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BA (HONS) DANCE

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Institution C58

UCAS W500

3 Years Full Time

Entry Requirements and Fees

2020/21 UK fee: £9,250

2020/21 International fee: £13,500

For further details about fees, please see our Tuition Fee page.

Typical Offer (individual offers may vary):

Tariff points: 96 - 120

A Levels: BBB - CCC

BTEC: DDM - MMM 

International Baccalaureate: 28 points

IELTS 6.0 overall with no element lower than 5.5

Interview: Applicants will be required to participate in a dance audition (two and half hour practical) designed to assess your potential to respond both technically and expressively. Evidence of interest in and training / experience in dance is explored in a paired interview. For more information on this process see below - Audition Details and FAQs.

Student view

Allanah
BA (Hons) Dance
I chose to study at the University of Chichester because of the practical focus. I wanted to feel challenged physically, as well as creatively and theoretically. I am now in my second year and am feeling yet more challenged and engaged. The theory based modules feel relevant and interesting; allowing you to explore politics, philosophy and other subjects that I have discovered link to dance. I would say that creativity and choreography is the departments strength. The teaching is very thought out and encourages students to think and create in a way they never have before.

Course content

Having the opportunity to study a broad-based dance education in the first year allows you to experience new areas of dance which you can then select to specialise in at Year Two and Three. These include Dance and Health, Film and Dance, devising repertory which is in addition to daily dance technique classes and weekly choreography class together with the introduction to dance theory and analysis. 

You can study abroad in Year Two with one of our partner institutions across Europe and in America and Canada.

You will have the opportunity to undertake a work placement as well experience new areas of study such as Dance Movement Psychotherapy, Dance Journalism, Teaching Dance Technique or Dance Criticism.  

With links to high-profile dance company, arts organisation and educational school/college settings, you can start to map out your chosen career direction.

The first year is a broad-based introduction to choreography, dance theory and analysis, contextual dance studies entitled Dance Portfolio as well as daily dance technique in styles such as Cunningham, Limon, ballet, contact improvisation or release-based techniques.

The second year enables you to specialise more in choose areas such as Improvisation and Performance, Repertory, Dance Journalism as well as honing your choreographic skills and technical dance practice. 

The third year enables you to select strands of specialisation including Dance Movement Psychotherapy, Dance Teaching (including a school or community based placement), Dance Production – Arts Administration or Technical Dance Theatre specialisation, Dance Placement, Dance Criticism and Body Politics as well as Choreographic Projects, Mobile Technologies and Interdisciplinary Arts Practice.

 

Our facilities

Campus Location: Chichester 

Our dance facilities include four superb dance studios, a fully-equipped 250-seat theatre and a 110-seat studio theatre. 

Dance Studios

Dance Studio 1 Dance Studio 2

Studio Theatre

Studio Theatre Dance Rehearsal

Rehearsal Space

In addition, there is a large gymnasium space together with two new sprung-floor spaces in the Academic Building.

Dance Studio Lights 3Fall Students

 

Library

The library offers a substantial collection of books, journals and other materials to help you further your dance knowledge and research. There are a number of study areas for group and quiet study including Wi-Fi areas for laptop use are available, or you can use our open access PC and Mac areas. 

We use an electronic learning environment with an expanding portfolio of online library resources from anywhere at any time.  The Learning Resource is the hub of the learning environment. 

It has two upper floors of library resources, one for silent study and one for quiet study, both of which have recently been refurbished. On the ground floor, you’ll find the Support and Information Zone, Media Centre, Costa Coffee and a variety of IT resources.

There are also:

  • 130 open access PC workstations
  • 45 Apple iMacs
  • Ample printing facilities
  • Netbooks available on loan
  • Professional editing suites
  • Media and equipment loans
  • Wi-Fi and plug points throughout

Where this can take you

Dance offers a variety of exciting career options. At the University of Chichester you will be guided by our team of specialist dance tutors and visiting dance professionals to find the route that most suits your interests and skills. Preparation for further study and employment is an integral part of our Dance Programme.

