Amsterdamse Hogeschool voor de Kunsten

Amsterdamse Hogeschool voor de Kunsten Dance & Dance in Education

Limited Study Programme Assessment

© Netherlands Quality Agency (NQA) December 2012

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© NQA – AHK: Limited programme assessment Bachelor of Dance and Dance in Education

Introduction

This is the assessment report of the bachelor of Dance and the bachelor of Dance in Education offered by Amsterdamse Hogeschool voor de Kunsten. The assessment was conducted by an audit panel compiled by Netherlands Quality Agency (NQA) commissioned by Amsterdamse Hogeschool voor de Kunsten. The panel has been compiled in consultation with the study programmes and has been approved prior to the assessment process by NVAO. In this report the panel gives account of its findings, considerations and conclusions. The assessment was undertaken according to the Assessment frameworks for the higher education system of NVAO (6 December 2010) and the NQA Protocol 2011 for limited programme assessment. The site visit took place on October 16th and 17th 2012. The audit panel consisted of: Mr. J.P.L.M. van Meel (chairperson, representative profession/discipline); Mr. Prof. D. Heitkamp (representative profession/discipline); Ms. S. Steenks (representative profession/discipline); Mr. Drs. P.J. van Eijl (representative talent development); Ms. J.M.C. Reist (student member). Ms. Ing. I.J.M. de Jong, NQA-auditor and Mr Drs. J.G. Betkó, NQA-auditor acted as secretaries of the panel. Mr P. van Achteren BLL, NQA-auditor was involved in the preparation and round off of the site visit. The study programmes offered a critical reflection; form and content according to the requirements of the appropriate NVAO assessment framework and according to the requirements of the NQA Protocol 2011. The panel studied the critical reflection and visited the study programmes. In preparation of the site visit the panel attended some performances. In annex 5 an overview is added. Critical reflection and all other (oral and written) information have enabled the panel to reach a deliberate judgement. The panel declares the assessment of the study programmes was carried out independently. Utrecht, December 20th 2012 Panel chairman

Panel secretary

Mr. J.P.L.M. van Meel

I.J.M. de Jong


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Summary

Standard 1 Intended learning outcomes - good The CROHO-registration Dance consists of four graduate profiles: Jazz and Musical Dance (JMD), Nationale Ballet Academie (NBA), Modern Theatre Dance (MTD) and School for New Dance Development (SNDO). The CROHO-registration Dance in Education has only one graduate profile. The intended learning outcomes are relevant for the professions and comply with the demands of the professional field. They are consistent with the international description of the bachelor level, the Dublin descriptors. Furthermore the programmes maintain contacts with noted international dance study programmes. The panel is also positive about the contacts the programmes and the teachers have in the (national) professional field. The panel highly values the strive of the programmes to maximize the potential and personal qualities of all students. Standard 2 Teaching-learning environment - good Both programmes are four year fulltime study programmes. For every programme and graduation profile, the first year is the propaedeutic phase where teachers and students orient themselves on the abilities of the student to develop towards a professional dancer, choreographer or dance teacher. The admission for both programmes is organised separately. The content of both programmes are in line with the intended learning outcomes. The programmes made an adequate translation between competencies, courses and learning goals. The didactic concept is cyclic, development oriented and student centred which is appropriate for acquiring the competencies. The panel is positive about the careful admission procedure. Students get into contact with the professional field a lot, for example through the extensive use of leading (guest) teachers, but also in other ways like the internships. The programmes are in all aspects well related with the professional field. The bibliography of the programmes and each graduation profile is listed in information dossiers. The quantity differs between the graduation profiles, which is in line with the policy of AHK. The panel studied the bibliography of the programmes and generally states that basic works are present. The panel is positive about the quantity of literature in the Dance in Education programme, but the didactical theory could be more profound. In general the level of the literature is not very demanding and some readers are not really up to date according to the panel, an update of readers could be a solution. The programmes have developed a unique health programme, with pioneer status within vocational dance education. The panel is impressed with the amount of attention the programmes devote to the health and well-being of students. Students receive a lot of personal attention, as the panel learned in interviews with students and graduates. Students are positive about the amount of guidance they receive. The panel is impressed by the renowned teachers who teach at the different programmes, they are engaged and motivated. Students are also positive about their teachers. In general students are satisfied with the programmes as is shown by student satisfaction surveys. Concluding, the curriculum, didactics, staff and facilities are a coherent learning


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environment in which students can realize the intended learning outcomes. A point of attention is the quantity and quality of literature in the programmes and graduation profiles. Standard 3 Assessment and achieved learning outcomes - Dance in Education satisfactory - Dance good Twice annually, an integral competency based evaluation takes place that focuses on the progress of the student. After the integrated competency exam credits are awarded. Credits are awarded on the basis of participation and quality during the whole semester in the light of the intended learning outcomes, and not per module or course. The panel appreciates the system of assessment that the programmes initiated. The programmes regularly monitor students by for instance semester assessments and during classes constantly. Several teachers and examiners are involved in assessing students, which guarantees an intersubjective grading. Those involved are quite capable to assess students. The feedback for the students is well organised, regulated and laid down. In general the panel is satisfied with the system of assessing students, but the assessment criteria (for e.g. reflection and analysis) for individual students could be more objective than they are now. The panel studied some theory exams and is of the opinion that in general the exams could be more demanding for students (standard 2). In case of Dance in Education, the panel is of the opinion that the didactical, educational and methodical theory could be more profound (standard 2). Because of the fact that these theory subjects are a substantial part of the programme according to the panel, they should be assessed more thoroughly. The graduation agreement, compiled in the fourth year is central to the evaluation during graduation. All activities included in the plan/agreement must be passed satisfactory. This concerns participation in productions, study components, internships and other activities. As conclusion a meeting between the artistic director and the student is held together with one or more involved teachers. If possible the internship supervisor or another external supervisor/ guest teacher is invited. If all theory courses have been successfully completed and all other programme components are finalized, the student is awarded with his diploma. The panel is convinced that graduates all meet the bachelor level as is clear from the performances and dossiers. The level between the different graduate profiles differs. In general the level is sufficient up to very good. The panel is of the opinion that all departments need to improve on traceable guarantees of the quality of assessments and examinations. For example by the exam committee. The panel is convinced that the exam committee is aware of the necessity to make quality traceable and transparent, as shown in the most recent action plan. For the Dance programme the overal achieved level of students is very good, so the panel judges the programme good, despite the remarks made above. For the Dance in Education programme the overal level of students is satisfactory, furthermore the remark about the assessment of the theoretical component is more substantial for the panel, so it judges the programme satisfactory.

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Contents

1

Basic data of the study programme

2

Assessment

13

Standard 1 Standard 2 Standard 3

13 15 24

Intended learning outcomes Teaching-learning environment Assessment and achieved learning outcomes

9

3

Final judgement of the study programme

31

4

Recommendations

33

5

Annexes

35

Annex 1: Annex 2: Annex 3: Annex 4: Annex 5: Annex 6: Annex 7:

Final qualifications of the study programme Survey study programme Expertise members auditpanel and secretary Program for the site visit Documents examined and Performances Summary theses and Declaration of Comprehensiveness and Accuracy


37 41 61 69 73 77 79

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1

Basic data of the study programmes

Administrative data of the study programmes 1. Name study programmes as in CROHO 2. Registration number in CROHO 3. Orientation and level study programmes 4. Number of study credits 5. Graduation courses / ‘tracks’

6. Variant 7. Location 8. Previous year of audit visit and date decision NVAO

B Dance B Dance in Education 34798 34940 hbo; bachelor 240 EC B Dance: - Nationale Ballet Academie (NBA) - School for new Dance development (SNDO) - Jazz and Musical Dance (JMD) - Modern Theatre Dance (MTD) B Dance in Education Fulltime Amsterdam Previous visit: May 17th and 18th 2006 Decision NVAO: April 19th 2007

Administratieve institutional data 9. Name institute 10. Status institute 11. Result institute audit

Amsterdamse Hogeschool voor de Kunsten Funded Not applicable

Quantitative data regarding the study programmes Opleiding Dans (CROHO 34798) Peildatum 1 oktober van dit studiejaar 06-07 07-08 08-09 09-10 10-11 11-12 Studenten en personeel totaal aantal ingeschreven/ actuele studenten

195

195

187

196

192

183

docent/student ratio

1:13

1:13

1:11

1:10

1:11

1:11

instroom

66

60

57

67

73

59

totaal aantal studiestakers

23

14

22

17

20

9

23%

38%

25%

27%

15%

15

12

11

16

16

9

23%

20%

19%

24%

22%

15%

8

2

11

1

4

12%

3%

19%

1%

5%

Uitval

totaal aantal studiestakers in % van de instroom 35% na 1 jaar of minder na 1 jaar of minder in % van de instroom vanaf 2e jaar vanaf 2e jaar in % van de instroom


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Rendement instroom

66

60

57

totaal afgestudeerden

43

46

35

65%

77%

62%

42

46

34

64%

77%

60%

1

0

1

1%

0%

2%

totaal afgestudeerden in % van de instroom na 4 jaar of minder * na 4 jaar of minder in % van de instroom * na 5 jaar na 5 jaar in % van de instroom

67

73

59

Contacturen per week (studiejaar 2011-2012) 1e jaar

32,7 (exclusief repetities en voorstellingen)

2e jaar

31,8 (exclusief repetities en voorstellingen)

3e jaar

26,5

4e jaar

17,8 Stagejaar

Docentkwaliteit Totaal aantal docenten (schoojaar 2011-2012) Waarvan met PhD

108 0

Waarvan met master-diploma (of equivalent)

10

Opleiding Docent Dans (CROHO 34940) Peildatum 1 oktober van dit studiejaar 06-07 07-08 08-09 09-10 10-11 11-12 Studenten en personeel totaal aantal ingeschreven/ actuele studenten

56

66

63

60

62

57

1:14

1:15

1:12

1:11

1: 11

1: 10

instroom

21

20

19

18

19

18

totaal aantal studiestakers

10

7

4

6

8

5

35%

21%

33%

43%

28%

5

5

4

6

6

5

24%

25%

21%

33%

32%

28%

5

2

0

0

2

24%

10%

0%

0%

11%

docent/student ratio Uitval

totaal aantal studiestakers in % van de instroom 48% na 1 jaar of minder na 1 jaar of minder in % van de instroom vanaf 2e jaar vanaf 2e jaar in % van de instroom

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Rendement instroom

21

20

totaal afgestudeerden

11

13

9

13

totaal afgestudeerden in % van de instroom na 4 jaar na 4 jaar in % van de instroom na 5 jaar na 5 jaar in % van de instroom

19

18

19

18

11 58% * 52% 65% 11

42% 65% 58% 2

0

10%

0%

4** 21% **

* 79% verwacht in 2012-2013 ** Nog in opleiding, afstuderen verwacht in 2012-2013 Contacturen per week (studiejaar 2011-2012) 1e jaar

35

2e jaar

29,7

3e jaar

29,3

4e jaar

6,2

Docentkwaliteit Totaal aantal docenten (schoojaar 2011-2012)

58

Waarvan met PhD

0

Waarvan met master-diploma (of equivalent)

6


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2

Assessment

The panel describes the findings, considerations and conclusions of each standard of the NVAO assessment framework. The final judgement concerning the study programmes will be presented in chapter 4.

Standard 1

Intended learning outcomes

The intended learning outcomes of the programme have been concretised with regard to content, level and orientation; they meet international requirements. Findings The CROHO-registration Dance consists of four graduate profiles: Jazz and Musical Dance (JMD), Nationale Ballet Academie (NBA), Modern Theatre Dance (MTD) and School for New Dance Development (SNDO). The CROHO-registration Dance in Education has only one graduate profile. The Dance programme aims to educate for the following qualifications: - JMD: the programme stimulates students to develop and optimize their theatrical, creative, dancing, singing and technical acting potential to function within the transcultural work filed of jazz/urban, music theatre and musical dance. - MTD: after graduation students possess a technical dance ability and are capable of using their personality, creativity, discipline and mental and intellectual commitment in a professional way to find work with contemporary dance ensembles in the Netherlands and abroad. - NBA: After completing their study, students are capable of performing classical and contemporary ballet repertoire on the basis of classical technique according to the national and international professional standards. - SNDO: After completing their study, students are independent dance makers who are capable of contributing to the development of the art of dance, in the form of own productions and performances as well as intellectually. The Dance in Education programme aims to educate students to become a dance teacher with different roles: teacher, dance maker and coach. The dance teacher is able to connect between different dance traditions, views and beliefs in today’s urban and cultural environment. Competencies The competencies for Dance are based on the national Dance study profile (landelijk opleidingsprofiel). This profile was drawn up in 2002 by the Dutch National Organization of Dance Education Network (Netwerk Dans).


