would

rather go directly to Student Support Services and not talk to your Personal Tutor,

please do so, safe in the knowledge that none of your tutors will know about the

issue.

HE Student Services

HE Student Services is the first port of call for any issues, particularly those relating

to student support. There is an open door policy, so please feel free to go along and

visit them at any time.

HE Student Services can offer help and advice with a variety of issues, including:

• Pastoral matters

• Student finance

• Student accommodation

• Disabled Student Allowance (DSA)

• Careers

• Mitigating/extenuating circumstances

• Proof of study and council tax exemption letters

We are available at our Knightstone campus Monday – Friday in room 615 and at

University Campus in room A125, feel free to pop in for any advice or even just a

chat!

HE Learning Support Services

If you think you have a specific learning difficulty (SPLD), a long term medical

condition, mobility issue or mental health issue such as anxiety and depression, and

there is professional evidence of this (for example doctor or psychologists report)

you may be eligible for additional support in your degree.

This support might be mentoring, study skills support, technological equipment or

http://www.bathspa.ac.uk/study-with-us/giving-you-support

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extra time in exams. It can be invaluable and may help you toward successful

completion of your degree. If you are eligible, you are advised to apply for a

Disabled Students’ Allowance (DSA).

This support is free and does not need to be re-paid after you complete your course.

If you want to investigate this, please contact HE Learning Support. We are friendly

and approachable; we will listen and do what we can.

There are a variety of ways to contact us:

• In person - we are based with HE Student Services in room 615 at the

Knightstone Campus and in room A125a, University campus

• By phone 01934 411 228

• By text 0789 1618057

• By email [email protected]

More information can be found on our website:

http://www.weston.ac.uk/what-can-i-study/university-level-courses/he-student-

support/disabled-student-allowance-he

The Writing and Learning Centre is a service for the whole Bath Spa University community. It aims to improve student learning, enhance the student experience, and help you reach your potential during your degree. No matter how old you are, what kind of grades you're getting, what you're studying, or what your background is, it can help. For more information read here.

Students with dyslexia or other specific learning needs are welcome to use our services, but should also contact Student Support on [email protected]


http://www.weston.ac.uk/what-can-i-study/university-level-courses/he-student-support/disabled-student-allowance-he

http://www.weston.ac.uk/what-can-i-study/university-level-courses/he-student-support/disabled-student-allowance-he

http://www2.bathspa.ac.uk/services/writing-and-learning-centre/


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There will be times during your degree when you need to develop particular skills.

Teaching sessions and on-line resources provide support but if you feel you need

guidance on how to write an essay, how to prepare a presentation, or how to write

a report, don’t panic! There are plenty of sources of information, advice and

guidance easily available to you. Specialist staff deliver study skills sessions, and

there are supporting resources available on-line (see below). The College employs

staff to offer particular services (such as the Librarian).

Weston College Learning Support: www.weston.ac.uk/student/learning support (or

tel: 01934 411558).

Library Plus at Weston College is based on two sites, Knightstone Campus and

University Campus, the two base sites for HE students.

Library Plus provides an extensive range of resources to support your studies – all

electronic resources are available to you 24/7. Physical resources include

background reading material and all the key texts to support your course, based on

the module reading lists. You can search for print resources using the library

catalogue (Heritage). There is also a collection of over 3,000 electronic books

included on the library catalogue that you can access 24/7.

Items that you can borrow include books, journals, CDs, DVDs and equipment items

such as digital video cameras. Computers, Macs, laptops and iPads are available for

you to carry out independent research. Wi-Fi is available if you have your own

mobile device(s).

There are group and individual study spaces and there are dedicated rooms for

quiet individual study at both sites. The libraries at the Knightstone Campus and the

http://www.weston.ac.uk/student/learning

https://heritage.weston.ac.uk:5004/heritage/

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University Campus open at 8.30am each morning, with the Knightstone campus

library staying open late four evenings each week, and the University campus library

open late two evenings a week.

In addition to the resources provided by Library Plus there is a team of friendly,

professional staff on hand to support you with finding and using resources.

During your first year of study you will complete the Higher Education Library Plus

(HELP) programme which will equip you with the core skills you need to research

effectively and use the Harvard Referencing system. This programme is delivered in

five separate sessions covering an introduction to resources, literature search

techniques, evaluating resources, referencing skills and finding and using online

electronic resources such as e-books, e-journals and image databases.

The FdA Performing Arts is supported by the HE Zone on Moodle, where you will

find handouts, further guidance, links and interactive activities. On Moodle you will

also find the Library Plus Portal, for further information about Library Plus, and

subject guides to resources. The HELP programme is delivered by the HE Librarian

who is also available in the library to provide 1-2-1 HE support.

The opportunity for feedback is provided all year round via the Library Plus Portal,

HE Student Voice forum, SSLC meetings and via the annual Library Plus survey.

As a result we provide a student-focussed service, responding to student feedback

and suggestions.

Who can I talk to about careers, finances, accommodation, or personal

problems? – Your first contact for queries about welfare is your Personal Tutor

who will refer you to the appropriate service. The Student Welfare Officer at

Weston College covers issues concerning financial advice, medical referral,

accommodation, and others. Your personal tutor is here to help and may refer you

to an appropriate counsellor or officer better placed to offer you help or advice.