Current students

Prospective students/parents/alumni

Have a look at our Alumni Album to find out about the variety of experiences our students have on graduation

Career Options

  • Choreographer
  • Independent Dance Artist
  • Community Dance Practitioner
  • Dance Education Officer
  • Arts Administrator
  • Media – radio & TV
  • Dance Journalist or Critic
  • Stage Manager 
  • Dance Movement Psychotherapist (requires postgraduate study)
  • Teacher in Primary, Secondary, Further and Higher Education (requires postgraduate study)
  • Postgraduate study and Research

Graduates

We are very proud of all our dance graduates, who have moved into different areas of performance, teaching, administration, postgraduate study and research. This variety of Dance practice gives a sense of the breadth of careers available to a Dance graduate and the success of our recent graduates from both the BA and MA programmes.

  • KJ Lawson Mortimer: dancer with Transitions Dance Company, Trinity Laban (2011); since finishing her training KJ has worked as an independent dance artist with Akram Khan, Jorge Crecis, James Wilton Dance, Sandiland & Flexer and Glasshouse. KJ is also an Ambassador for Dance Excellence in Hampshire and an Associate Lecturer at the University of Chichester
  • Kayleigh Crook: dancer with mapdance (2011); Kayleigh is currently an independent dance artist and keen photographer; her company Chhaya Collective produces some beautiful work that explores the relationships between artists in the UK and India
  • ​Emma Bright (née Breeze): Since graduation Emma has become a very successful business woman through her dance company Embody Dance
  • Eleanor Arnold Archer, Vicky Blackhall, Danielle Gardner, Ashley O'Reilly, Eleanor Parry and Amy Ware: PGCE Secondary Dance at the University of Chichester (2015)
  • Nick Kyprianou: Nick is now working as a Audience Engagament Coordinator for New Adventures & Re:Bourne 
  • Louise Kay: programming internship at Sadler's Wells Theatre, London (2015)
  • Aya Kobayashi: Dancer with Yael FlexerAnjali Dance Company and Lila Dance
  • Andy Granville and Amy Wigglesworth: successful teachers in dance at secondary and FE level; Andy is Director of Dance at Birmingham Ormiston Academy and Amy is Programme Manager for Dance at Bridgewater College (FE). 
  • Jennifer Grant and Joe Garbett: aKa Dance Theatre Company; on graduation Jen studied for an MA in Choreography at Trinity Laban (2013) and Joe took further professional development with JV2 (2013); AkA is the company in residence at the Tacchi-Morris Arts Centre in Taunton
  • Sally Smithson: dancer with aKa Dance Theatre Company; following graduation Sally took the MA in Creative Practice at Trinity Laban, she has been a dancer with aKa since 2015
  • Carmine de Amicis: has danced with Chantry Dance Company and is currently a performer with Tavaziva Dance Company

Work placements

We have long established links with a variety of dance companies and organisations and has for many year engaged successfully to place students in a work experience or placement. 

These have included:

  • Hofesh Schechter
  • Akram Khan
  • Motionhouse
  • Loop Dance
  • Stop Gap
  • Jasmin Vardimon
  • Balletboyz
  • South East Dance
  • The Point
  • York Dance Project

Indicative modules

Year One 

  • Dance Contexts and Research Strand

Dance Landscapes 

This module is divided into two parts. It begins by drawing on your personal experience of dance before requiring you to consider other areas of dance practice, training, and/or education within the UK (and wider) dance field. A primary focus on the personal allows tutors to guide you through a mapping exercise of the current dance landscape (UK and beyond as relevant to the cohort). An exploration of specific dance companies, organisations, institutions or community dance settings provides you with a more detailed understanding of the contexts with which you are familiar and introduces you to new and unfamiliar areas of dance practice.