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In the Dutch National Organization of Dance Education Network the professional field and the Dutch Dance study programmes are represented. The Amsterdamse Hogeschool voor de Kunsten (AHK) has been closely involved in this collaboration. The head of the Dance study programmes has played an important role as chairman of the Dutch National Organization of Dance Education Network (Netwerk Dans). The profile is validated by the professional field. In 2012 the competencies and study profiles will be updated by the Netwerk Dans and the Nederlandse Associatie voor Podiumkunsten (NAPK). For the graduation profiles JMD, MTD and NBA there are 11 competencies. For the SNDO (choreography) one competencie has been added, in total there are 12 competencies thus. The competencies are defined in behavioural indicators, which describe the required knowledge, skills and attitude. Annex 1 shows a list of all competencies. The competencies for Dance in Education are based on the National Dance teacher study profile of 2003 (Opleidingsprofiel). The profile was drawn up by the Netwerk Kunstvakdocentenopleidingen (KVDO). The profile is validated by the professional field and the HBO-raad. The programme has compared the national generic teaching competencies (SBL) with its own set of competencies in 2007 and concluded that they are congruent and offer sufficient coverage. In 2011 the National Dance teacher study profile was recalibrated. The programme related their competencies to the new situation in Opleidingsprofiel docent dans 2012. The profile shows that the new situation is well adapted, according to the panel. The competencies are divided in 10 national/general competencies, 40 behavioural indicators and 5 competencies for art teacher. Annex 1 shows a list of all competencies. Dublin descriptors The Dance programme related the competencies with the Dublin descriptors in a matrix for JMD, MTD and NBA. SNDO has a separate matrix because of the additional competence (ability to organise). The Dance in Education programme has a separate matrix. In the matrices all programmes show that the competencies meet the Dublin descriptors, according to the panel. (Inter-)national contacts Both programmes maintain contacts with international study programmes. Students are stimulated to follow part of their education abroad. Teachers often visit foreign dance study programmes as a guest teacher and to negotiate new exchange programmes. For example with the TISCH School of the Arts (New York), P.A.R.T.S. (Bruxelles), Academia Vaganova (St. Petersburg), Royal Ballet School (London), S.U.N.Y. Purchase (New York), University of Dance and Circus (Stockholm) and School of Modern Dance (Copenhagen). Next to the international contacts all programmes have contacts with the national professional field. During so called ‘Round table meetings’ the behavioural indicators of the programmes are discussed with the work field and alumni in order to check if the indicators meet with the demands of the professional field.

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The panel is positive about the contacts the programmes and the teachers have in the professional field. Most teachers work in the professional field, next to their work for AHK. In addition The programmes strive to achieve more than reaching the bachelor level. They strive to maximize of the potential and personal qualities of all students, in which the bachelor level is the bottom line. The students are coached individually to bring that personal talent to full maturity (standard 2). The panel is positive about this intended goal of the programmes. Considerations The panel is positive about the intended learning outcomes of the programmes. The intended learning outcomes are relevant for the professions and comply with the demands of the professional field. They are consistent with the international description of the bachelor level, the Dublin descriptors. Furthermore the programmes maintain contacts with noted international dance study programmes. The panel is also positive about the contacts the programmes and the teachers have in the (national) professional field. The panel highly values the strive of the programmes to maximize the potential and personal qualities of all students. Based on above mentioned findings and considerations the panel judges standard 1 for both programmes as good.

Standard 2

Teaching-learning environment

The curriculum, staff and programme-specific services and facilities enable the incoming students to achieve the intended learning outcomes. Findings General information Both programmes are four year fulltime study programmes. For every programme and graduation profile, the first year is the propaedeutic phase where teachers and students orient themselves on the abilities of the student to develop towards a professional dancer, choreographer or dance teacher. The admission for both programmes is organised separately. The programmes are grouped in clusters. MTD, JMD and NBA consist of the following clusters: dance technical, performance, dance supporting, theoretical, internship and additional education. An additional cluster for JMD is the achievement cluster. SNDO consists of the clusters: movement research/technique, choreography, theoretical, performance, dance supporting, internship and additional education. Dance in education consists of: dance technical, choreography, pedagogical/didactical, theoretical, internship and additional education. In annex 2 overviews of the different study programmes are attached.


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Because of the differences in graduation profiles of Dance, characteristics are laid down in further paragraphs (Source: Information dossiers, 2012). Characteristics and contents of the curriculum of the graduation profiles Dance The first year of JMD, is a year of mutual orientation, during which the study programme and the student both ask themselves the same question: does he have sufficient capacity, (mentally and physically) to take on a career as a professional dancer. The goal of the main phase (2nd, 3rd and 4th year of the study programme) is to train students to become performers at a professional level (having sufficiently mastered the competencies) in the urban/jazz and music theatre domain. During the main phase students can – in addition to the required dance skills training in the morning - choose for themselves how they wish to develop other disciplines related to the profession like singing and acting. The third and fourth year of the study programme together form the graduation phase and serve as orientation on the professional practice. The student considers what he needs to be successful in the professional practice. In the third year, he prepares for an internship with a dance, music theatre or musical theatre ensemble in the Netherlands or abroad by deepening his acquired basic expertise and skills and by undertaking research into professional practice through exploratory internships, auditions et cetera. Students are regularly challenged to leave their comfort zone and try out irregular forms of collaboration or devote a period of time exclusively to singing or acting. Projects, lessons or workshops can also be followed with other study programmes, like the MTD or the SNDO. The fourth year is completely or partially extramural. The student is working in the professional practice full time, which may comprise an exchange with another educational institute or dance company abroad, or the making of an own production. During the whole graduation phase the learning and development tracks chosen by the student continue to function as his compass, like a personal route planner. At the transition between the third and fourth year, the student gives a presentation for his fellow students in which he reflects on his progress in all the learning and development tracks. This also helps him to set clear goals to attain in the fourth year. All choices are guided intensively by the tutor concerned. The first year of MTD, the student can orientate himself intensively on a contemporary dance vocation. The student follows daily lessons in modern and classical techniques and comes into contact with a number of elementary practical and theoretical aspects of the métier. The education for the most part is based on practice. Attention is constantly directed at developing a student’s own dance skills. In addition, all first year students make their own solo performance based on a musical assignment as part of movement research. The main phase comprises the second, third and fourth year of the study programme. In the main phase there is increased attention for developing the dance student’s creativity and expanding his stage experience. In the second year emphasis is placed on the application of knowledge and skills and also stimulation of a student’s creative talents through making a duet and collaborating with third year students of the SNDO. A number of choreographies is specially created for these students, in which they are expected to display their dance technical skills but also their dance theatrical and performative capacities (vocal use, interaction with the public, et cetera.)

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The third and fourth year together are the graduation phase. The student intensifies his stage experience; mentors devote extra attention to developing the individuality, presence and delivery of the dancer on stage. In the graduation phase, the student - in consultation with the artistic director and study supervisor - is free to choose the direction and contents of a number of study components. The goal is the optimal expression of a student’s specific qualities. Components in which the individually chosen content and direction play an explicit role are: the (compulsory) internship, the option of own projects, programme components to be followed with other study programmes (for example the Mime study programme or the SNDO) or an exchange programme abroad. For a further orientation of professional practice, the student can also follow lessons in a professional open dance studio, where he will encounter different teachers and can mirror himself on qualified dancers from the professional field. Students are expected to direct their own learning process in other study components. At the end of the fourth year the students collaborate with a choreographer in the making of a graduation project. The hbo-phase of the National Ballet Academy consists of a propaedeutic phase of one year and a main phase of three years. The first year brings a marked transition from preliminary training to full-time dance study. The accent lies on preparation for a career as dancer: required dance qualities and independence. In this initial phase deepening of technique is emphasized through development of strength and refining and enlarging a dancer’s understanding of technique. Dancers work on increasing their physical fitness, muscle power, flexibility, maximizing movement possibilities and qualities and stamina. The goal of the second, third and fourth year is to train the student to become a classical dancer of professional standard. Just as in the first year of the study, deepening and refinement of classical technique are of central importance in the main phase. In addition, this phase of the study is aimed at bringing about synthesis between technical skills and stage presentation and the further development of the (stage) personality of the student is emphasized. These are also aspects that are studied in depth during the internship(s) that students follow. During the graduation phase, in consultation with the artistic director and the study counsellor, students are themselves responsible for determining which direction they want to follow and how they want to compile the components of the study programme. This freedom of choice aims to allow students to optimally express their specific qualities and help them focus their career perspectives. Components in which this self direction plays an explicit role are the internship and prospective programme modules with other dance study programmes, possibly also abroad. During the main phase students follow weekly lessons with Het Nationale Ballet and are included in the corps de ballet during major, full-length productions by the dance company (The Sleeping Beauty, La Bayadère, Swan Lake, et cetera). Goal of the first year of SNDO is mutual orientation. The student can orientate himself on the profession of choreographer by following technique lessons, lessons in choreography, dance theory, dramaturgy and stage lighting, sound and video editing. During the second, third and fourth year the individual development of the student is of primary importance, so that as maker he can develop his own personal style. Subjects like dramaturgy, concept development and movement research help the student refine and implement his own ideas.


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Lessons in editing and construction give him insight in the editing of a dance production. Moreover, he comes into contact with the visions and jargon of the professional dance world, among other ways, through feedback regarding his productions from ‘outside eyes’ (critical observers from the international work field). In the third year the student is challenged to create a choreography with and for dance students of the Modern Theatre Dance study programme. The process of conveying the required movement vocabulary, inspiring and motivating the dancers and carrying the responsibility for the progress of the creative process constitute the learning goals. The third and fourth year together form the graduate phase. The goal of these years is to guide the student’s research as choreographer. During this phase the student is given material by (guest)choreographers in order to learn the importance of distinguishing himself from other choreographers. The student is expected to take responsibility for his own development and learning process during the graduation phase. In consultation with the artistic director and study mentor, he determines the direction and content of a number of study programme components for himself. The aim is to allow him to optimally express his own specific qualities and chart his own career perspective. Components in which this individual choice of content and direction play an explicit role are the internship, own projects and possibly programme components with other study programmes. In some cases, students can use this period to study supplementary choreographic skills with a specific choreographer. Characteristics and content of the curriculum of Dance in Education During the first year a student is assessed in his potential to become a dance teacher who complies with the demands of the study programme and the topical work field. The second study year aims to deepen a student’s expertise in dance technical training, choreography, pedagogics, didactics and theory. Learning to apply knowledge and skills plays a central role and via assignment-based education, attention is devoted to intensifying and expanding a student’s creativity. Dance making and teaching are linked to each other and the pedagogical, didactic and artistic visions gain shape. Another important component of the programme is the teaching practices in which students independently give lessons in preparation for the internships in their third and fourth year. The graduation phase (from the third year on) is characterized by evaluation of the vision shaped by the student and its further development. In consultation with the artistic director, students can opt for emphasis on certain aspects in the programme. They write a graduation plan, follow an internship and compile a dance portfolio in which they express their relation to the dance metier and professional practice. During the graduation phase, besides a number of compulsory internship assignments, there is opportunity for the student to pursue an internship of his own choice. Students take internships for a period of one-and-a-half year. They put together an individual programme from an assortment of internship lessons, workshops, courses and projects on offer in the amateur dance field. They work for private dance schools, institutes for art and culture, schools for youth theatre, educational services attached to dance companies and in primary and/or secondary education or an mbo school. Students are obliged to follow 400 teacher face-to-face instruction hours of which 300 happen in the graduation phase. An education internship and participation in the project