Weston College Welfare Support Office: www.weston.ac.uk/student/welfare.

http://www.weston.ac.uk/student/

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The Students' Union is run by the students, for the students - you automatically

become a member for free. Should you wish not to be a member, you can opt-out

as part of the annual registration process and you can still use all the facilities,

services and activities including joining clubs and societies, but you will not be able

to take part in the democratic processes of the Union. Find out more about the

Student Union here.

We want you to do well in your studies, but we also want you to make sure you have

a great time from the moment you become a student at Weston College. Benefits of

membership of the Student Union include NUS International Student Identity Card,

travel reductions, and a host of social events, trips and activities. Further information

is available on [email protected] (or tel: 01934 411411 ext 355).

The Principal’s Scholarship is a one-off scholarship of £1,000. It is awarded to a

student for outstanding academic achievement in Year One of their Higher

Education course at Weston College, who then progresses to Year Two of their

studies at Weston College. This award will be announced in the spring term of the

second year. A student will be selected following a proposal and supporting

reference from their tutor.

❖Go to Contents

https://www.bathspa.ac.uk/university-life/students-union

http://[email protected]/

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Industry awareness is a key feature of this course and will be delivered in a number

of ways, including classes with visiting industry lecturers and employment-related

workshops in the first year and a professional work placement in the second year.

Placements will to a great extent be driven by your specific professional aims, and

will draw on the college’s extensive network of contacts within theatre and arts

organisations nationally and may include opportunities for you to undertake work

placements in other countries, such as Germany and Switzerland, which have

flourishing Musical Theatre industries. Whether undertaken locally or abroad, the

aim of work placements will be to serve both as an educational resource and as a

way of preparing you for your chosen career path.

You are also strongly encouraged to undertake additional work experience outside

the course and your tutors will be happy to advise you on this.

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A portfolio career is one where you work on many different projects to create a full

and varied freelance career. You will always draw on your skills as an actor, but use

them in different ways to reach different audiences. Actors are great communicators,

they work well with people, they think ‘outside the box’ and you can use all of these

skills, not just to act, but in many other ways too.

Some graduates move on to further study, either to specialise in a particular area,

like musical theatre or further academic study. Other graduates enter teaching;

others work in the arts as promoters, arts officers or administrators.

Above all, most graduates recognise that as a freelance practitioner they work in all

of these areas and many others too. This is a portfolio career and throughout your

studies, tutors will constantly remind you of the need to think of your training as an

opportunity to develop a toolkit of skills and knowledge that you can use in many

different ways.

Bath Spa Careers offers free information, advice and guidance designed to help you

acquire essential personal and professional skills whilst at university and equip you

with the tools for lifelong career management.

We can help you develop your career in the following ways:

• Helping you find a wide range of part-time jobs in the local area and on

campus via the Bath Spa Job Shop

• Offering 1:1 careers advice on everything from module choice and skills

development to choosing a career

• Access to our services in person, on the phone, via email, skype or live chat

• A comprehensive careers workshop programme covering spicing up your

graduate CV, interview skills, business start-up, and opportunities abroad

• Helping you to network with employers through our mentoring programme

and industry insights events

• Inviting employers to our campuses to promote their opportunities to you

direct

http://www.bathspa.ac.uk/careers

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• Access to the careers resource library (LY G03, Newton Park Library) and our

wide range of online resources

• Work placements tailored to your needs

• Signposting you to advertised graduate level opportunities and keeping you

up-to-date with trends in the job market

• Advising on further study, including guidance on personal statements

Contact us by email: Ask a Question on CareerHub or by telephone on 01225

875525

Prospects

Prospects is an excellent tool that will help make career planning and job hunting

easier. Prospects has two elements; a national graduate vacancy page and also a

‘My Prospects’ feature which can help you explore careers which may suit you.

Both are completely free! Please visit their website www.prospects.ac.uk.

On successful completion of the FdA Musical Theatre, you can apply for a 'top-up'

qualification to a BA (HONS) Musical Theatre (subject to approval). Entry to Year 3

will be by interview and audition and is normally restricted to applicants who have

completed the Foundation Degree in full.

❖Go to Contents

https://careerhub.bathspa.ac.uk/Questions.chpx

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RESEARCH AND ETHICS (NON-

CLINICAL) AT BATH SPA

UNIVERSITY

AUTHOR: PROFESSOR PAUL DAVIES, VICE-PROVOST (LEARNING AND

TEACHING QUALITY)

1. Background

1.1 This paper deals only with ethical considerations relating to non-clinical research.

1.2 Consideration of research ethics must take into account the legal framework.

Relevant legislation includes The Data Protection Act 1984 (and subsequent), The

Children’s Act 1989 (and subsequent) and various ‘privacy’ laws. As the legal

obligations relating to research ethics are not covered by any single Act, research

organisations have generally responded to their obligations via policy documents,

codes of practice or similar.

1.3 Many higher education institutes have developed a research ethics policy and

mechanisms for formally agreeing the arrangements with respect to the gathering

and storage of data in projects where ethical considerations justify it. This is usually

separate from the formal agreement of the project as a viable project. Good practice,

through Codes of Practice, has also been developed by a number of professional

bodies, for example by the British Sociological Association and the British

Psychological Society. Research active members of those organisations are obliged

to adhere to these Codes of Practice in addition to any organisational codes.