Re-examining Dance

In its exploration of key dance practices, Re-examining Dances provides you with the opportunity to consider ideas that have shaped the dance landscape and have resulted in a range of dance performances; examples may be drawn from the UK or the widening dance field (encompassing Europe, the US and beyond). Your detailed exploration of one dance example (chosen by the tutor) will involve both practical and theoretical underpinning. You will explore the technique and style of the work under investigation and the historical, cultural, political and/or artistic contexts in which it resides.

The openness of this module allows tutors to draw on their own specialised knowledge and to consider how their interests/research can impact positively on undergraduate students. Thus examples under investigation may be drawn from a range of dance practices; For instance historical practitioners (e.g. Graham and Cunningham), popular dance forms (e.g. capoeira), Live art and installation, film, or gallery-based projects.

Thinking Through Dance

Through a combination of practical workshops and lectures, the module will explore a range of questions and ideas that underpin contemporary dance. This module is about doing and thinking; for example, we will question different ways of thinking about dance performance, dance philosophy, and its’ embodiment in practice. We will explore examples from different performance genres, and consider their characteristics, in relation to broader ideas and events.

  • Dance Practice and Production Strand

Choreography and Devising

Through a combination of practical workshops and lectures, the module will explore a range of questions and ideas that underpin contemporary dance. This module is about doing and thinking; for example, we will question different ways of thinking about dance performance, dance philosophy, and its’ embodiment in practice. We will explore examples from different performance genres, and consider their characteristics, in relation to broader ideas and events.

Choreography and Performance

The module will explore creative, compositional, devising and production approaches characteristic of contemporary performance practice through the development of student-led group performance work. You will be encouraged to consider theme, expression and communication, through devices and strategies used to extend and develop movement possibilities, theatrical modes of presentation and points of view. You will engage in processes-led investigations that reflect performative contexts within the professional dance sector, leading to an explicit outcome. Through the module, students will work through problem solving exercises, autonomously, in pairs and in larger groups to build confidence and directing skills relevant to the assessment. Building on work from semester 1, exploration, selection and editing of movement is key. The use and application of creative devices provides methodologies through which your work can be purposefully developed and organised. You will be encouraged to explore these devices imaginatively in order to research the scope and possibilities of your work. You will be introduced to contemporary performance themes and approaches to inform your development of a thematic/ performative context for the assessment composition. These approaches might include, but are not limited to: the use of text and speech in performance, dramaturgy, reconstruction, interdisciplinary practices, audience engagement and immersive practices. On-going observation, discussion and feedback will support students in their development of choreographic engagement and analysis. Use of self and peer-appraisal will encourage you to evaluate your work through a critical lens.

  • Technique Strand

Dance techniques 1

Daily classes enable you to engage in healthy, safe dance practice, through floor, ballet barre, centre work, travelling exercises and improvisational exercises, designed to develop fundamental technical skills needed for university dance study. Learning and teaching in dance technique allows you to develop movement memory, accuracy in timing, musicality and spatial awareness through repetition of set sequences as well as experiential learning through improvisational techniques.

Key elements of ‘dance fitness’ are introduced in this module: strength (core stability), stamina, coordination, body placement, and kinesthetic awareness. You will be able to transfer knowledge of warm up, cool down and awareness of personal physical abilities and limitations to your own preparation and practice in order to work safely in daily classes.

Year Two

  • Dance Contexts and Research Strand

Themes, Trends and Discourse

This module explores recent dance performances and/or ‘events’ as a starting point for working backwards/outwards to explore relevant theoretical ideas and concepts that have an impact on dance. You are, therefore, encouraged to explore and debate wider themes and trends that affect dances and dancing. These perspectives will be explored in relation to the dance artists’ identity and context and through an analysis and evaluation of the work that is produced. Examples include: an exploration of cultural appropriation and/or colonialism in relation to ballet repertoire (e.g. Petipa & Fokine), contemporary dance work (e.g. Jeyasingh & Khan) or cultural tourism (capoeira & Hula); ideas of power and hegemony through an investigation into the role of dance in Olympic opening ceremonies; notions of home and belonging could be explored in relation to work being produced as a result of a refugee crisis (e.g. Rita Marcalo); the popularity of immersive theatre (e.g. Lîla Dance) could result in an exploration of community dance practice and its engagement with audiences. You will be asked to consider these theoretical ideas in relation to a variety of artistic responses and a range of political agendas and will consider how they are relevant to you as a future dance artist; how you might apply the principles explored to your own practice.

