Practice in Context 2

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Course TypeCourse CodeNo. Of Credits
Foundation CoreSCC2DP1064

Semester and Year Offered: Winter

Course Coordinator and Team: Ranjana Dave and Mandeep Singh Raikhy

Email of course coordinator:,

Pre-requisites: This course is suitable for students of MA Dance Practice or students on other MA programmes with a strong investment in performance.

Course Objectives/Description:


Practice in Context is a course that opens up a range of possible routes and modalities within the breadth of the field and prepares them to make informed choices regarding their area of research, their choice of internship and their potential career path.

This course comprises of 3 components in Semester 4. Each of these components is delivered as an intensive block allowing for an immersive experience.

Through these components students explore and interrogate a number of specific dimensions of the field, opening up the particular skills and challenges pertaining to each one. Study will involve collaborative working as well as independent research and development.

At the end of this course, students will be able demonstrate an understanding of the knowledges and skills pertaining to diverse dimensions of practice, cultivate an emergent creative voice, interrogate the role of the performer, and identify a specific interest in the field.


At the end of the course, students will be able to demonstrate:

  • Skills of critical and analytical reasoning pertaining to diverse dimensions of dance practice
  • Self-directed and life-long learning in the development of an emergent choreographic voice through multiple opportunities for creation.
  • A critical and reflexive approach to dance practice and the skills to sustain this practice within the ecology of the field.
  • Leadership capabilities in the execution of the process of keeping a performance alive by rehearsing, producing and touring it.
  • Growth and consolidation of disciplinary knowledge and research-related skills through participation in the performance project

Overall structure:

The course will be taught in 3 intensive blocks:

  • Arts Management
  • Performance Project
  • Keeping a Work Alive

Brief description of modules/ Main modules:

Week 1 (18 hours)

Arts Management

Students will take their dissertation projects or proposed internships as starting points to explore the nuances of management demands such as fundraising, budgeting, marketing and strategic planning. Working in small collaborative groups, students will engage support each other to critically engage with current discourses in management of the arts, with a view to shifting the paradigm. This component is delivered in collaboration with Art Think South Asia. Students will be required to read texts circulated as preparatory material prior to starting the component. In addition, they may find it useful to engage with the following background readings.

Weeks 2-7 (16 hours per week)

Performance Project

The Performance Project presents a unique window of learning on several levels. The students will be offered the opportunity to immerse themselves in a process led by an established or emerging choreographer who will be invited to make new work with and on the students. Through this immersive experience, the students will come to understand the nature of a performer’s contribution within the creative process is that of an active researcher. The resulting work will be shared in a number of contexts so that students can deepen their understanding of the work and the role they play.

Week 7-14 (4 hours a week)

Keeping a Work Alive

The work created during Researching Performance will be rehearsed during this period under a rehearsal director and performed in various different contexts in the city. The students will get a hands-on experience of how to tour the work and keep it alive after its premiere.

Assessment Details with weights:

  • Participation in classroom discussions (20%)
  • Classroom projects including the submission of oral presentations and a portfolio document for the Arts Management component (20%)
  • Engagement in creation process in Performance Project (30%)
  • Engagement in performance and rehearsal process in Keeping a Work Alive (30%)

Reading List:

  • Chong, Derrick. "Stakeholder relationships in the market for contemporary art." Understanding international art markets and management 4 (2005).
  • Lidia, Varbanova. "Strategic Management in the Arts." (2013).
  • Tusa, John. Art matters: Reflecting on culture. Methuen Pub Limited, 2000.
  • Hill, Elizabeth, Terry O'Sullivan, and Catherine O'Sullivan. Creative arts marketing. Routledge, 2012.
  • Carpenter, Gay, and Douglas Emerson Blandy. Arts and cultural programming: A leisure perspective. Human Kinetics, 2008.
  • Colbert, François, et al. Marketing culture and the arts. Chair in Arts Management, 1994.
  • Lewis, Justin, and Toby Miller, eds. Critical cultural policy studies: A reader. John Wiley & Sons, 2008.
  • O'Brien, Dave. Cultural policy: Management, value and modernity in the creative industries. Routledge, 2013.
  • Hopkins, Karen Brooks, and Carolyn Stolper Friedman. Successful fundraising for arts and cultural organizations. Greenwood Publishing Group, 1997.