1.4 This document proposes a way in which BSU deals with ethical issues related to

non-clinical research. It seeks to ensure that research ethics are considered in all

research projects undertaken, and to formally scrutinise and agree procedures

relating to individual defined projects where it is appropriate to do so. It therefore

outlines the issues that need consideration and proposes Principles (which must be

adhered to by all who undertake research -defined fully in Appendix 1a), and

Procedures and Practice (to be followed when specific approval is required – see

below).

2. Definition of research subject to ethical considerations and definition of

researchers included

2.1 For the purposes of this document research means all research that involves

human participants as subjects undertaken as a part of formal University activity.

The phrase ‘human participants’ refers to persons used in all types of research.

Qualitative based research projects may include personal interviews, questionnaires,

Appendix 1

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interviews, focus groups, observation of groups etc. Quantitative and experimental

research may include questionnaires, surveys, trials etc.

2.2 Research included is that undertaken by:

• Undergraduate students undertaking research as part (or all) of an undergraduate qualification

• Directors of Studies and supervisors of students

• All staff doing personal research, collaborative research with outside organisations, contract research and consultancy

• All staff undertaking research with students or with other members of staff

3. Issues and Principles

3.1 All research involving human participants must consider the following issues from

the inception of the research project. Researchers should be in a position to justify

the decisions undertaken as a result of those considerations should it be required:

• the value of the research

• informed consent

• openness and honesty

• right to withdraw without penalty

• confidentiality and anonymity

• protection from harm

• briefing and debriefing

• reimbursements, payments and rewards

• suitability/experience of researcher

• ethics standards of external bodies and institutions

• reporting on ethical issues throughout

• research for clients/consultants

• intended dissemination

3.2 Some of the above issues require very careful consideration. All are discussed in

detail in Appendix 1a where the Principles governing such considerations are laid

out.

3.3 Ethically responsible conduct is part of the University’s principles of good

research practice (available as a separate document). It states that deliberate,

reckless or negligent research misconduct may lead to disciplinary action via the

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University’s disciplinary procedure. It is important to note that honest errors do not

constitute misconduct.

4. Research for which approval is necessary

4.1 If the research project involves either:

Deceptive research (defined below)

or

Covert research where data are recorded in a manner in which anonymity of

participants cannot be assured, or where when the research involves collection of

sensitive personal material (including matters relating to behaviour), or where the

participants are part of a vulnerable group (defined below);

Approval must be sought through the procedures detailed below.

4.2 Deceptive research is that which is undertaken when the investigator deliberately

conceals or significantly misrepresents his or herself, the true nature of the research,

or any other significant aspect of the research (see Appendix 1b).

4.3 Vulnerable group includes any person(s) who may be precluded from giving

informed consent. Note that this does not necessarily include all groups whose

consent is given by parents or by those in loco parentis. It should additionally be

noted that even in those circumstances the ‘real’ consent of those individuals under

study should also be sought wherever possible (see Appendix 1a, informed

consent).

4.4 Approval for research involving human participants not covered within the

categories detailed in Section 4.1 should be sought thorough the school mechanisms

agreed by AQSC on 6th October 2006. All projects must adhere to the Principles.

4.4.1 If there is any doubt as to whether a particular research project needs

approval, advice should be sought from the relevant academic manager.

5. Procedures and Practice for approving research

5.1 Those projects requiring approval under 4 above will be required to seek such

approval through the University’s Research and Scholarship Committee. Advice on

submitting projects requiring approval should be sought from the Chair of that

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Committee at an early stage in the formulation of the research proposal. Under no

circumstances should such research be started prior to approval being given.

Appendix 1a - Principles

2 The value of the research

The value of the research, in terms of its original contribution to knowledge, should

be made apparent to all involved wherever possible. Obviously in the case of

deceptive or some covert research this does not apply to participants, but needs to

be justified through the procedures outlined above.

3 Informed consent

Informed consent by individuals, guardians or individuals acting in loco parentis can

be complicated (particularly when children are involved). Except in cases where free

and informed consent is thought not be warranted (ethically acceptable deceptive

and some forms of covert research). The default position is that free and informed

consent should normally be gained in writing from the participant(s) and/or their

properly authorised representative(s). In exceptional cases there may be reasons

why the participant(s) or representative(s) wish not to sign consent themselves. In

such cases the researcher should record consent. Even where an authorised

representative gives consent, the ‘real’ consent of the participant should also be

obtained (see also right to withdraw).

The word informed is important. In order to be informed prior to consenting the

participant should have an understanding of project aims, objectives, any potential

benefits or harm that may arise and likely outcome of the research (eg. policy

documents, publications).

Consent given does not oblige the participant to carry on through the entire research

as originally requested in any formal or legalistic sense. It should, however, be made

clear to participants what commitment they are consenting to, and also that by

consenting they are in effect consenting to carry through the agreement.

The secondary analysis of data through access from their ‘gatekeepers’ does not

negate the researchers involved from considering issues relating to consent except

where the gatekeeper can act in law as the consenter (eg. is a parent or guardian).