The openness of this module allows tutors to draw on their own specialised knowledge and to consider how their interests/research can impact positively on undergraduate students. Additionally, the focus on current dance practice enables you to both connect today’s dance artists to wider discourse and to consider the application of knowledge to your own practice.

Research Methodologies 

Building on the study skills and knowledge of dance acquired at levels 4 & 5, you will develop a model for your future dissertation research project. Focus will be placed on what methodologies and source materials are most appropriate for this project and how to write a research project. Students will be encouraged to consider and experiment with different methodologies such as various theoretical frameworks (historical, cultural, aesthetic, ethnographic), Practice as Research, and quantitative/qualitative research to cultivate a creative approach to their research and writing. Formal written presentation skills will also be addressed ranging from referencing to the use of appendices, a correctly presented bibliography and general issues relating to how to structure and develop an argument.

Popular Dance

The module explores popular dance practices across a range of contexts, such as popular screendance (an intertextual network connecting social media, television, music video and film), local communities of globally interconnected practice (taught and social settings), participatory events (carnivals, competitions, protests) and popular performance (staged events, for example stage musicals or neo-burlesque). Through these practices, critical concepts in the study of popular dance are discussed, such as identity, value, globalisation, commercialisation, cultural capital, power and resistance, appropriation (e.g. copyright), labour and affect. Appropriate research methods, such as ethnography, cyber-ethnography, history, cultural studies and film analysis, are introduced and applied to relevant popular dance practices.

Dance Journalism 

(Module information to come)

Improvisation and Performance

This module focuses on further development of performance skills and vocabulary from the solo to the group improvisation. The use of spontaneous compositional practice within group situations, relationship possibilities and the development of awarenesses; kinaesthetic, spatial and aural will form the core of issues explored. The course will build toward the setting of structures for performance through an understanding of scores. This prepares students for performed and assessed structured improvisations at the end of the semester. Tutor led practical sessions which will include exploration, performance, observation and debate as part of the class work. Thematically specific warm-up tasks at the beginning of each session will be tutor guided. The tutor will present starting points, themes, as well as structures for improvisations which will be explored in performance, observed, analysed, and evaluated by students. Each session will include discussion and feedback on issues relevant to improvisation and performance, students will explore a practice-theory interface in seminar presentations as part of these discussions. During the second half of the module students will be asked to develop, set, perform, and evaluate structures for performance in small groups. This leads to the last section of the course which will focus on the autonomous preparation, rehearsing, and performance of structured improvisations. Regular research tasks including reading tasks, the viewing and reviewing of work of relevant artists, the setting of structures will be part of the learning strategies helping students to contextualize their own work within an artistic tradition and framework. Students are encouraged to keep an analytical journal.

Bodies and Technologies

(Module information to come)

  • Dance Practice and Production Stand

Composing Dances

This module provides you with an opportunity to broaden your choreographic experience through the development of group pieces using a tutor identified research source. The module focusses on compositional processes, and structural devices. In the module we will explore the dynamic relationship between form and content, through a range of tutor led processes, into the development of a collaboratively directed, group piece (normally a trio), that will be assessed in performance. The module provides you with a further opportunity to advance your compositional, directing, organisational and performance skills, honing your ability to reflect critically and offers you experience of working in collaboration, with your peers.