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‘Dansmaken met Amateurs’ (Making Dance with Amateurs) is compulsory. Students are responsible for their own internship placement. Link between competencies and learning goals A course description is available for every course in the programmes. The panel studied the course descriptions and states that all learning goals are met with the competencies of the programmes. The panel is of the opinion that the descriptions are carefully worked out and that they provide clear information for students. The course descriptions consist of: short general information about the course, which competencies are related, learning goals, credits, teachers, assessment and literature (where relevant). Theoretic components Dance & Dance in Education Theory as part of the study programme is strongly integrated or related with practice. Theory supplies the tools and material know-how used during the artistic process. During practical lessons that focus on dance technique and composition, theoretical notions are developed, tested and incorporated. The programmes provide theory on the following subjects: dance history, music history and analysis, anatomy and injury prevention. Theory education is more comprehensive in the SNDO study programme, where in addition to dance history and anatomy, there are lessons in creative writing, art & society, performance analysis, dance dramaturgy and performance integration. The Dance in Education study programme also focuses on didactics, methodology, pedagogics and (developmental) psychology. In JMD the programme showed the panel the use of theory through the digital student follow system (me-volution). Students have to search themselves for theory compulsory to their project. The coach is guiding the student in his search for substantiation of the project. The panel was impressed by the system JMD uses. Students can add text and articles but also short movies or links to websites. The coaches can guide their group of students directly via the system. The bibliography of the programmes and each graduation profile is listed in information dossiers. The quantity differs between the graduation profiles, which is in line with the policy of AHK. The panel studied the bibliography of the programmes and generally states that basic works are present. There is quite a big difference between the graduation profiles. NBA for example has a very short bibliography, while JMD has a much larger list with obligatory literature. MTD has a short list of obligatory literature (like NBA) supplemented with recommended literature. SNDO has an extensive bibliography. The panel is positive about the quantity of literature in the Dance in Education programme, but the didactical, methodical and educational theory could be more profound. In general the level of the literature could be more demanding for students and more up to date. Therefore the panel is of the opinion that readers in both programmes should be updated.


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Skills Students develop their dancing skills both in the study programme and in the internships. During the programme students work continuously on improvement of their skills, for example in skills classes and in preparation for performances or teaching classes. Dance students undertake an internship of at least three months. Students are responsible for procuring an internship placement by auditioning. Preparation for the internship programme starts with an introductory programme and courses about the business aspects of the profession. Student information about the internships are laid down in the Internship Guide. The guide consists of clear information for the student about all aspects of the internships as well as the criteria for pass or fail, according to the panel. Internships also have a prominent place in the curriculum of Dance in Education. Internships are included in all study years. Students gain experience through working with various age groups in different vocational contexts like: primairy and secondairy education, amateur dance, dance education, community art and podium art. The panel is positive about the variety of professional fields the students become acquainted with. The internship supervisor Dance visits the internship ensemble twice and attends one performance. At the students’ request extra supervision is given. The results of student satisfaction surveys showed the panel that students are satisfied with the internship supervision. It is worth mentioning that the appreciation of the programmes of JMD and MTD by their students increased notably from 1,9 at a five point scale in 2008 up to 4,2 in 2012. The graduation profiles were not radically changed, but the expectations of supervision were made more clear to students. In interviews students and graduates are also positive about the internship supervision. The panel studied several internship reports from students. In general the panel is positive about the internships. Students seem to manage to enter the internship they desire the most. Students can show their talent and proof that they can meet the demands of the companies where they audition for. The internship helps students to reflect on their qualities and put them in a healthy competition with the professional field. Students take the internship seriously, not as an obligation from the programmes but as an opportunity to prove themselves outside the Theatre School. Research AHK has three faculty transcending lectorates in fields of art education, art theory (till 2010) and art practice. Under the authority of the last mentioned lectorate, two innovative projects were realized: Healthy Dance Diary (programme and instruments for dance health) and Inside Movement Knowledge (new use of media). Research into trans-cultural dance didactics is in preparation. The panel is positive about the fact that the results of the research of lectorates are incorporated in study programmes, for example the health programme.

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Didactic concept Both programmes have chosen an educational approach that is competence based, with a development oriented attitude and integration of learning of skills and knowledge. The didactical concept is laid down in the document Didactical concept and Examining policy June 2012. As all programmes within the Theatre School, the programme uses the following didactic principles: - Education is based on the potential of the individual student. - Learning is spread over a longer period than one course and consists of acquiring competencies in the form of knowledge, skills and attitude. - Learning activities are closely related to the professional practice. - The student is responsible for his personal learning path and growth of competence. The didactic model is cyclic, development oriented and student centred. Student centred is related to the central position of the student in the learning process. Students have a lot of freedom in their learning process, which is well guided by coaches and teachers, according to the panel. The panel is positive about the personal attention which students are offered. Admission The admission regulations for both programmes are described in the Onderwijs- en Examenregeling (Teaching and examination regulations). Due to a limited number of available study places, the dance study programmes have a strict selection procedure. In addition to a havo, mbo or vwo diploma, the graduation profiles demand specific capabilities of students. For example: applicants must be of a certain age, have (basic) dance technical, physical and creative skills, have development potential and must be able to improvise creatively. The selection committee assesses if a candidate’s dance technical skills and artistic skills have sufficient development potential. The selection committee consists of several teachers and the artistic director. The panel is positive about the careful admission procedure. In order to decrease the number of drop-outs in Dance in education, an investigation started in 2008. It appeared that relatively many students underestimated the amount of actual study required for a teaching degree. Quite a lot of applicants aspired to becoming a dancer. As a result the selection became stricter and the information to applicants was more articulated where it concerned the career perspective and contents of the programme. The number of drop-outs in recent cohorts decreased. Student coaching and supervision Students can determine the content of their learning process to an increasing degree. According to the panel this process is guided well. Study coaches, artistic directors, internship supervisors, mentors and outside eyes support students during the study programme. Students receive a lot of personal attention, as the panel learned in interviews with students and graduates. Students are positive about the amount of guidance they receive.


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Health Before attending the study programme, a complete physical profile of each student is drawn up. This is meant to give insight in individual physical possibilities and/or limitations of each student. At the start of the first semester, every new student receives a list of points of interest derived from the physical check-up. The check up is followed by a meeting with one of the Health Team exercise therapists, who discusses how the student can best put his recommendations into practice. All first year dance students follow a series of lessons about health for dancers. Attention is devoted to anatomical knowledge and injury prevention, smart training methods, healthy lifestyle and first aid. During consultation hours, students can ask questions or voice complaints about physical or mental issues. Consultation hours have an educative and advisory character. If (para)medical care is required, the Health Team can give specific advice. In case of an injury, a revalidation programme is drawn up. For example one student, to whom the panel spoke, was guided well for half a year in order to recover from an injury. The programmes have developed a unique health programme, with pioneer status within vocational dance education. The panel is impressed with the amount of attention the programmes devote to the health and well-being of students. Staff quality The staff of both programmes consists of teachers with a permanent contract (core staff) supplemented with a significant number of guest teachers. This mix is a conscious choice by the Theatre school. The core staff is of crucial value for the quality and continuity of the study programme. Guest teachers are an essential condition to do justice to a dynamic professional practice. Teachers with a permanent appointment have a part-time contract and spend their remaining time in the professional practice. The relation between the study programmes and the professional field is guaranteed well, according to the panel. There is regular consultation between the different teachers. The core staff supports the artistic director with daily policy, educational organisation and innovation. Junior teachers are guided by senior teachers. Teachers both senior and junior were positive about the system of guidance in the interviews with the panel. The panel studied the resumés of the teachers and finds them to be well qualified for their job. Teachers have a great deal of professional (international) experience. The panel is impressed by the renowned names from the professional field on the list of teachers. The quality of teachers (as well as guest teachers) is monitored through student satisfaction surveys. The panel studied these surveys and observed that students are over all positive. The same picture emerges from interviews the panel had with students and graduates. The artistic director and core staff of every programme and graduation profile guarantee the quality of the educational learning environment. In regular consultations the study programmes, educational organisation and daily policy are discussed.

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Programme-specific facilities The programmes are situated in the building of De Theaterschool in the Jodenbreestraat in the centre of Amsterdam. The building contains two large theatres and 34 studios, all of high quality standard. Fourteen of these studios can also be used for presentations and small performances. Further facilities at the Theatre school include workshops for costumes and set design, a well equipped video studio, a professional sound studio and facilities for digital editing. To ensure that students can make maximal use of the facilities, the building is open from early morning till late at night, as well as on the weekends. The panel was impressed by the facilities, which offer a great learning environment and access to many resources. The AHK also provides students a website to guide them in their professional working field, www.beroepskunstenaar.nl. The site is informative and helpful, according to the panel. Considerations The content of both programmes is in line with the intended learning outcomes. The programmes made an adequate translation between competencies, courses and learning goals. The didactic concept is cyclic, development oriented and student centred which is appropriate for acquiring the competencies. The panel is positive about the careful admission procedure. Students get into contact with the professional field a lot, for example through the extensive use of leading (guest) teachers, and in other ways like the internships. The programmes are in all aspects well related with the professional field. The panel studied the bibliography of the programmes and generally states that basic works are present. The quantity differs between the graduation profiles, which is in line with the policy of AHK. The panel is positive about the quantity of literature in the Dance in Education programme, but the didactical, methodical and educational theory could be more profound. In general the level of the literature could be more demanding for students and more up to date. Therefore the panel is of the opninion that readers in both programmes should be updated. The programmes have developed a unique health programme, with pioneer status within vocational dance education. The panel is impressed with the amount of attention the programmes devote to the health and well-being of students. Students receive a lot of personal attention, as the panel learned in interviews with students and graduates. Students are positive about the amount of guidance they receive. The panel is impressed by the amount of renowned teachers/artists who teach at the different programmes, they are engaged and motivated. Students are also positive about their teachers. In general students are satisfied with the programmes as is shown by student satisfaction surveys. Concluding, the curriculum, didactics, staff and facilities are a coherent learning environment in which students can realize the intended learning outcomes. Based on above mentioned findings and considerations the panel judges both programmes as good.


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Standard 3

Assessment and achieved learning outcomes

The programme has an adequate assessment system in place and demonstrates that the intended learning outcomes are achieved. Findings Assessment system The assessment system is described in the documents Didactical concept and Examining policy June 2012 and in the Teaching and Exam regulations. The assessment system is characterized by the following principles: - Learning directed evaluation, an evaluatory approach of competency development through achievement of learning goals and progress. - Authentic evaluation, the assignments correspond with the actual vocational situation. - Integrated evaluation, all components are taken into consideration with the realization of the final qualifications and vocational perspective as a guide line. - Congruent evaluation, sequence of actions in a professional situation progress according to a plan, performance and evaluation/adjustment. In the evaluation procedure the same sequence is maintained. An over all remark in accordance to dance education in general is that the programmes constantly focus on results. The focus on results is not limited to a final evaluation of a study programme but a typical aspect of dance culture. Dancers and choreographers will be subjected to evaluations in critiques, articles, acquisitions, auditions, prizes and nominations. The programmes prepare students well during the curriculum for their role in the professional field by evaluating/assessing students constantly, according to the panel. Integrated competencie exams Twice annually, an integral competencie based evaluation takes place that focuses on the progress of the student. All teachers involved participate and discuss their evaluations of the students. Based on the evaluation form filled in by the artistic director and the study supervisor, which indicates to what extend the student already possesses the required competencies, a talk is held with the student to determine which competencies still need further attention. The results of this evaluation are stored in the individual student dossier. During the next semester evaluation, progress towards these individual goals is a major issue. After the evaluation adjustments will be made and the cycle is repeated. After the integrated competencie exam credits are awarded. Credits are awarded on the basis of participation during the whole semester in the light of the intended learning outcomes, and not per module or course. The panel studied the dossiers of seventeen students. In the dossiers the evaluation forms were added. The panel is positive about the procedure of evaluating students. The feedback is carefully laid down and clear to students. The dossiers differ in quality to an extent that is normal according to the panel. The students meet the final qualifications. The dossiers are drawn in accordance with the demands of the programmes.