4 Openness and honesty

As a default research should be carried out in an honest and open manner, with

participants fully and honestly informed about the research rationale, method(s) and

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outcomes (see informed consent above). Some types of research (deceptive and

some forms of covert research) may be exceptions and must be agreed (see above).

5 Right to withdraw without penalty

It should be made apparent to all potential participants, as part of the informed

consent process, that they are free to withdraw without penalty from the research

project, even if they have received inducements or payments. They may also request

that consent be withdrawn retrospectively and that any accrued data regarding them

be destroyed.

Those whose consent has been given through a surrogate can themselves request

to withdraw from the research, a request that must be honoured.

Confidentiality and anonymity

Privacy is normal practice in research and law. Confidentiality and anonymity

becomes a real issue when data is recorded on computer (eg. named responses to

questionnaires) or when named organisations are reported upon where individual

roles cannot be hidden (eg. in action research projects). Data should be coded and

stored in a manner that does not allow direct recognition of individuals within the

stored data set(s) by anyone other than the researcher or research team. Data

should not normally be shared with others without the consent of the subject or their

surrogate. Plans to publish research should therefore be made clear at the outset. If

it is suspected (due to the nature or context of the research work) that anonymity

cannot be guaranteed even if data are coded etc. then this limitation should be made

aware to the participants.

Those who court publicity or are active in the public-eye (speakers at public events,

celebrities etc) are not considered subject to privacy/anonymity rights as outlined

above.

6 Protection from harm

Researchers have a responsibility to ensure that the physical, social and

psychological well-being of research participants is not affected in an adverse

manner by the research. The relationship should one of mutual respect and based,

wherever possible, on trust. Undue risk is considered to be that above and beyond

risks run in the normal everyday life of the participant. Particular care is needed

when the participants are from vulnerable and/or powerless groups. The

responsibility for protection from harm does not necessarily end with the research

project; it may extend to the life of the data set. Particular care needs to be taken

when discussing the results of research projects with those in loco parentis or other

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consenting positions, since such discussion may prejudice attitudes toward the

participants.

7 Briefing and debriefing

As well as being informed about the research, participants should be adequately

briefed as to how the research is to be carried out from inception to dissemination

(see informed consent above). Wherever possible participants should also receive

information relating to the outcomes of the research. Sometimes, for example in

some forms of laboratory controlled psychology research, debriefing may involve

remedial action to negate post-participatory effects, for example where negative

moods have been induced. 71

8 Reimbursements, payments and rewards

Any arrangements should be clearly articulated to participants, in writing wherever

possible. If staged or progressive payments are involved these should be clearly

articulated from the beginning. Withdrawal of the participant between stages does

not negate the obligation to reimburse the participant for completed stages.

Reimbursements, payments and rewards may not be used to induce participants to

take undue risk.

9 Suitability/experience of researcher

Investigators should have the relevant academic/professional competence to carry

out the research project. In particular they (meaning either an individual in terms of

an individually-led project, or the ‘team’ in the case of joint research) should have

experience of dealing with the ethical dimensions of the research.

10 Ethics standards of external bodies and institutions

Where external bodies and institutions (either those funding the research, or

professional bodies to which the researcher belongs) have their own ethical codes

these must be followed. If there is any conflict with BSU principles and procedures

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these should be identified as soon as possible and the relevant academic managers

notified.

11 Reporting on ethical issues throughout

If there are interim reports, whether verbal or written, ethical issues should be

acknowledged and discussed throughout.

12 Research for clients/consultants

Where it is necessary, ethical positions should be clarified with external clients and

organisations prior to the research beginning. Agreement should preferably be in

writing. It is particularly important to establish data ownership rights and rights to

publish (on both sides), since this establishes future ‘gatekeepers’. Care should be

taken not to compromise the BSU ethics guidelines and/or professional codes.

13 Intended dissemination

Should be relayed to the participant as part of the consent process. Wherever

possible summaries of research findings (preferably in non-technical language)

should be relayed to participants.

APPENDIX 1b – definitions

Deceptive research Research in which the investigator deliberately misrepresents

his/her self, the true nature of the research and/or any other significant characteristic.

Deceptive research may be a necessity, though as part of the procedures

established above the investigator(s) must justify why deception is required.

Covert research Research gathering information about participants (in whatever

form) without the participant’s knowledge or consent. Note that this is not always

problematic, the gaining of ‘naturalistic’ data of ‘normal’ behaviour may not be

unethical, unless it infringes on some of the principles outlined above. Covertly

observing people at public meetings or events is also normally not considered

unethical. Key issues of anonymity and/or recoding of sensitive data must still be

considered.

Gatekeeper An individual or organisation that controls access to data, or has legal

rights with respect to the giving of permission to obtain data. The consent of a

gatekeeper does not, in itself, constitute informed consent on behalf of the

participants unless the gatekeeper also acts in law as the consenting authority for

the participant.

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No. Item Detail

1

Policy Statement Weston College is committed to creating an inclusive college, where people are treated with dignity and respect and where we anticipate and respond positively to different needs and circumstances so that everyone can achieve their potential.

We are committed to promoting and advancing equality of opportunity, not only because it is an important part of the mission, vision and values of the College, but also because, by attracting and retaining the most diverse range of talented people as learners, staff and partners, we will ensure the College’s future success.