Repertory

Dancing in the construction or reconstruction of a work of repertory provides students with opportunities to extend creative practical skills in dance performance. They are directed to apply choreographic knowledge and performance skills from level 4 in devising and problem-solving within select frameworks linked to research processes (practical and contextual) underpinning the repertory. Weekly workshops (or a two week intensive period) engage students in the choreographic process, focusing on rehearsal strategies, follow-up discussion and independent research to support their learning. In formulating and developing the repertory, students are directed through a choreographic process mirrored in the profession. These involve consistent active participation (100% attendance), ability to link research and practice, skilled problem-solving and intelligent embodiment of their roles within the choreography, evidenced through public performance. A written essay is designed to enhance students’ ability to identify, discuss and analyse aspects of the work, as linked to current contemporary practice(s).

The Dancer's Body

This module provides an experiential study of anatomy for the dancer emphasising a somatic approach to perceiving the body ‘from within’ its systems. Students are introduced to the process of embodiment, attending to bodily sensation through direct experience to deepen and inform anatomical knowledge. Guided touch and structured improvisation promote experiential learning of movement connectivity and expressivity. Students work autonomously and with others to investigate and apply strategies for managing alignment/movement imbalances and patterns of injury.

Scenography for Dance 

This module introduces sceonography as an artform developing alongside technical theatre practice. You will discover the development of modern scenographic practice through analysis of historic and contemporary works and practitioners. A basic level of technical proficiency in lighting and projection will be taught in support of the above in order to both illustrate concepts and also to enable you to experiment and develop your own understanding and ideas.

Site Dance

(Module information to come)

Performance and Place

(Module information to come)

  • Technique Strand 

Dance Techniques 2

Learning and teaching in dance technique at this level embraces complexity in development of movement memory, use of timing and musicality, use of space, and experiential learning through improvisational techniques. More demanding movement sequences and improvisational work challenges you to work in greater depth, employing problem-solving and devising. Use of qualitative interpretation enables you to synthesize action and image in performance. Contextual aspects of dance styles and approaches to technique arise through practice, discussion and feedback. Key elements of ‘dance fitness’ are introduced in this module: strength (core stability), stamina, coordination, body placement, and kinesthetic awareness. You will be able to transfer knowledge of warm up, cool down and awareness of personal physical abilities and limitations to your own preparation and practice in order to work safely in daily classes.

Understanding Technique 2

(Module information to come)

Dance Technique B

Learning and teaching in dance technique at this level embraces complexity in development of movement memory, use of timing and musicality, use of space, and experiential learning through improvisational techniques. More demanding movement sequences and improvisational work challenges you to work in greater depth, employing problem-solving and devising. Use of qualitative interpretation enables you to synthesize action and image in performance. Contextual aspects of dance styles and approaches to technique arise through practice, discussion and feedback. Key elements of ‘dance fitness’ are introduced in this module: strength (core stability), stamina, coordination, body placement, and kinesthetic awareness. You will be able to transfer knowledge of warm up, cool down and awareness of personal physical abilities and limitations to your own preparation and practice in order to work safely in daily classes.

Year Three

  • Dance Contexts and Research Strand

Dance Dissertation Project

This investigative project encourages you to demonstrate a systematic understanding of a key area of dance practice or research. Through a combination of written and/or practical methodologies, you will explore an area of research that is both of personal interest and also informed by aspects of the discipline. You will also engage with more generic skills designed to extend your knowledge in relation to the demands of independent research. For instance, you will learn to select appropriate topics for research; use valid research methods including retrieval skills; engage with critical analysis and the evaluation of source material and structure a coherent argument or line of enquiry in relation to both written and practical elements of the dissertation.

Dance Criticism

(Module information to come)

Body Politics

In this module a wide range of dance practices, both historical and contemporary, popular and ‘high art’, Western and non-Western, will be analysed in relation to twentieth- and twenty-first-century debates about the politics of the body, for example: the role of the body in mass culture; the extent to which the body is controlled by or resistant to the state; the role of the body in colonisation and decolonisation; the role of the body in negotiating local, national and global identities; the role of the body in constructing sexual and gender identities; the relationship between the body and technology.