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Propaedeutic exam At the end of the propaedeutic phase an integral sanctioned evaluation takes place. The student has to comply with the demands of the teaching and exam regulations and has to show enough progress in order to pursue the programme. If students don’t show enough progress in the first semester, they receive a formal warning. If at the end of the propaedeutic phase the student didn’t show improvement, it can be decided to expel the student from the programme (bindend negatief studieadvies). Extension by half a year of the propaedeutic phase is the other possibility. During this half year the student must show significant development in the designated competencies. Theory assessments The theory courses are assessed through written exams, work projects and presentations. The evaluation is based on criteria derived from the competencies and learning goals. The panel studied some theory exams and is of the opinion that in general the exams could be more demanding for students (standard 2). In case of Dance in Education, the panel is of the opinion that the didactical, educational and methodical theory could be more profound (standard 2). Because of the fact that these theory subjects are a substantial part of the programme according to the panel, they should be assesed more thoroughly. Evaluations of productions Productions are presented individually or in groups during the dance study programme. Evaluation of the productions focuses on the role (participation) and development of the student throughout the creative process and the achievement shown during the performance. Productions are evaluated by experts, for example teachers and external professionals, who collectively form an intersubjective assessment. The basis for the verdict concerns the quality of the results according to the choreographer and the production’s self generated learning goals and evaluation criteria. Also the quality of the group process, both creative and collaborative, is evaluated. The panel is positive about the amount of assessors who evaluate the productions. It guarantees a careful assessment. Evaluations of internships At the performing dance programmes the internship supervisor holds an interview with the student and supervisor of the internship at least twice annually in which the progress of the student is gauged and evaluated according to the learning goals. The student writes an internship report in which the ensemble, his own activities related to the internship goals, his own functioning, achievements and insights are described. Based on the internship report and the evaluation report filled in by the supervisor, a final evaluation meeting takes place between the student and the supervisor from the programme. The evaluation of the placement institute is taken into consideration, but the artistic director and internship supervisor are responsible for the final verdict. At Dance in Education a student is supervised by an internship mentor from the study programme. In his practical education the student is supported by an internship supervisor from the institute providing the internship. The student writes one reflection report per internship based on experiences and feedback of supervisors.


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The final evaluation is conducted to the learning and development lines, behavioural indicators and based on the reflection reports. The final responsibility for evaluation of the internships always lies with the study programme and concerns both pedagogical didactical aspects and artistic substantive components. During the graduation phase, students have a large say regarding the contents of their internship. They write a plan based on their individual interests and ambitions (400 hours practical education) that must be approved by the study programme in advance. The panel is positive about the way the programmes evaluate the internships. Satisfaction of students with the exam and evaluation procedures The panel studied the student satisfaction surveys about the exams and evaluations. On average students (JMD, MTD, NBA, SNDO) are very satisfied with for example insight in their development and clarity of evaluation criteria. Students Dance in Education are a little less enthusiastic, but the average score is sufficient. Fourth year students Dance in Education are less satisfied. During their study the programme switched from competencies to learning and development tracks. The confusion this caused is expressed in their score. In interviews with the panel students of both programmes are satisfied with the way they are assessed. Students appreciate the feedback they receive form teachers and examiners. Guarantee of the quality of assessments Because of the legal regulations regarding conflicts of interest, a new independent exam committee was installed in May 2011. Before, all artistic leaders together formed the exam committee. The current exam committee has no direct relations with the dance department. The artistic director of the programme guarantees the artistic level of the programme. The exam committee guarantees that the procedures described in the Teaching and Examining regulations are followed up. The panel studied the agenda and the action lists of the exam committee. The items on the agenda show that the main focus of the exam committee is on dealing with procedures and less on guaranteeing the bachelor level and the quality of the assessments in the different departments. For example: the test for assessing theoretical subjects is developed by the same teacher that grades the test results, there is no external party/teacher present. The ‘four eyes principle’ is not used with the theoretical assessments. In the interviews it became clear that the exam committee gave priority to training the members of the exam committee, examiners and to performing her legal tasks as to decide upon exemptions and the teaching and examining regulations. The exam committee has already investigated the way the bachelor level and the assessments are guaranteed in the departments (by checking graduation plans and graduation files). The panel is convinced that the exam committee is aware of the necessity to make quality traceable and transparent. The most recent action list shows that investigating the bachelor level and the assessment has the attention of the exam committee. The panel understands that the exam committee was only recently installed and could therefore not yet fullfill all the tasks. The panel would like to point out that the Wet versterking besturing (legal framework) is effective since September 2010.

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The panel had expected more from the exam committee in 2012. Regarding the time available for the exam committee to perform their tasks, the installation of an assessment committee might be a solution. The exam committee can grant authority by mandate for certain tasks. The panel is of the opinion that all departments need to improve on traceable guarantees of the quality of assessments and examinations. In general the panel is of the opinion that assessment criteria (for e.g. reflection and analysis) for individual students should be more objective than they are now. After assessing students the teachers are capable of giving good (written) feedback to students. But in order to make assessments more objective, the criteria should be clearer before the assesment is taken. Realisation of the intended learning outcomes The graduation agreement, compiled in the fourth year is central to the evaluation during graduation. All activities included in the plan/agreement must be passed satisfactory. This concerns participation in productions, study components, internships and other activities. As conclusion a meeting between the artistic director and the student is held together with one or more involved teachers. If possible the internship supervisor or another external supervisor/ guest teacher is invited. The evaluation committee consists of ‘outside eyes’ next to teachers of the programme. If all theory courses have been successfully completed and all other programme components are finalized, the student is awarded with his diploma. Performances and dossiers Dance The panel visited several performances of students (annex 5) and studied dossiers of seventeen students (seven Dance in Education and ten Dance). JMD The panel is positive about the quality of dance and music technique of students. The panel was nicely surprised by the creative dance choreographies. What is striking to the panel is that the dancers, although they differ in technical level and their own physical limits, show predominantly strong personalities and are movers with their own specific qualities and energy. By visiting the performances the panel was a bit confused about the name of the programme in the context of the professional field. The panel finds the programme to be more jazz/urban than musical oriented. The level of jazz/urban is sufficient and the musical level is moderate, although some students are very talented. MTD The level of the performances is judged as good by the panel. Compared to other programmes in Europe, this programme scores more than sufficient. The panel saw a lot of interesting approaches how to combine music, sound and dance. Students show a strong stage presence and have developed artistic personalities. They are capable of a high level of improvisation. Their range of movement qualities, performance presence and capability to adapt to different styles and choreographic methods is professional.


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NBA The performance qualities of the students are high and the level is comparable with dance programmes of other classical dance education institutions. The spectrum of choreographies ranges form classical and neoclassical over contemporary classical to folk dances. The whole range of choreographies during the programme has a very high level, according to the panel. SNDO The level of the performances shown was good. Most pieces had clear concepts, which were well transposed into movements and performance strategies and were performed with commitment. The reflectivity, concepts and creative motives are visible in the pieces. They show a large range of methods how to translate the ideas and concepts in a performance. Performances and dossiers Dance in Education The choreographies show that students are able to convert concepts into movement, using aspects of space and time. They know how to use divers compositional methods in their creations. These skills are relevant and necessary for students in the professional field. Students are able to communicate with the audience which is part of the skills needed to teach dance. The performances have a different character than the performing graduate profiles, but meet the aims of the programme. Professional field Students do well after their studies in the professional field. The professional field is positive about the students from AHK and students are awarded with well-known prizes. In the programme evaluations of fourth year students, they reflect on mastering the competencies on graduating and the programmes contribution to acquiring their competencies. Students of all programmes score more than sufficient at these components. In interviews graduates and students are also positive about the mastery of competencies and the contribution of the programmes to acquiring their competencies. In 2011 a survey was held among graduates from 2004 to 2007. The survey shows that graduate dancers, teachers and choreographers spend an average of 81% of their time working in the dance field. Graduates value the programme as sound basis for the professional field with 7,4 (scale 1-10). Considerations The panel appreciates the system of assessment that the programmes initiated. The programmes regularly monitor students by for instance semester assessments and during classes constantly. Several teachers and examiners are involved in assessing students, which guarantees an intersubjective grading. Those involved are quite capable to assess students. The feedback for the students is well organised, regulated and laid down. In general the panel is satisfied with the system of assessing students, but the assessment criteria (for e.g. reflection and analysis) for individual students could be more objective than they are now.

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The evaluation forms are based on criteria derived from the competencies and learning goals. The panel studied some theory exams and is of the opinion that in general the exams could be more demanding for students (standard 2). In case of Dance in Education, the panel is of the opinion that the didactical, educational and methodical theory could be more profound (standard 2). Because of the fact that these theory subjects are a substantial part of the programme according to the panel, they should be assesed more thoroughly. The panel is convinced that graduates all meet the bachelor level as is clear from the performances and dossiers. The level between the different graduate profiles differs. In general the level is sufficient up to very good. The panel is of the opinion that all departments need to improve on traceable guarantees of the quality of assessments and examinations. For example by the exam committee. The panel is convinced that the exam committee is aware of the necessity to make quality traceable and transparant, as shown in the most recent action plan. For the Dance programme the overall achieved level of students is very good, so the panel judges the programme good, despite the remarks made above. For the Dance in Education programme the overall level of students is satisfactory, futhermore the remark about the assessment of the theoratical component is more substantial for the panel, so it judges the programme satisfactory.


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3

Final judgement of the study programme

Assessments of the standards The panel comes to the following judgements with regard to the standards: Standard

Assessment Dance

1 Intended learning outcomes 2 Teaching-learning environment 3 Assessment and achieved learning outcomes

Good Good Good

Assessment Dance in education Good Good Satisfactory

Considerations and conclusion For the Dance in Education programme the standards 1 Intended learning outcomes and 2 Teaching-learning environment are assessed good and standard 3 Assessment and achieved learning outcomes is assessed satisfactory. In accordance with the regulations of the NVAO the panel assesses the quality of the hbo bachelor programme Dance in Education of the Amsterdamse Hogeschool voor de Kunsten as satisfactory. For the Dance programme the standards 1 Intended learning outcomes, 2 Teaching-learning environment and standard 3 Assessment and achieved learning outcomes are assessed good. In accordance with the regulations of the NVAO the panel assesses the quality of the hbo bachelor programme Dance of the Amsterdamse Hogeschool voor de Kunsten as good.


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4

Recommendations

The panel recommends the programmes to pay attention to: Standard 1 Intended learning outcomes - More clarity in the profile of JMD (see also standard 3). The creative point of view is very interesting, but the difference between jazz/urban and musical is not very clear. Standard 2 Teaching-learning environment - The didactical theory in the Dance in Education programme could be more profound. - The readers in both programmes should be updated Standard 3 Assessment and achieved learning outcomes - Theory assessments could be more demanding for students. - For Dance in Education the theory subjects be assesed more thoroughly. - Improving traceable guarantees of the quality of assessments and examinations.


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5

Annexes


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Annex 1:

Final qualifications of the study programmes

COMPETENCIES Dance I Vision The dancer has the capacity to acquire opinions and convictions regarding his discipline and feels an inner need to communicate these as visible products in dance (theatre) productions. II Creative capability The dancer is able to take concepts and artistic ideas of the choreographer and transform them into dance. III Collaborative ability The dancer has the ability to make an active contribution, in collaboration with others, towards a collective product or process. IV Communicative ability The dancer has the ability to communicate, fine-tune and justify his actions effectively and efficiently in different professional contexts both verbally and in writing. V Analytic ability The dancer has the ability to analyze artistic dance products and processes. VI Craftsmanship The dancer has the ability to use competently a wide range of instrumental skills and knowledge of craftsmanship in his dance performance. VII Entrepreneurship The dancer is capable of independently shaping a professional career within the dance world. VIII Orientation with regard to his surroundings The dancer can identify relevant factors in surrounding society and use them in dance(theatre) productions. IX Learning ability The dancer possesses the ability to learn and develop himself continually in the dance métier. X Reflective capacity The dancer is able to reflect on his own actions with a view to improving his performance. XI Innovative ability The dancer is able to explore possibilities, undertake research and experiment within his own discipline.