2 Our Policy Aims • To prevent discrimination

• To promote equality of opportunity

• To promote good relations between people

3 Rights and Responsibilities

Learners, staff, governors, agency workers, visitors and contractors are required to support and uphold the principles set out in the policy. Partners and Employers are expected to maintain these standards when working with Weston College Learners, through their own Equality and Diversity Policies or by adhering to Weston College Policies.

Weston College is responsible for ensuring appropriate equality policies, procedures and structures are in place. The equality and diversity policy is reviewed by the Data, Curriculum and Quality Committee and approved by the Corporation on an annual basis, or earlier where required, for example to respond to legislative changes. Weston College Corporation, the College’s governing body, has overall responsibility for equality and diversity. The commitment of all members of the College’s community is required to make the policy a success. Failure to comply with this Policy by staff or learners will be investigated and may result in them being asked to leave the College.

If you experience or witness any harassment, discrimination or bullying, please report it as soon as possible, even if it is not directed at you personally. Reporting procedures are detailed at Appendix A. The policy is developed within the

WESTON COLLEGE: EQUALITY AND DIVERSITY POLICY

Appendix 2

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No. Item Detail

framework of UK and European legislation, listed at Appendix B.

4 Implementation The Policy is implemented through the whole of the College’s activities. Our Single Equality Scheme and Action Plan detail how we are continuously improving our equality practice and how we meet our legal requirements under the general and specific equality duties. We monitor and review equality impact through our Equality Risk Assessment process. The whole College community and its partners are represented through our Equality and Diversity Committee. Staff and student equality groups help ensure that all groups within our community are involved in and consulted on College functions.

One Governor has specific responsibilities for equality and diversity and ensures Weston College Corporation is fully informed of developments in this area.

The College has Equality & Diversity Co-ordinator to manage and co-ordinate related activities, facilitate developments and communicate responsibilities to appropriate staff within the College.

We protect children and vulnerable adults through processes set out in our Safeguarding Policy.

5 Definition of Terms

Equality ‘Equality’ means treating all groups of people fairly, providing equality of opportunity and removing barriers to success. It is not about treating everybody the same because different people have different needs. For example, making reasonable adjustments for disabled people (like providing additional time in exams for dyslexic learners) removes barriers to equality of opportunity and helps prevent discrimination. Increasing our understanding of the needs of different groups of people promotes good relations between people.

Equality protected characteristics Equality laws exist to protect the groups of people who have

traditionally faced discrimination. These groups of people

share ‘equality protected characteristics’ such as age,

http://www.weston.ac.uk/college/single-equality-scheme

https://sharepoint.weston.ac.uk/CS/Quality/equality/RiskAssess/default.aspx

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No. Item Detail

disability (including physical, mental and learning

impairments), race, sex, pregnancy, maternity and

breastfeeding, gender identity, marriage or civil partnership

status, religion or belief and sexual orientation. Everyone

has several of these protected characteristics therefore

everyone is protected by equality legislation from

discrimination in education, at work and in other situations.

Diversity Valuing diversity means we consider visible and non-visible

individual differences, which include personal characteristics

such as background, culture and personality in addition to

the equality protected characteristics. The aim of managing

diversity is to realise the potential of every individual learner

and staff member.

Harassment Harassment is defined as “unwanted conduct related to a

relevant protected characteristic that has the purpose or

effect of violating an individual’s dignity or creating an

intimidating, hostile, degrading, humiliating or offensive

environment for that individual.” Harassment may include

unwanted behaviour that makes you feel uncomfortable,

even if it was not intended to do so, and even if it was not

directed at you personally. For example, a member of staff

makes comments on a student’s sexuality in a way that

makes the student feel uncomfortable.

Discrimination There are different types of discrimination

• Direct discrimination is treating a person worse than another because of an equality protected characteristic. For example, a college only shortlists male applicants for interview because they assume women will not fit in.

• A person can experience direct discrimination because of a protected characteristic, even if the person does not have the characteristic himself or herself.

• Discrimination based on ‘perception’ occurs when someone is treated worse because they are thought to have a protected characteristic, whether correctly or incorrectly. For example, a college decides not to promote a female employee because senior staff believe her to be pregnant, irrespective of whether she is pregnant or not.

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No. Item Detail

• Discrimination because of ‘association’ with someone who has a protected characteristic occurs when, for example, an employee is overlooked for promotion because their partner has undergone gender reassignment.

• Indirect discrimination is when the same rule is applied to everyone but it has a worse impact on people with a particular protected characteristic and cannot be justified. (For example, A college produces an information leaflet for students. It does not produce an easy-to-read version of the leaflet in order to save money. This would make it more difficult for someone with a learning difficulty to access the information and could amount to indirect disability discrimination.)

• Disability-related discrimination or ‘discrimination arising from disability’ and failure to make reasonable adjustments are forms of discrimination unique to disability, that involve treating a disabled person in a particular way that, because of their disability, amounts to treating them unfavourably. For example, a student with diabetes, carrying medication related to their condition, is refused entry by the college to an event with a no drugs policy.