  • Dance Practice and Production Strand

Choreographic Projects 

Clear dialogue between process and product allows students to research, direct and develop a work of choreography. Communication of meaning and imagery, development of personal style, dance and music partnerships and use of scenography to support thematic intent (costume, lighting, visual effects, objects and/or set) are explored in relation to imaginative, project-specific problem-solving. Methodologies and techniques are revisited and used to define and refine thematic content in works- in-progress. Choreographic process is considered and analysed through a critically reflective lens, supported by pre-assessments furthering self and peer-appraisal of works in progress. Theatre production enables students meet the demands of public dance performance

Post Modern Practices

Selected contemporary choreographers, such as artists of the Judson Church Dance Theater, Crystal Pite, Laila Diallo, Atom-R and Jan Fabre are identified as contributing to, and aligned with a Postmodern aesthetic. Choreographic works are analysed in relation to key elements of Postmodern theory and discourse, such as intertextuality, parody, pastiche, irony, hyper-reality, recognition of the 'other', crisis in subjectivity, and an anti-meta-narrative stance. These are appraised through practical application leading to choreographic production

Body, Space and Place

(Module information to come)

Immersive Choreographic Practices

(Module information to come)

Choreography and Mobile Technologies 

(Module information to come)

Interdisciplinary Arts Project

(Module information to come)

  • Applied Dance Practice Strand

Teaching Dance Technique

This module builds on the experience gained in Teaching Dance Technique to further hone the skills for the effective delivery of dance lesson content to different groups of participants. Where possible the group will observe or work/team teach with groups outside of the University to experience real situations in preparation for their final practical teaching assessment. Micro teaching and group experiential sessions will focus on exploring appropriate lesson content and teaching methods.

Dance Movement Psychotherapy 1

This module will examine the theory and practice of DMP, exploring a range of theoretical bases which may underpin practice. The module covers psychodynamic, humanistic and transpersonal approaches, and explores integrative creative practice. The module also draws upon the related models of Authentic Movement and movement-based expressive arts therapy (deriving from the Halprin/Tamalpa model). Within all these different approaches, students will be encouraged to explore the core concept of embodying metaphor.

Teaching Dance and Creative Practice 

This module builds on the experience gained in Teaching Dance Technique to further hone the skills for the effective delivery of dance lesson content to different groups of participants. Where possible the group will observe or work/team teach with groups outside of the University to experience real situations in preparation for their final practical teaching assessment. Micro teaching and group experiential sessions will focus on exploring appropriate lesson content and teaching methods.

Dance Movement Psychotherapy 2

This module builds on the learning in DMP1. The continued and deepening emphasis on experiential learning in this module will require a special commitment to process work as a vehicle for integrated understanding. Not only will students be learning more about practice via the lectures and their own reading, they will also be required to actively engage with process work through weekly involvement in focussed activities. Through embodied, emotional and metaphoric experience, students will gain a more refined appreciation of processes in DMP. Current research and practice (including conferences and contemporary professional journals) are discussed in order to promote an up-to-date analysis of professional practice.

Applied Dance: Community, Production and Administration 

This module acts as a bridge to the professional world, as you undertake a work placement in a dance related role. This may be within dance administration, technical production or work in the community dance sector. During this placement you will be required to apply your own decision- making skills and exercise your own initiative, reflect on and evaluate personal strengths and weaknesses. Possible placement venues could include regional dance agencies, small scale dance companies, community dance venues, educational institutions or dance magazines. In Semester One you will initiate your placement, while weekly taught seminars will enable you to develop key skills that will assist you in your placement and learn about important topics such as health & safety, welfare procedures, budgeting, marketing and industry best practice. In Semester two you will focus on your placement with weekly tutorials. Students undertaking the 45-credit option will have selected to work with 3Fall Dance Company or mapdance in an intensive technical theatre practice or administration role. You will work alongside the company in preparing for the tour in semester 1 and be fully involved in the touring schedule in the first half of semester 2. Dance Performance students might take this as an alternative to the Dance Production performer option.