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COMPETENCIES SNDO I Vision The choreographer possesses the capacity to develop ideas and convictions with regard to the dance profession; by translating his vision into a choreography, he fulfils an inner need to communicate. II Creative capacity The choreographer possesses the capacity to deal creatively with intuitions, observations, impressions and emotions, to translate these into concepts and artistic ideas, and to make these visible in a choreography. III Collaborative capacity The choreographer possesses the capacity to collaborate with other parties involved (often multidisciplinary) to contribute actively to a shared product or process. IV. Communicative capacity The choreographer possesses the capacity to effectively and efficiently communicate, coordinate and account for his actions in various professional contexts, both orally and in writing. V. Analytic capacity The choreographer possesses the capacity to analyze artistic products and processes. VI. Craftsmanship The choreographer possesses the capacity to professionally apply a broad scope of instrumental skills and craftsmanship in works of dance VII. Entrepreneurship The choreographer possesses the capacity to independently shape a professional existence within the world of dance. VII Environmental orientation The choreographer possesses the sensitivity to identify and employ relevant and topical environmental factors within society in his dance works. IX Learning capacity The choreographer possesses the capacity to learn and continue to develop his dance skills. X. Reflective capacity The choreographer is able to reflect on his own actions and employ self-criticism to achieve better results. XI. Innovative capacity The choreographer possesses the capacity to identify possibilities, to undertake research and experiment within his own profession.

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XII. Organisational capacity The choreographer is able to organise the creative and productive process consciously, purposefully and effectively

COMPETENCIES Dance in Education I. Creative potential The teacher makes dance and dansante products that originate from adhering to a personal artistic vision and uses the creative process to further his teaching. II. Craftsmanship The teacher has the capacity to use his craftsmanship and a broad range of instrumental skills, efficiently and effectively. III. (Artistic)pedagogical ability The graduate teacher has the ability to create a safe and stimulating learning environment for pupils/course participants. IV. Didactic ability The teacher has the ability to initiate, design, teach and evaluate (art) education on the basis of an (art)oriented didactic vision. V. Operational ability The teacher has the ability to establish and maintain an inspiring and functional education situation for himself and others. VI. Collaborative ability On the basis of his own expertise and in collaboration with others, the teacher is able to contribute to dance-,art- and cultural education. VII. Communicative ability The teacher can effectively and efficiently use, present and clarify the interrelationship of his artistic, pedagogical and/or didactic vision. VIII. Reflective ability The aspirant teacher possesses the ability to reflect on, analyze, explain and evaluate his own (art) pedagogical and artistic accomplishments. IX. Capacity for growth and innovation The aspirant teacher has the ability to further develop and innovate his teaching career. X. Orientation towards social environment The aspirant teacher is able to recognize relevant factors in surrounding society and use them in his work as teacher.


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Annex 2:

Study programmes

Opleiding Docent Dans (gebaseerd op het programma van 2011-2012) 1e jaar

Dansthechnisch Cluster Klassieke dans (Junitha Plas) Moderne dans (Robin Berkelmans, Nicola Hepp, gast)

Dansmaken (Nita Liem) Begeleiding Dansmaken (Esther Eij, Danielle Halseman, Maxi Hill)

Conditie (Erzi Hoogveld)

Multiple Body (Nita Liem en gasten)

Choreografisch Cluster

Theoretisch Cluster Danstheorie Scriptie (Sylvia Slinger) Studievaardigheden dans & analyse (Lot Siebe) Studievaardigheden lespraktijk (jelle van der Leest)

Katelijne van Duffel, Marian Dors) Lespraktijk Algemeen (Junitha Plas, Jelle van der Jazz (Eddi de Bie, Improvisatie (Job Leest) Chesse Rijst) Cornelissen, gast) Begeleiding Basis Onderwijs Muziek en Dans (Josje Voorstellingen (uitvoerend (Jelle van der Leest, Jopie Neumann) en eigen werk) de Groot,

Dansgeschiedenis (Sylvia Slinger) Anatomie en Blessurepreventie (Ted Willemsen)

London Jazz (Levi Graham)

Dans en Gezondheid (Lobke Mienis)

Workshop impro / spel (Esther Eij) Workshop Floorbarre (Leila contactimprovisatie Kester) (Jacqueline de Vries) Workshop impro / dynamiek (Maxi Hill, Urban (Melvyn Fraenk) Esther Eij) Workshop conceptontwikkeling Somatic Movement (Danielle Halseman) (Rose Akras)

Totale Jaarbelasting

Pedagogisch Didactisch Cluster Stemtraining (Mariette Brinkman) Lespraktijk Basis Onderwijs (Jopie de Groot, Jelle van der Leest,

Suzanne Marx, Marian Dors) Begeleiding Dansmaken Methodiek / Didactiek (Jelle van der Leest,

Stage

Aanvullend onderwijs Evaluatie / Reflectie (Sylvia Slinger) Portfolio Opdrachten (Sylvia Slinger) Workshop video (afd. Beeldmedia) Workshop geluid / licht (afd. Beeldmedia) Workshop licht (afd. Beeldmedia) Individuele studiebegeleiding (Erzi Hoogveld, Jelle van der Leest)

Multiple Body (Nita Liem en gasten)

Junitha Plas) Ontwikkelingspsychologie (Saskia Sap) Multiple Body (Nita Liem en gasten)

1400 contacturen (excl. repetities eigen werk)


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2e jaar

Dansthechnisch Cluster Klassieke dans (Boris de Leeuw) Moderne dans (Job Cornelissen, Maria Ines Villasmil) Muziek en dans (Josje Neuman) Jazz dans (Elke Klein Goldewijk) Somatic Movement (Rose Akras) Physical fitness / warm-up (Aneudi Cabral, Ayaovi Kokousse) Urban dans (Melvyn Fraenk)

Pedagogisch Didactisch Choreografisch Cluster Cluster Projecttraining danstechniek (Marijke Ontwikkelingspsychologie Eliasbergen) (presentatie) (Saskia Sap) Begeleiding Dansmaken (Danielle Halseman, Maxi Hill, Elke Klein Goldewijk) Dansmaken improvisatie muziek en dans (Francisca Rijken, Job Cornelissen, muzikanten)

Multiple Body (Nita Liem) Voorstellingen (uitvoerend, eigenwerk)

Floorbarre (Leila Kester) West-Afrikaans (Ayaovi Kokousse)

Theoretisch Cluster Literatuurstudie (Saskia Sap, Jelle van der Leest)

Communicatie in de lespraktijk (Silvie Mellegem) Lespraktijk Voortg. Onderwijs (Jopie de Groot, Lot, Siebe)

Dansgeschiedenis (Sylvia Slinger) Dans & Analyse (Lot Siebe)

Lespraktijk Basisonderwijs (Jopie de Groot, Marian Dors, Susanne Marx, Jelle van der Leest, Saskia Sap)

Bewegingsleer (Lobke Mienis) Blessurepreventie (Marleen Grol, Erzi Hoogveld, gast)

Lespraktijk Algemeen (Sylvia Multiple Body (Nita Slinger, Junitha Plas, Liem) Melvyn Fraenk, gast) Lespraktijk (Maxi Hill, Josje Neuman, Saskia Sap, Melvyn Fraenk, Mariette Brinkman, gast) Begeleiding lespraktijk Voortg. onderwijs (Lot Siebe, Jopie de Groot) Lespraktijk jongerencultuur / Stadsroute (Rekha Sietaram, Josje Neuman) Stadsroute (Nita Liem, gast) Multiple Body (Nita Liem)

Stage Begeleiding interne stage (Lot Siebe, Chesse Rijst, Elke Klein Goldewijk, Junitha Plas, Maxi Hill Josje Neuman, Saskia Sap, gast) Begeleiding stage Basisonderw. (Jelle van der Leest, Jopie de Groot, Susanne Marx, Marian Dors)

Interne stage

Aanvullend onderwijs Begeleiding onderzoek en Essay (Lot Siebe) Licht & Geluid (beeldmedia) Evaluatie / Reflectie (Sylvia Slinger) Video / Portfolio (Sylvia Slinger) Studiebegeleiding (Maxi Hill)

Afstudeerplan (gast)

stage basisonderwijs

Totale 1187 contacturen Jaarbelasting (exclusief repetities eigen werk en stage)

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3e jaar

Dansthechnisch Cluster

Choreografisch Cluster Projecttraining danstechniek (Robin Klassieke dans (Simon de Mowbray) Berkelmans) Afro-conditie (Ayaovi Kokousse) Stem-spel (Jodi Bart) Begeleiding dansmaken Jazz (Eddi de Bie, amateurs (Francisca Chesse Rijst) Rijken, Modern (Robin Berkelmans, Jacqueline de Matthew Kelly Vries, gast) Roman) Urban dans (Jake Impenge) Horton (Henny Kamerman, gast) Somatic Movement (Bettina Neuhaus)

Begeleiding dansmaken eigen werk (Maxi Hill, Francisca Rijken, Jopie de Groot, Jacqueline de Vries) Dansmaken Kerstvoorstelling (John Wooter)

Pedagogisch Didactisch Cluster

Theoretisch Cluster

Motorisch leren (Andrea Scharli)

Stage

Aanvullend onderwijs

Dans & Analyse (Lot Siebe) Literatuurstudie Methodiek kind (Jelle van de (Saskia Sap, Jelle van der Leest) Leest)

Stage Orientatie (Josje Neuman, Gast) Begeleiding Stageorientatie (Josje Neuman, Gast)

Afstudeerplan (gast) Begeleiding afstudeerplan (Gast, Jopie de Groot)

Lespraktijk Communicatie (Sylvia Slinger)

Community Art (Funmi Adewole)

Stage Dansscholen (vakdocenten)

Begeleidng onderzoek en Essay (Lot Siebe)

Methodiek Urban (Melvyn Fraenk)

Multiple Body (Nita Liem)

Stage Voortgezet onderwijs (Jopie de Groot, Lot Siebe)

Methodiek dansmaken (Bettina Neuhaus) Methodiek Klassiek (Junitha Plas) Methodiek modern (Josje Neuman)

Mentor-uren (mentoren) Module Istanbul en Istanbul reis (Lot Siebe)

Methodiek Jazz (Chesse Rijst) Begeleiding lespraktijk dansscholen (Saskia Sap, Multiple Body (Nita Liem) Junitha Plas, Voorstellingen Josje Neuman, (uitvoerend, dansmaken Chesse Rijst, Melvyn met amateurs) Fraenk, Viewpoints (Jacqueline de Jake Impenge, Vries) gast) Lespraktijk Voortg. Onderw. (Jopie de Groot, Lot Siebe) Begeleiding lespraktijk Voortg. Onderw. (Jopie de Groot, Lot Siebe) Multiple Body (Nita Liem) Totale 1170 contacturen (excl. repetities dansmaken Jaarbelasting met amateurs en stages)


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4e jaar

Dansthechnisch Cluster Technieklessen in overleg met studenten*

Choreografisch Cluster Dansmaken met amateurs (Job Cornelissen,

Theoretisch Cluster Zakelijke voorbereiding beroepspraktijk (Lot Siebe)

Stagebegeiding (Lot Siebe, Jocelyn Bergland,

Afstudeergesprekken (Jopie de Groot, Josje Neuman,

Francisca Rijken)

Special EHBO (gast)

Josje Neuman, gasten)

gasten) mentor-uren (Josje Neuman)

Dansmaken eigen werk Eindpresentatie

Totale Jaarbelasting

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Pedagogisch Didactisch Cluster

Stage

Stages 4e jaar


247 contacturen (excl repetities dansmaken eigen werk, dansmaken met amateurs, en stages)


Opleiding Jazz en Musicaldans (gebaseerd op het programma van 2011-2012) 1e jaar

Geïntegreerde dans-, zang-, en spelvaardigheidstraining

Performance Cluster Repetities eerste- en Klassieke dans (Boris de eindejaarsproducties (gasten) Leeuw, Peter Koppers) Jazz / Mordern Jazz (Eddi de Eerste- en Bie, Gerleen Balstra) eindejaarsvoorstellingen Prestatievoorstellingen Jazz / urban (Melvyn Fraenk) en -presentaties Moderne dans (Bart Sluijs) Tap / bodybeats (Ruth Roosendaal) Spel (Agnieta den Hartog, gast) Stem en Beweging (Bart-Jan te Boekhorst, Mariette Brinkman) Tekstinterpretatie (Mariette Brinkman) Improvisatie / Contactimprovisatie (Jacqueline de Vries, Agnieta den Hartog, Gerleen Balstra) Workshops zang, dans en spel (Bart Kienen, Roos van Berkel, Juste Debout, Marco Braam, etc.)