Victimisation Victimisation means treating someone worse than another because s/he has asserted their legal rights in line with equality legislation or helped someone else to do so. For example, a learner alleges that they have encountered racism from a tutor, and as a result they are ignored by other staff members. Bullying Bullying is a form of abuse involving persistent, offensive, abusive, intimidating or insulting behaviour, abuse of power or unfair penal sanctions which makes the recipient feel upset, threatened, humiliated or vulnerable. Bullying may be emotional, verbal or physical and it is not always obvious or apparent to others. It can be between two individuals or it may involve groups of people. Bullying, harassment and discrimination can occur in any media, not just face-to-face actions. For example, it may take the form of written communications, by phone, email,

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No. Item Detail

social networking sites, by SMS (texting), screen-savers or posters. Safeguarding is about the protection of children and vulnerable adults and our approach is detailed in our Safeguarding Policy.

6 Policy Review This policy will be reviewed annually or when there are changes in the workplace such as new tools, systems or conditions.

7 Approval Dates This Policy was approved on: 15th July 2011

This version takes effect from: 16th July 2011

This Policy will be reviewed on: 14th July 2012

8 Policy Owner Identify the person that owns this Policy and can be

approached in relation to this:

Data, Curriculum & Quality Committee

Equality and Diversity Policy [appendix A]

Reporting Discrimination, Harassment or Bullying

If you experience or witness harassment, discrimination or bullying, it is

important that you report the incident as soon as possible. Where possible

and appropriate, incidents will be resolved informally, as this approach has

proven to be the most effective at achieving swift resolution.

Staff

Please report incidents to your Line Manager, a member of the Corporate

Management Team, a member of the Human Resources team or a Union

Representative.

Formal cases will be dealt with through the Anti-Harassment and Bullying

Policy, the Grievance Policy and/or the Disciplinary Policy as appropriate to

each individual case.

Learners

Please report incidents to your Tutor, your Head of Faculty, or a member of

Student Services.

https://sharepoint.weston.ac.uk/policy/Policy%20Procedure%20Documents/Forms/AllItems.aspx


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The formal process is detailed in the Anti-Harassment and Bullying Policy and

Procedure for Students.

Reporting Hate Incidents A hate incident is any type of incident perceived to be racist, homophobic or

driven by other prejudice by the victim or any other person. If you experience

or witness a hate incident, please report it to Student Services.

Weston College is a pilot member of the ‘Responding to Hate Incidents in

North Somerset’ project run by North Somerset Council. The project aims to

make it easier for people to report hate incidents. For more information,

please contact Student Services.



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Equality and Diversity Policy [appendix B]

Legal Framework

This Policy reflects, but is not limited to, legislation from the following Acts:

Employment Act 2002

Employment Rights Act 1996

Equality Act 2010

Human Rights Act 1999

Protection from Harassment Act 1997

Rehabilitation of Offenders Act 1974

Special Educational Needs and Disability Act 2001

Hyperlinks to the full statutory instruments are included in this list.

All related Weston College policies are available on the Extranet or main

website at http://www.weston.ac.uk/college/policies .

If you would like a copy of this policy (or any of our policies) in a different

format, please contact us on:

01934 411 411

[email protected]

Reception

Weston College

Knightstone Campus

Weston-super-Mare

BS23 2AL

❖Go to Contents

http://www.opsi.gov.uk/acts/acts2002/ukpga_20020022_en_1


http://www.opsi.gov.uk/acts/acts2010/pdf/ukpga_20100015_en.pdf



http://www.opsi.gov.uk/RevisedStatutes/Acts/ukpga/1974/cukpga_19740053_en_1



http://www.weston.ac.uk/college/policies


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1. Purpose and Scope

1.1 Weston College seeks to continually improve the quality of its services and strives to meet customer expectations. We are committed to providing Higher Education students with a high quality educational experience, supported by excellent academic, administrative and pastoral support services.

1.2 The College welcomes feedback regarding perceived problems so that they can be addressed and improvements made to improve services and enhance the student experience. The college actively encourages Higher Education students to evaluate their course and overall experience providing feedback through module evaluations, student staff liaison committees (SSLC’s) and other forums. We hope to minimise formal student complaints through these means as feedback is addressed and suggestions for improvement implemented.

1.3 Whilst much of the feedback received is positive, it is recognised that at times problems arise. Any person coming into contact with the college who is dissatisfied with their experience can therefore express concern or raise a complaint.

1.4 The College regards the monitoring of complaints as an important aspect of its quality assurance procedures.

1.5 There is an expectation from partner universities that complaints are dealt with by Weston College in the first instance. However, if the complaint is not resolved at that stage a student can pursue a complaint through the appropriate university using their complaints policy.

2. Definition of Terms

2.1 A complaint is defined as an expression of dissatisfaction requiring a response. This could include a complaint raised by a student against another student, member of staff, programme of study, service or facility where the College fails to match either what is promised, or what it would be reasonable to expect.

HIGHER EDUCATION COMPLAINTS POLICY & PROCEDURE

Appendix 3

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2.2 For the purpose of this procedure a student is defined as a person who has been accepted to study on a university validated programme, or a former student who has left the institution within the last three calendar months.

2.3 This procedure does not cover:

• Academic appeals including decisions of examining / subject boards, for which specific procedures exist. (See Course / Module Handbook or refer to your university website for further details).