  • Technique Strand

Dance Techniques 3

Daily classes allow you to develop and refine technical skills through reflective practice directed toward performance artistry. Corporeal expressivity manifests the embodiment of breath, flow, weight, skeletal articulation, and use of timing, space and focus required for skilful dance performance. Phrasing is considered in relation to use of transitions, development, and elements of risk combined to extend use of physicality and technical range. Complex movement phrases and improvisational situations challenge you to work in greater depth, allowing for development of individual style. Contextual aspects dance styles and approaches to technique arise through practice and discussions, supported by self, peer and tutor appraisal. You are expected to apply and develop key elements of ‘dance fitness' in your personal preparation and practice of this module. This includes building strength (core stability), stamina, coordination, body placement, and kinesthetic awareness. You will be able to warm up, cool down and work with awareness of personal physical abilities and limitations in order to work safely in daily classes.

Understanding Technique 3

(Module information to come)

Dance Technique C

Daily classes allow you to develop and refine technical skills through reflective practice directed toward performance artistry. Corporeal expressivity manifests the embodiment of breath, flow, weight, skeletal articulation, and use of timing, space and focus required for skillful dance performance. Phrasing is considered in relation to use of transitions, development, and elements of risk combined to extend use of physicality and technical range. Complex movement phrases and improvisational situations challenge you to work in greater depth, allowing for development of individual style. Contextual aspects dance styles and approaches to technique arise through practice and discussions, supported by self, peer and tutor appraisal. You are expected to apply and develop key elements of ‘dance fitness' in your personal preparation and practice of this module. This includes building strength (core stability), stamina, coordination, body placement, and kinesthetic awareness. You will be able to warm up, cool down and work with awareness of personal physical abilities and limitations in order to work safely in daily classes.

International English Studies

Include International English Studies: 

International English Studies

Teaching and assessment

You will build your practical experience and subject knowledge through core and optional teaching modules appropriate to your interests and breadth within the dance curriculum. 

Learning is supported by theoretical inquiry and debate, to provide you with the ability to contextualise your learning within academic frameworks.

Throughout your degree, modules are delivered in a variety of ways including:

  1. Standard module: A single module scheduled over one semester (15 credits normally) for example: Improvisation and Performance
  2. Double module: A double module is spread over two semesters (30 credits normally) for example: Dance Portfolio or Dance Placement.
  3. Long thin module: A standard module can be spread over two semesters (15 credits normally) example: Somatic Practices.
  4. Summer module: Summer study, condensed into a two week period (15 credits normally) for example: Interdisciplinary Arts Project and Performance and Place.
  5. Theory modules are linked to practice and allow you to begin to develop research skills necessary for degree study. Teaching is delivered through illustrated lectures and small group seminars. For example: Critical Lenses and Identities, Research Methodologies.
  6. Daily practical classes enable you to engage in healthy, safe dance practice, through floor, ballet barre, centre work, traveling exercises and improvisational exercises, designed to develop technique skills needed for university dance study. For example: Dance Technique which is taken at all levels.  The Learning and teaching in dance technique allows you to develop movement memory through repetition of set sequences, timing and musicality, use of space, and experiential learning through improvisational techniques. To extend practice, you will be involved in the ongoing rehearsal and choreography of peers.

Additional Costs

Include Additional Costs: 

Additional Costs

Auditions details and FAQs

You will be interviewed in pairs or threes; you will be asked about your experience of, and interest in, dance to date.

We also want to know why you wish to study Dance at university. You will take part in a contemporary dance technique class and a creative task-based practical class.