Cluster Prestaties Coaching algemeen (gast) Coaching prestatie (Eddi)

Theorieonderwijs, Zelfstudie en Portfolio

Solfège (Marco Braam) Workshop leren-leren (Gerleen Balstra) Anatomie en blessurepreventie (Ted Willemsen, Coaching zang (Ad Marleen Grol) van Dijk) Coaching spel Dansgeschiedenis / (Agnieta den Hartog, theorie (Sylvia Mariette Brinkman) Slinger) Coaching spraak Coaching dantheorie (Mariette Brinkman) (Sylvia Slinger) Prestatietheorie Coaching Modern Jazz (Gerleen Balstra) (Sylvia Slinger) Coaching Musical Rep. (Bart-Jan te Speltheorie (Agnieta Boekhorst) den Hartog) Coaching compositie Digitaal portfolio Me(alle coaches) Volution (tutoren)


Stage

Aanvullend onderwijs Begeleiding Tutor

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Koorzang en individuele zangcoaching (zangteam*) Conditietraining (Erzi Hoogveld, Ayaovi Kokousse, Marlies Kormann) Yoga (Joshua Marin-Hepfl) Totale 1244 contacturen Jaarbelasting (excl. voorstellingen en (coaching) prestaties)

2e jaar

Geïntegreerde dans-, zang-, en spelvaardigheidstraining Klassieke dans (Tamara Beudeker, Anil van der Zee) Jazz (Gerleen Balstra, Bart Sluijs, Erwin Theunissen)

Performance Cluster Repetities eindjaarsvoorstelling (gasten)

Cluster Prestaties

Coaching algemeen (gast) Coaching prestatie Eindejaarsvoorstellingen (Eddi) Prestatievoorstellingen Coaching zang (Ad Horton (Henny Kamerman) en -presentaties van Dijk) Coaching spel Jazz (Gerleen Balstra, Bart (Agnieta den Hartog, Sluijs) Mariette Brinkman) Jazz / urban (Melvyn Fraenk, Coaching spraak John Agesilas) (Mariette Brinkman) Tap / bodybeats (Ruth Coaching Modern Roosendaal) Jazz (Gerleen Balstra) Coaching Musical Rep. (Bart-Jan te Spel (Agnieta den Hartog) Boekhorst) Koorzang en individuele Coaching compositie zangcoaching (zangteam*) (alle coaches) Workshops zang, dans en spel (Bart Kienen, Roos van Berkel,

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Theorieonderwijs, Zelfstudie en Portfolio Solfège (Marco Braam) Coaching dantheorie (Sylvia Slinger) Prestatietheorie (Sylvia Slinger)

Stage

Aanvullend onderwijs Begeleiding Tutor

Digitaal portfolio MeVolution (tutoren)


Juste Debout, Marco Braam, etc.) Conditietraining (Aneudi Cabral) Pilates (Marlies Kormann, Erzi Hoogveld) Yoga (Joshua Marin-Hepfl) Improvisatie / Contactimprovisatie (Agnieta den Hartog, Gerleen Balstra) Totale 1200 contacturen Jaarbelasting (excl. voorstellingen en (coaching) prestaties)

3e jaar

Geïntegreerde dans-, zang-, en spelvaardigheidstraining Performance Cluster Repetities Klassieke dans (Peter eindjaarsvoorstelling Koppers, Simon de (gasten) Mowbray) Jazz (Eddi de Bie, Gerleen Balstra) Jazz / house (John Agesilas, gast) Horton (Henny Kamerman) Musical (gast) Tap / bodybeats (Ruth Roosendaal) Koorzang en individuele zangcoaching (zangteam*)

Cluster Prestaties Coaching algemeen (gast)

Coaching prestatie Eindejaarsvoorstellingen (Eddi) Prestatievoorstellingen Coaching zang (Ad en -presentaties van Dijk) Coaching spel (Agnieta den Hartog, Mariette Brinkman) Coaching spraak (Mariette Brinkman) Coaching Modern Jazz (Gerleen Balstra) Coaching Musical Rep. (Bart-Jan te Boekhorst)


Theorieonderwijs, Zelfstudie en Portfolio Coaching dantheorie (Sylvia Slinger) Prestatietheorie (Sylvia Slinger) Digitaal portfolio MeVolution (tutoren)

Aanvullend Stage onderwijs Stagebegeleiding (Eddi de Bie, Ad van Begeleiding Tutor Dijk) Zakelijke voorbereiding op de beroepspraktijk (Tanja de Nijs) afstudeerplan

Portfolio presentatie

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Coaching compositie (alle coaches)

Spel (Agnieta den Hartog) Compo / Impro (Vincent Verburg) Totale Jaarbelasting

582 contacturen (excl. voorstellingen en (coaching) prestaties)

4e jaar

Geïntegreerde dans-, zang-, en spelvaardigheidstraining Lesprogramma 3e jaar indien niet op stage Individuele zangcoaching (Ad van Dijk, Liesbeth en Roel, Marco Braam, Mariette Brinkman)

Totale jaarbelasting

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Performance Cluster

Cluster Prestaties

Theorieonderwijs, Zelfstudie en Portfolio

Stage Stagebegeleiding (Eddi de Bie, Ad van Dijk)


Stage

Individueel programma


Nationale Balletacademie (gebaseerd op het programma van 2011-2012) 1e jaar

Dansthechnisch Cluster Klassieke Dans - meisjes (Joanne Zimmermann) Klassieke Dans - meisjes / jongens (Grisha Chicherin) Klassieke dans - jongen (Grisha Chicherin) Spitzentechniek (Laurence Korsentie, Joanne Zimmermann) Repertoire / Variaties meisjes (Nathalie Caris) Coaching / Variaties jongens (Grisha Chicherin) Pas-de-deux (Rinat Gizatulin) Pas-de-deux / repertoire (Rinat Gizatulin, Nathalie Caris) Moderne dans (gasten) Workshops (gasten)


Performance Cluster

Workshops (gasten) Repetities voorstellingen (docenten en gasten) HNB Repertoire (gasten)

Dansondersteunend Cluster Krachttraining jongens (Sefton Clarke) Zelfstandig trainen / dansgezondheid (Lobke Mienis) Pilates (Leila Kester)

Voorstellingen school en HNB

Theoretisch Cluster Stage Dansgeschiedenis / theorie (Nancy de Stagebegeleiding Wilde) (Hlif Svavarsdottir) Scriptiebegeleiding Dansgeschiedenis (Nancy de Wilde) Muziektheorie (HanLouis Meijer) Anatomie / blessurepreventie (Ted Willemsen)

Aanvullend onderwijs Studiebegelei ding (Hlif Svavarsdottir)

1085 contacturen (excl. Voorstellingen)


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2e jaar



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Performance Cluster



Theoretisch Cluster Stage Dansgeschiedenis / theorie (Nancy de Stagebegeleiding Wilde) (Hlif Svavarsdottir) Scriptiebegeleiding Dansgeschiedenis (Nancy de Wilde) Stage Muziektheorie (HanLouis Meijer)



1085 contacturen (excl. Voorstellingen en stage)


3e jaar



Performance Cluster



Theoretisch Cluster Stage Dansgeschiedenis / theorie (Nancy de Stagebegeleiding Wilde) (Hlif Svavarsdottir) Scriptiebegeleiding Dansgeschiedenis (Nancy de Wilde) Stage Muziektheorie (HanLouis Meijer)



1085 contacturen (excl. voorstellingen en stage)


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Schematische weergave opleidingstraject Young Bachelor Ballet 20 tot 21 jr 19 tot 20 jr 18 tot 19 jr 17 tot 18 jr 16 tot 17 jr 15 tot 16 jr 14 tot 15 jr 13 tot 14 jr 12 tot 13 jr 11 tot 12 jr 10 tot 11 jr

1

HAVO 5 HAVO 4 3e brugklas 2e brugklas 1e brugklas groep 8 groep 7

HNB Nxt of ander werk NBA HBO 4 / Nxt / of andere stage NBA HBO 3 NBA HBO 2 NBA HBO 1 vooropleiding 6 vooropleiding 5 vooropleiding 4 vooropleiding 3 vooropleiding 2 vooropleiding 1

afstudeerjaar

propedeusejaar

1

In principe wordt de dansopleiding gecombineerd met de havo. Alleen leerlingen die een overtuigend vwo profiel hebben kunnen hun vooropleiding combineren met het vwo. Het is onze ervaring dat veel vwo leerlingen grote moeite hebben om de combinatie school / dans te bolwerken. Op de havo is dat veel minder het geval. Havo leerlingen die onverhoopt niet toetreden tot het HBO kunnen vanzelfsprekend alsnog naar het vwo, zodat alle mogelijke vervolgstudies nog voor hen open liggen, zowel binnen het HBO als binnen het wetenschappelijk onderwijs. 52/79


Opleiding Moderne Theaterdans (gebaseerd op het programma van 2011-2012) Dansthechnisch Cluster Performance Cluster 1e jaar Klassieke dans (Junitha Plass, Tamara Repertoire (Helga Beudeker, gastdocent) Langen) Hedendaagse dans (Helga Langen) Hedendaagse dans (Vivianne Rodrigues de Brito) Hedendaagse dans (gastdocenten) Improvisatie / exploratie (Ria Higler) Contactimprovisatie / partnering (Vivianne Rodrigues de Brito) Improvisatie (Maria Inez Villasmil) Movement research (Heidi Vierthaler) Physical Theatre (Jodi Gilbert) Totale jaarbelasting

Dansondersteunend Cluster

Theoretisch Cluster

Dansgeschiedenis / Conditie (Erzi Hoogveld) theorie (Nancy de Wilde) n.v.t. Floor barre / Alexandertechniek Repertoire Club Guy & Muziektheorie (Rombout Roni (gast) (Helga Lange) Willems) Anatomie en Repertoire Emio Greco Movement analyses blessurepreventie (Ted (gast) (Roos van Berkel) Willemsen) Performance Integration Dans en Gezondheid (Angela Linssen) (Derrick Brown) Begeleiding paper Dans en Gezondheid (Lobke Solo coaching (Heidi Mienis, Danielle Vierthaler) Halsema)

Stage

Aanvullend onderwijs Studiebegeleiding (Det Rijven)

Repetities voorstellingen (gasten) Voorstellingen

1353 contacturen (excl. Voorstellingen)


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2e jaar

Dansthechnisch Cluster Klassieke dans (Simon de Mowbray, Tamara Beudeker) Hedendaagse dans (Angela Linssen) Hedendaagse dans (John Taylor) Hedendaagse dans (Vivianne Rodrigues de Brito) Hedendaagse dans (gastdocenten) Hedendaagse dans / Emio Greco (gast) Contactimprovisatie / partnering (John Taylor) Workshops (gastdocenten / choreografen)

Performance Cluster


Theoretisch Cluster

Dansgeschiedenis / Conditie (Erzi Hoogveld) theorie (Nancy de Wilde) Scriptiebegeleiding Repertoire Forsythe Gyrokinese (Angela Dansgeschiedenis (Nancy de Wilde) (Heidi Vierthaler) Linssen) Performance Integration Movement analyses Muziektheorie (Rombout (Angela Linssen) (Roos van Berkel) Willems) Alexandertechniek Dans en Gezondheid (Helga Langen, Compositie (Liat (Derrick Brown) Hildegard de Baets) Waysbort) Physical Theatre (Jodi Gilbert) Repertoire Emio Greco (gast) Repetities voorstellingen (gasten) Repertoire Club Guy & Roni (gast)

Stage

n.v.t.