• Negative or critical feedback relating to the content of courses, modules or programmes, which should be addressed through student representatives / SSLC Meetings and also fed back through module evaluations.

3. General Principles

3.1 Students or other relevant parties are encouraged to raise a concern or complaint as soon as possible after the event has taken place, in order that the matter can be investigated thoroughly and addressed in a timely manner. Complaints would not normally be considered if submitted more than a year after the issue or event occurred, unless there was good reason why the issue could not have been raised sooner.

3.2 Anyone wishing to make a complaint is strongly encouraged to do so personally. A complaint received from a third party (including a parent) will be considered only with the express written permission of the person to whom the complaint relates.

3.3 In order to ensure that a thorough investigation of a complaint is made, the College expects to be able to collect appropriate information from all the parties involved. Where a complaint is made anonymously this is not possible and therefore, no action will normally be taken in the event of an anonymous complaint being raised.

3.4 In some circumstances a complainant might be invited to discuss the complaint, or attend a meeting to establish further details regarding the cause of dissatisfaction or explore the solution being sought. At any meetings held as part of the investigation or procedure the complainant will have the right to be accompanied by one person (for example a friend, relative or Students’ Union representative), who also has the right to speak on behalf of the complainant. However, this person is in addition to the complainant, not a substitute. The complainant must also be present,

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unless there is a good reason why this is not possible. Other parties involved in the complaint, including a member of staff who has been the subject of a complaint, will similarly have the right to be accompanied in any meetings, normally by a trade union representative or nominated colleague.

3.5 A group of students may use this procedure to make a collective complaint, but the group must nominate one person to be the main contact for purposes of communication and the spokesperson for the group, representing the group in all matters relating to the complaint.

3.6 All information received as a result of a complaint investigation will remain confidential to those involved in the process. However, it should be noted that, all parties involved in the complaint have the right to know the full details of the complaint, including its source.

3.7 Appropriate staff will be appointed to investigate complaints raised; this would generally be the Academic Registrar but could be another appropriate College Manager as deemed appropriate by the Director of Higher Education. Anyone with a personal interest in the complaint will neither investigate nor adjudicate.

3.8 Students will not be disadvantaged as a result of raising a matter of concern or of making a complaint, provided it is made in good faith. However, if a complaint is shown to be malicious or vindictive, the complaint shall be disregarded and disciplinary / legal action may be taken against the individual who submitted the initial complaint.

4. Advice for Potential Complainants

4.1 All formal complaints should be made in writing and addressed to the Higher

Education Directorate, but please refer to the process below, informal complaints

do not need to be written. Ideally anyone wishing to make a formal complaint

would complete the complaint proforma.

4.2 When submitting a complaint, be brief and to the point, and avoid vague allegations. Where possible, substantiate the complaint by referring to specific events, and provide documentary evidence. Be clear and realistic about what desired outcomes or actions you are expecting.

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4.3 Potential complainants may want to obtain advice regarding the procedure

prior to submitting a complaint. Informal advice can be sought from the HE Unit or

the Students Union. Advice may be obtained in person, by telephone or email.

The Students Union will offer additional support and accompany complainants to

meetings if desired.

5. Stages of the Complaints Procedure

The College has developed a staged approach to making a complaint which can be escalated if the complainant does not feel the matter is resolved after the previous stage. These stages must generally be followed in order, and a complaint cannot be taken to a higher level until the lower level is exhausted. If a complaint is sent directly to the Principals office, it will be re-directed to the Higher Education Directorate to appoint an appropriate member of staff to investigate and action.

5.1 Stage 1 - Informal Complaint

The college expects that the majority of complaints can be resolved at an early stage through informal discussion without needing to instigate formal procedures. Therefore if an issue arises the first step is to bring the matter to the attention of the relevant staff, either by email or verbally, and discuss it with them.

If the matter relates to an academic issue a student may wish to approach a tutor or Programme Co-ordinator. Where the complaint is about a support area or service a complainant should contact an appropriate member of staff or the Head of Department. For advice regarding who to approach please contact the Higher Education Directorate office.

Recipients of informal student complaints are responsible for addressing them promptly and fairly. In all these cases the person receiving the issue or complaint should seek to discover the nature of the problem and if possible resolve it there and then. If an immediate solution cannot be found and further investigation is required, the recipient will normally let the student know within seven working days of receiving the initial complaint what steps (if any) will be taken to address the complaint and the expected timescale.

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It should be noted that this stage is an informal process and a written record will not normally be made. Staff will be encouraged to share the experience where the effectiveness of their Faculty/Department or Service could benefit.

5.2 Stage 2 - Formal Complaint

If after receiving a response to a Stage 1 complaint, a complainant is not satisfied and wishes to take the complaint further they should submit a complaint in writing to the Academic Registrar.

A formal Stage 2 complaint should be submitted as soon as possible after

receiving a response to the informal complaint. The greater the time delay, the

more difficult it will be for the complaint to be thoroughly investigated. A formal

complaint will not normally be accepted if submitted more than one year after the

complainant was notified of the outcome of the informal complaint, unless there

was good reason why a formal complaint could not have been submitted sooner.