We are looking for your potential for contemporary dance study (technique and creative practice) and how you work with others on practical tasks.

All applicants send a short written task prior to interview.

For more information about timings, what to wear, etc - download the Dance audition booklet.

Dance audition booklet

 

AUDITION FAQs

I can’t log in to ChiView. What do I do?

If you have never logged in to ChiView before you need to create your account. Go to chiview.chi.ac.uk and then click ‘New User/ Forgotten Password’. You will need to input your applicant number (be careful, this is not your enquirer number or UCAS number), your surname, and your birth date in the format DD/MM/YYYY including the slashes. ChiView will then send you a temporary password. Please check your junk folder as this email often gets filtered into there.

Will there soon be more dates available on ChiView?

Typically auditions and interviews run from December – March, although each subject can vary. Usually only two or three dates will be available to book on ChiView at a time, but as the first batch of dates close the page will refresh with new options. If you cannot see a date which suits you, the best course of action is usually to wait until the page refreshes. Dates are released two to three weeks in advance.

When/ how will I find out if I have been invited to attend?

You will receive an email either way. If you have been invited to attend an interview or audition your email will guide you to log on to your ChiView portal, find ‘My application’, and then click ‘Respond to interview invitation’. Here you will find the first batch of dates to choose from.

Where do I find documents relating to the interview/audition?

Once you have booked an audition or interview you will only then have access to the relevant documents. On your ChiView portal find ‘Events schedule’ and then click ‘View details’. Here you will be able to view, download, or print the documents which will tell you how to prepare and what to expect on the day.

I can't see the 'View details' button next to my interview/ audition details on ChiView, so can't access the relevant documents.

Sometimes if you are viewing your ChiView portal on a phone, the dimensions might not allow you to see all elements. Please try again on another devise.

You may need to clear your browser history. Advice about how to do this can be found here: help.chi.ac.uk/clearing-your-browser-data-including-cache

If you are still unable to see the ‘View details’ button, please check that you have successfully booked your audition/interview by clicking ‘respond to interview invitation’.

If all else fails, you are welcome to email admissions@chi.ac.uk. Please have your applicant number ready. The Admissions team will be able to check whether your audition/ interview is booked and email you relevant documents.

How do I change my interview/audition date?

If you have booked an interview or audition and now you are unable to attend please visit your ChiView portal, find ‘Event schedule’, and then click ‘Cancel attendance’. You will need to inform the admissions team via admissions@chi.ac.uk so that we can issue you a new invitation.

Can I park on-site, and are there disabled parking available on both campuses?

Yes, you can park on-site if you buy a pay-and-display ticket. It is worth noting that demand for car park spaces exceeds the spaces available, particularly during term time. For this reason, parking controls and restrictions are implemented to ensure the efficient and effective operation of the University, equity of access and fairness.

There are clearly marked disabled parking bays available at both the Bognor and Chichester campuses. More information about travel can be found here: chi.ac.uk/about-us/how-find-us

 

Student film work

Students at the University of Chichester are encouraged to engage with film and digital technologies in a creative and dynamic way. 

At level 4 students are introduced to creating dance for the screen as part of their Dance Portfolio module. Students learn how to use digital camcorders and import and process their footage using industry standard software in the University Mac suites. At levels 5 and 6 these skills are developed through the Performance and Technology, Choreographing with Mobile Technologies, Interdisciplinary Arts and Dance Dissertation Modules. These modules expand knowledge of digital technologies by introducing creative use of sound design, scenography and use of multi-media platforms.

Nowhere to be Found

A film by Nicola Young, Amy Toner & Roxy Hearn (2nd year students); created for the Performance and Technology module, this film is designed to be played in a loop; it explores the feeling and experience of being 'lost'

Imprint

Imprint is by Victoria do Nascimento, Hannah Robinson, Jade Francis-Clark and Jody Brown (1st year students). This dance film was created as part of the Dance Portfolio module and is an exploration of painting and dancing