Aanvullend onderwijs Studiebegeleiding/ coaching (John Taylor) Mentor (John Taylor) Debating (Ola Macievska)

Voorstellingen

Totale 1470 contacturen jaarbelasting (excl. Voorstellingen)

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3e jaar

Dansthechnisch Cluster Klassieke dans (Simon de Mowbray, Heidi Vierthaler en gast) Hedendaagse Dans (Keren Levi) Hedendaagse Dans (Martin Sonderkamp) Hedendaagse dans (Angela Linssen) Hedendaagse dans (John Taylor) Hedendaagse Dans (Jeanine Durning) Hedendaagse Dans (Liat Waysbort) Hedendaagse Dans (Eva Karczag, Vicky Shick) Hedendaagse Dans (Marta Coronado) Hedendaagse Dans / Emio Greco (gast) Contactimprovisatie (Vivianne Rodrigues de Brito, Martin Sonderkamp)

Performance Cluster Repertoire Club Guy & Roni (gast) Workshop Emio Greco (gast) Workshop de Keersmaeker (Marta Coronado) Performance Integration (Angela Linssen) Compo / Impro (Kathy Duck) Physicality (Liat Waysbort)

Dansondersteunend Cluster Dans en Gezondheid (Derrick Brown) Gyrokinese (Angela Linssen) Alexandertechniek (Helga Langen, Hildegard de Baets)

Theoretisch Cluster

Stage


Muziektheorie (Rombout stagebegeleiding Concept / context Willems) (John Taylor) (Ola Macievska) Mentor (Angela Linssen)

Compositie (Keren Levi) Budo techniek (Amy Raymond) Drama (Grainne Delaney) Repetities voorstellingen (gasten)

Voorstellingen

Totale 1510 contacturen jaarbelasting (excl. Voorstellingen)


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4e jaar

Dansthechnisch Cluster lessen moderne dans / improvisatie (met derde jaar, of buitenschools*)

Performance Cluster Repetities afstudeerproject (gasten) Presentatie afstudeerproject


Theoretisch Cluster Stage Scriptiebegeleiding Stagebegeleiding Muziektheorie (Rombout (Angela Linssen Willems) en John Taylor) Ten minste 13 weken stage in binnen- of buitenland Afstudeer- en stageversslag


Totale 345 contacturen jaarbelasting (excl. stage en voorstellingen)

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School voor Nieuwe Dansontwikkeling (based on 2011-2012 programme) Movement Researche 1e jaar and Technique

Yoga (Nora Heilmann) Alexander technique (Gonnie Heggen, Uli Neumann) Physical Fitness (Erzi Hoogveld) Movement Researche (Gonnie Heggen, Matej Kejzar, Nora Heilmann, Ria Higler) Contemporary technique (Jeanine Durning, Matej Kejzar, guest) Classical dance (Heidi Vierthaler) West-African dance (Ayaovi Kokousse) Technique & improvisation (Kirstie Simon)

Choreography Introduction to Choreography (Ria Higler) Concept Development (Gabriel Smeets, Felix Ritter, Jeroen Fabius) Choreography (Robert Steijn, Jeanine Durning, Bruno Listopad, David Zambrano, Nicole Beutler, Kirstie Simson) Choreography and objects (Frans Poelstra) Artist in Residence: Benoit Lachambre Outside eye (feedback, guest)

Performance Performance integration (Ria Higler, Dennis Gillanders) Performance advise (Gabriel, docent naar keuze)

Theory Dance History (Jeroen Fabius) Performance Analyses (Lot Siebe)

Performance reflection (Gabriel Smeets)

Dramaturgy (Felix Ritter)

Performance Evaluation (Ria Higler) Mentoring Performance (Ria Higler)

Creative Writing (Isabella Steenbergen) Dance & Health Anatomy (Ted Willemsen)

SNDO 1 festival SNDO performance project Something Raw Festival: Benoit Lachambre

Internship

Aanvullend onderwijs Mentoring (individual and group, Ria Higler) Basic light (Paul Bruinsma) Basic camera and editing (Paul van der Ploeg) Hearing rhythm (Michael Vatcher)

Dance & Health Nutrition (Elke van der Pol)

Totale 1547 contact hours jaarbelasting (excl. rehearsals and performances)


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2e jaar

Movement Researche and Technique

Alexander technique (Uli Neumann) Movement researche (Heidi Vierthaler, Jeanine Durning, Gonnie Heggen, Ria Higler) Yoga (Anna Kittelman, Nora Heilmann) Contemporary technique (Maria Ines Villasmil) Physical Fitness (Erzi Hoogveld) Body Weather (Katarina Bakatsaki) West-African dance (Ayaovi Kokousse)

Choreography Introduction to choreography (Felix Ritter) Concept development (Bojana Cvejic, Kate Bornstein) Choreography (Benoit Lachambre, Kirsty Simson) Improv. / Flying Low (David Zambrano) Dance in Camera (Maria Ines Villasmil,Karel Doijng), Ward ten Voorde) Choreography Gender (Gonnie Heggen) Lecture Gender (Kate Borgstein) Rework your Piece (Igor Dobricic) Choreography (Katie Duck) Outside eye (feedback, guest)

Performance

Theory

Performance integration (Dennis Gillanders, Felix Ritter) Performance advising (Gabriel Smeets, docent naar keuze)

Reflection (Susan Youssef)

Mentoring Performance (Felix Ritter) Something Raw Festival: Benoit Lachambre

Socratic Conversations (Gabriel Smeets, guest) Art & Society (Jeroen Fabius)

SNDO2 performances IT's Festival Performances

Narration & editing (Susan Youssef)

Internship

Aanvullend onderwijs Mentoring (individual and group, Felix Ritter)

Gender Theory (Bojana Cvejic)

Totale 1337 contact hours jaarbelasting (excl. rehearsals and performances)

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3e jaar

Movement Researche and Technique

Classes of choice from 1st and 2nd year programme Contemporary technique (Keren Levi) Social Dance (Ibrahim Quraishi) Body Weather (Katarina Bakatsaki)


Choreography

Improv. / Flying Low (David Zambrano) Choreography (Kirstie Simson) Outside eye (feedback, guest)

Performance

Performance Advising (guest) Outside eye programme 1 (guest) Outside eye programme 2 (guest) Outside eye programme 3 (guest) Mentoring Performance (Igor Dobricic) Performance 3 for MTD Something Raw Festival: Benoit Lachambre SNDO3 Festival

Aanvullend onderwijs Mentoring Stagebegelei- (individual and Dance business 1, 2, and ding (Gonnie group, Igor Dobricic) 3 (Lot Siebe) Heggen) Injury Prevention (Erzi Hoogveld, Marleen Grol) Dance Preparation (Erzi Hoogveld, Marleen Grol) Essay Writing (Igor Dobricic) Dramaturgy (Igor Dobricic) Theory

Internship

Depending rehearsal schedules, length of work proceses, choice of technique classes, etc.


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4e jaar

Movement Researche and Technique Classes of choice from 1st and 2nd year programme Movement Analyses (individual, Gonnie Heggen) Movement Analyses (group, Gonnie Heggen)

Choreography

Performance

Advisors Choreography (guests)

Mentoring performance (Gonnie Heggen)

Outside eyes (guests)

Performance Frascati, Het Veem, Melkweg

Theory Dramaturgy (Igor Dobricic, Robert Steijn)

Aanvullend Internship onderwijs Stagebegelei ding (Gonnie Tutor final writing Heggen) (Jeroen Fabius) Mentor (individual, group, Gonnie Heggen) Stage

Performance Berlin Graduation Performances Melkweg

Depending on the internship, rehearsal schedules, length of work Totale proceses, choice of jaarbelasting technique classes, etc.

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Annex 3:

Expertise members audit panel and secretary

Additional information concerning panel members and secretary:

Mr J.P.L.M. van Meel, chairperson Mr Van Meel has primarily been asked due to his expertise in the field of dance. Through his consultancy company he is employed among others as advisor and leader of productions (see below). In addition he gives lectures and is visiting lecturer. He has work experience as dance teacher and choreographer in Art Education and in the education sector. Though his consultancy company he is closely involved in the current developments in the field of dance and dance teachers. He has international expertise through his chairmanship of the Dance Section European League of Institutes of the Art (ELIA); his work at Universität der Künste Berlin and the Royal Scottish Academy in Glasgow; the construction of internationalisation at the Dansacademie Lucia Marthas/Hanze Hogeschool. Mr Van Meel is familiar with the accreditation system based on previous audit visits and work experience. He has been individually briefed on the audit visit process, accreditation in higher education and NQA’s working method. Education: 1973 – 1976 1964 – 1968

Theatre school Amsterdam, education teacher Dance expression Pedagogic Academy, education teacher Primary Education

Work experience: 2008 – present Van Meel Consultancy dance, art, education. Advising and production a.o.: 2012 Artistic Director Production “Harvest Time” Floriade 2012 (in cooperation with India, Ghana, Kenya and Brazil) 2012 Producer Opening Floriade 2011 – 2015 Intendant Dance Erasmus House / Neth. Embassy Jakarta 2011 Chairman CommitteeKnowledge Dans Teacher (Kennisbasis Docent Dans) (HBO-Raad) 2010 – 2011 Advisor Dance Department Universität der Künste Berlin 2010 Advisor India Festival Tilburg 2010 – present Programmer Dance Festival Mundial Tilburg 2010 – present Construction internationalisation Dance Academy Lucia Marthas Amsterdam / Hanze Hogeschool / Groningen Member Artistic Board Dance House Station South in Tilburg Member Advisory Committee for Curriculum reform Royal Scottish Academy of Music and Drama Glasgow Member Development Group of the annual Choreographic Talent week Tilburg Dance city Lectures/guest lectures at different places among others University Maastricht and Guangzhou - China 2008 – 2009 Chairman Accreditation Dance Artesis Hogeschool Antwerpen (via VHLORA) 2007 – present Advisor Dance Fund Podium Art The Hague 1997 – 2008 Artistic leader of the International Fontys Dance Festival (a festival for dance students / educations at Europe - Asia - Africa) 1989 – 2008 Director, Fontys Dance Academy


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1978 – 2008 1968 – 1977

Others: 1998 – 2008 1996 – 2008

Teacher for dance, methodology dance, theory dance and art philosophy at Fontys Dance Academy Teacher Primary school in Oudenbosch, Sassenheim, Rucphen Teacher hbo dance and writing education Pedagogic Academys at Oudenbosch and Etten Leur Employee at SLO Enschede (dance, mime and drama)

Chairman consultation Dance Academy in the Netherlands Chairman Dance Section European League of Institutes of the Art

Prof. D. Heitkamp Professor Heitkamp has primarily been asked due to his professional area of expertise in the domain of dance and choreography. He is a professor for contemporary dance at the University for Music and Performing Arts Frankfurt am Main and director of the Department for Contemporary and Classical Dance| ZuKT. Parallel, he is on the Board of Directors of Tanzlabor_21/ Tanzbasis Frankfurt_ Rhein_Main since 2006 and in 2009 he initiated the interdisciplinary research platform THE ARTIST’S BODY tab.hfmdk-frankfurt.info. Over 30 years he has been involved with studying, teaching and performing Contact Improvisation (CI). His ongoing interest in developing and documenting CI as a social dance form and a choreographic tool took a new direction, with contactencyclopedia.net, which he developed in cooperation with Norbert Pape supported by the HfMDK Frankfurt a.M. Professor Heitkamp was a founding member of the German Forum for Contemporary Dance in the 90ies, is a member of ITI Germany, the Hessian Theater Academy (HTA) ID_Frankfurt/ Independent Dance, Bundesverband Tanz in Schulen, Gesellschaft für Tanzforschung, tanzmedizin Deutschland and also worked as curator for Tanzplan Deutschland, Fonds Darstellende Künste and Kunststiftung NRW. Professor Heitkamp has wide international knowledge of higher education and educational processes based on his qualifications and work experience. He has been individually briefed on the audit visit process, accreditation in higher education and NQA’s working method. Education 1985 1980 – 1984 1977 – 1981 1977 – 1979 since 1977

Grant from the city of Berlin to study dance in New York City (2 months) Studied Visual Arts at the University of Arts (HdK Berlin) class Dieter Appelt Studied Physical Education at the Free University Berlin Studied Biology at the Free University Berlin. He started his dance education. Studied Contact Improvisation, followed by various modern dance techniques, release and alignment techniques and Body-Mind Centring.