A complainant should submit their complaint by means of a Complaint Form and

submit it to the Academic Registrar outlining the nature of the complaint, what

has been done to try and resolve the situation and what their desired outcome is.

Complaints submitted by letter or email (i.e. not on the complaints form) will be

accepted provided they include all the elements covered within the form.

The Academic Registrar will acknowledge receipt of the complaint within seven

working days, giving an indication of the likely timescale for a full response to be

given. At the same time the Principalship will be notified that the complaint has

been received in order that it can be logged & reported.

An Investigating Officer (IO) will be appointed, normally this would be the

Academic Registrar or another manager deemed appropriate by the Director of

Higher Education . The IO may telephone or meet with the complainant to

discuss the complaint and/or seek more details. This provides the complainant

with the opportunity to present their case and express their concerns. Where a

meeting is held, students may be accompanied by one other person (as set out in

paragraph 3.4), who may participate in the proceedings. The IO will then

investigate the complaint, speaking to concerned parties.

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The complainant will receive a full written response to their complaint within 4 to 6

weeks of the complaint being received, providing there are no undue delays, for

example in obtaining further evidence from the complainant or others involved in

the complaint. On very rare occasions where this is not possible, for example

because a complaint is particularly complex, the IO will contact the complainant

at least every 4 weeks to update progress. The response will detail the findings of

any investigation carried out, indicate the outcome, and whether the complaint is

upheld, reasons for the outcome, and explain the proceedings under which the

complainant can, if desired, take the complaint further through Stage 3 of the

Complaints Procedure.

5.3 Stage 3 – Complaints Panel

If following the outcome of the formal stage 2 complaint the complainant is still not satisfied, it may be possible to move to Stage 3 and request that a complaints panel be convened.

Again a Stage 3 appeal should be submitted as soon as possible after receiving a response to the Stage 2 complaint; if it extends beyond the academic year in which they received the response to the initial complaint it will not be accepted, unless there is good reason why it could not have been submitted sooner.

An appeal can only be made if the complainant can demonstrate significant grounds for dissatisfaction with the response, specifically on the basis that there is new evidence for consideration, or that there has been a procedural irregularity in the investigation of the complaint. In this situation an appeal should use the Higher Education Complaints Form (Stage 3) addressed to the Director of Higher Education.

A review panel of three senior members of staff, chaired by the Director of Higher

Education, will be arranged to review the complaint. The complainant must attend

this panel, the other parties will also be present, and all may be accompanied by

another person (as detailed in paragraph 3.4). The Director of Higher Education

will inform the complainant of the outcome within 4-6 weeks.

It should be noted that non-attendance in the Panel meeting constitutes

acceptance of Stage 2 findings

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5.4 Stage 4 – Refer to Partner HEI

Once the College’s processes have been exhausted a student may complain to their partner university using their complaints policy. The college will provide all necessary evidence and details pertaining to the complaint to the university as appropriate.

If a complainant is still dissatisfied with the outcome of this decision the matter can

be referred to the Office of the Independent Adjudicator (OiA) for Higher

Education, provided that your complaint is eligible under its rules. The OiA has

been established to provide an independent scheme for the review of student

complaints. Students will need to refer their complaint to the OiA along with

appropriate documentation within three months of the final decision. Further

details can be obtained from your University or via the OiA website

www.oiahe.org.uk

6. Recording, monitoring, analysis and reporting of complaints

6.1 In order to continually review and enhance the student experience complaints

received are reviewed and monitored. In order to achieve this details of all

complaints are sent to the Principalship who collate the information and prepare

reports presented regularly at Governing Body meetings. In addition these details

are also summarised and presented at the Higher Education Board of Studies

meeting on a termly basis to ensure any common themes can be addressed or

changes to policy can be implemented.

6.2 This policy and the effectiveness of these procedures will be reviewed on a

regular basis and updated if necessary

7. Review Date: August 2013

http://www.oiahe.org.uk/

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Complaints Procedure

Stage 1 – Informal complaint

Bring your complaint to the attention of an appropriate

member of staff close to the source of the issues

If not resolved progress to Stage 2

Stage 2 – Formal complaint

Complete the complaint form and submit to the Academic

Registrar outlining the issue and what you have tried to do

to resolve it.

A member of staff will be appointed to investigate the

issue and will give you a full written response within 4-6

weeks.

If still not resolved progress to Stage 3

Stage 3 – Appeal

If you do not feel that due process was followed through

the investigation or additional evidence becomes available

you can appeal the decision made at stage 2.

You must put your appeal in writing to the Director of HE

who will arrange a panel meeting with other senior

members of staff.

If you are not satisfied you can take your complaint to

your University

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If you intend to make a complaint, you should read the full student complaints

procedure, which can be found on the website or in the HE Zone on Moodle. The

Complaint Form for use under Stage 2 and stage 3 of the procedure can also be

found there.

❖Go to Contents

Stage 4 – Refer to Partner University

Having exhausted the College procedures if you are still

unsatisfied you can take your complaint to your University

Partner. The complaint would generally proceed to the

final stage of their policy

If the complaint is still not resolved the final stage would

be to refer to the OIA

Final Stage

If you wish to take the matter further you may be able to

take your complaint to the Office of Independent

Adjudicator if your complaint is eligible under its rules