Work experience 2012 Artistic Director of the 3. Dance Education Biennale 2012 Frankfurt am Main, AK|T Speaker 2007 Founding Member of Bundesverband “Tanz in Schulen” 2006 – present Member of the Board of Directors of Tanzlabor_21/ Tanzbasis Frankfurt_ Rhein_Main 2004 – 2008 Dean FB3 Performing Arts HfMDK Frankfurt 2001 – present Professor for contemporary dance at the University for Music and Performing Arts Frankfurt a.M. and director of the Department for Contemporary and Classical Dance| ZuKT 1998 – 2001 Vertretungs Professur auf die C4 Professur von Prof. Egbert Strolka (Director of the Dance Department of HfMDK from 1961 –1998)

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1996 1978 – 1998

1988 –1994 1991 & 1992 1990 & 1991

President of the Jury Choreography” Pepinières européennes pour jeunes artistes" Choreographer, dancer, teacher, collective member and one of the artistic directors (until 1995) at Tanzfabrik Berlin. Guest choreographer for Ballet Frankfurt / „Pizza Girl“, choreographed two theatre productions (Peter Palitzsch, Holger Schulze) at Freie Volksbühne Berlin and made works for Video and TV. In 1997 he created both the choreography and the set design for „Le Disperazioni del Signor Pulcinella“, a ballet by Hans Werner Henze, for the State Opera Berlin. Member of the Board of Directors of the TanzWerkstatt "Dance in August"-Festival. 1 Organisation of video dance projects for “Olympia Werkstatt” Berlin Organisation of video dance projects at the Summeracademy Film & Media Akademie der Künste Berlin

Dance Education 1978 – 84 Tanzfabrik Berlin: Classes in Modern Dance, Tanzimprovisation, Contact Improvisation, Centering, Tanz und Atem, Ballett. Teachers: Jacalyn Carley, Christine Vilardo, Leanore Icksatdt, Fred Holland, Reinhard Krätzig, Sygun Schenck, Heidrun Vielhauer, Mikael Honesseau 1979 Classes and Workshops: Modern Dance > Douglas Dunn, NYC / Modern Dance and Improvisation > Harry Streep, NYC / Modern Dance > Garry Reigenborn, NYC / Contact Improvisation > Danny Lepkoff, NYC / Improvisation > Hellmut FrickeGottschildt, Tempel University, Philadelphia / Modern Dance > Karen Bamonte, Tempel University, Philadelphia / Improvisation > Terry Fox and Ishmael HoustonJones, Philadelphia 1980 Masterclasses and Workshops: Modern Dance > Bella Lewitzky, LA/ Contact Improvisation > Bob Rease & Ernie Adams, San Francisco 1981 Masterclasses and Workshops: Dance Technique and Improvisation > Kei ta Kei, NYC / Contact Improvisation and Performance > Bob Rease, San Francisco / Dance Therapy > Kedzie Pennfield. Scottland / Dancing Base > Brynar Mehl, San Francisco / Sound and Movement > Byron Brown, San Francisco / Contact Improvisation > Andrew Warshaw and Sara Shelton-Mann, San Francisco 1982 Classes: Modern Dance, Garry Reigenborn, NYC / Skinner Releasing > Bruno Stefanoni, Seattle 1983 Intensive workshops: Modern Dance and Improvisation > Pauline de Groot, Amsterdam / Contact Improvisation > Nina Martin, NYC / Performance > Yoshiko Chuma, NYC / Performance > Poo Kaye, NYC 1984 Intensive workshops: Hellmut Fricke-Gottschildt (Phladelphia) and Maja Lex (Köln), AdK Berlin “Ausdruckstanz-Erinnerung mit Zukunft” 1985 Classes: Modern Dance > Mikael Honesseau / Body Mind Centering, Skeletal System and Developmental Movement > Gail Turner, Amherst 2 monatiges Arbeitsstipendium des Berliner Senats für NYC: Tap Dance > Jackie Shue / Stepp > Judy Ann Bassing / Voice lessons > Carol Swan / Limon Technique > Janie Brendel / New Dance > Stephen Petronio / Aikido > Ki Society / Contact Improvisation > Robin Feld 1986 Intensive workshops: Contact Improvisation > Danny Lepkoff, NYC / Trance-Dance > Kaye Hoffmann, München / Modern Dance > Regina Baumgart, Berlin / Body MindCentering, Organ System > Gail Turner, Amherst / Contact Improvisation > Nancy Stark Smith, USA


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1987

1988 1989 1990 1991 1992

1993 1994 1995

Classes and Intensive workshops: Hawkins Technik > Helen Pelton, USA / Rhythm and Dance Reinhard Flatischler, BRD / Modern Dance > Hellmut Fricke Gottschildt, Philadelphia / Limon Technique > Jean Jasko, Schweden / Modern Dance > Josef Tmim, Israel Classes: Limon Technique > Janie Brendel, NYC / Limon Technique > Alex Dolcemascolo, NYC Classes: Release Technique > Irene Hultman, USA Classes: Release Technique > Irene Hultman, USA Classes: Release Technique > Irene Hultman, USA / Body Mind-Centering > Vera Orlock, USA Classes: Modern Dance > Prof. Lutz Förster / Release Technique > Lance Gries / BMC, Fluids & Nervous System > Linda Hartley, USA / Alexandertechnik > Danny McGowen Classes: Release Technique > Lance Gries, NYC / Taoist Healing Practices > Mantak Chia Classes: Release Technique > Lance Gries, NYC / Taoist Healing Practices > Carsten Dohnke Classes: Kung Fu and Meditation > Carsten Dohnke / Modern Dance > Cesc Gelabert

Mrs. S. Steenks Mrs. Steenks has been asked due to her expertise in the field of dance. She danced eleven years at the Scapino Ballet Rotterdam, where she danced in works of leading choreographers as Ed Wubbe, Krisztina de Châtel and Itzik Galili. After her career as dancer at the Scapino Ballet Rotterdam, she traveled a lot and became interested in improvisation techniques. She attended workshops at Katie Duck, Julyen Hamilton, Kurt Koegel, Michael Schumacher and Kirstie Simson. As a freelance dancer she performed in productions of Sjoerd Vreugdenhil and Andre Gingras. The piece Closed Timelike Curves, which became part of the repertory of Scapino Ballet Rotterdam, marked the beginning of her choreographic career. Next to creating two more pieces for Scapino Ballet Rotterdam for the annual program TWOOLS, she has made choreographies at Dansateliers Rotterdam, DWA (now Dansmakers Amsterdam), Productiehuis Generale Oost, Korzo, Grand Theatre Groningen, Le Groupe Dance Lab Ottawa and Dansgroep Krisztina de Châtel (now Dansgroep Amsterdam). Furthermore, she took part in the European project The Migrant Body, and the bi-annual ACE programme of DWA. At the moment she is studying philosophy at the University of Amsterdam. Mrs. Steenks received the NQA audit panel manual for audit visits and she has been individually briefed on the audit visit process, accreditation in higher education and NQA’s working method. Education: 2009 – 2013 1981 – 1990

Now completing Bachelor Philosophy University of Amsterdam; Expected completing Master Philosophy in 2013 Royal Conservatory The Hague, classical and modern dance, completed with Bachelor’s degree (HBO)

Work experience: 2001 – 2009 Freelance choreographer and dancer 1990 – 2001 Dancer at Scapino Ballet Rotterdam

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Mr. drs. P.J. van Eijl Mr. Van Eijl has primarily been asked due to his expertise in the domain of talent development and excellence in higher education and due to his understanding of international developments in this field. Mr. Van Eijl is honorary researcher at Utrecht University (Interfaculty Institute of Education and Study Skills / IVLOS from 2008 to 2011, since 2011 Centre for Education and Learning at the Faculty of Social Sciences). As such he is involved in research in the field of talent development. He is an independent senior consultant Education for Talent Development in Utrecht, involved in educational research (talent development) of Utrecht University (2008 - present) in 2010 and 2011 involved in the audits of the Audit Committee of the Sirius Programme, The Hague. He was chairman and editor of the book 'Talent for Tomorrow’, published by Noordhoff publishers in 2010 in the Higher Education Series. Mr. Van Eijl received the NQA audit panel manual for audit visits and he has been individually briefed on the audit visit process, accreditation in higher education and NQA’s working method. Education: 1973 – 2012 1964 – 1972

Various trainings, workshops and seminars in the field of Higher Education Bachelor physics (1969), bachelor chemistry (1969), master chemistry (1972)

Work experience: 2008 – present Honorary researcher at Utrecht University (Interfaculty Institute of Education and Study Skills from 2008 to 2011, since 2011 Centre for Education and Learning at the Faculty of Social Sciences). 2008 – present Independent Senior Consultant Education for Talent Development in Utrecht. Involved in educational research (talent development) of Utrecht University (2008 - present) in 2010 and 2011 involved in the audits of the Audit Committee of the Sirius Programme (The Hague). Furthermore, giving seminars and lectures at various colleges and universities and giving lectures and teaching workshops at conferences. 1973 – 2008 Educational consultant and researcher at Utrecht University 1976 – 1978 Educational advisor Hotelschool The Hague 1973 – 1977 Independent educational consultant in the field of corporate education Publications (last 2 years, more on request): 2011 Eijl, P.J. van, Renique, C., Reimer, P. Werken aan excellentie: van experiment naar cultuuromslag. THEMA, tijdschrift voor Hoger onderwijs en Management, Volume 4, pp: 10-15 Ginkel, S.O. van, Eijl, P.J. van, Pilot, A. Honours communities als motor voor een cultuur van excellentie. Paper conferentie Sirius/VOR, Den Haag. Ginkel, S.O. van, Eijl, P.J. van, Pilot, A., Zubizarreta, J. Honors Communities as a Catalyst for a Culture of Excellence? Paper conference National Collegiate Honors Council, Phoenix, Arizona, VS. Ginkel, S.O. van, Eijl, P.J. van, Pilot, A. Honors Programs in the Master. An inventory of Dutch and foreign Master Programs. Congresboek ORD2011, pp: 1-11 Ginkel, S.O. van, Eijl, P.J. van, Pilot, A. Honoursprogramma's in de master : Een inventarisatie van Nederlandse en buitenlandse honoursmasterprogramma's. Passie voor leren, Volume 2011, pp: 22-23 Eijl, P.J. van, Schamhart, R. Van talent naar excellent: Kenmerken van excellente beroepsbeoefenaars en wat betekent dat voor het onderwijs? Conferentiepaper Sirius/VOR, Den Haag. Eijl, P.J. van, Ginkel, S.O. van, Pilot, A. De honours community: Een stimulans voor excellentie? IVLOS, pp: 1-15


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2010 Wolfensberger, M.V.C., Sweijen, S., Eijl, P.J. van, Hartog, M., Vaart, R.J.F.M. van der. Honoursalumni over de meerwaarde van hun honoursonderwijs. Tijdschrift voor Hoger Onderwijs, Volume 28, Issue 4, (2010), pp: 199-216 Ginkel, S.O. van, Eijl, P.J. van. Honours in de master : Inventarisatie van Nederlandse en buitenlandse honoursprogramma's in de masterfase. Utrecht: IVLOS, Universiteit Utrecht, Mededeling 94, pp: 1-61 Ginkel, S.O. van, Eijl, P.J. van, Pilot, A. Honoursmaster: nieuw perspectief voor excellentiebevordering? TH&MA, tijdschrift voor Hoger onderwijs en Management, Volume 2010, Issue 5, pp: 54-60. Boer, D.B.M. de, Eijl, P.J. van. Naar een onderzoeksagenda voor talentontwikkeling in het hoger onderwijs. Tijdschrift voor Hoger Onderwijs, Volume 28, Issue 4, pp: 239-250. Eijl, P.J. van, Pilot, A., Wolfensberger, M.V.C., Schreve-Brinkman, E.J.Talentontwikkeling met honoursprogramma's. Tijdschrift voor Hoger Onderwijs, Volume 28, Issue 4, pp: 182-198. Coppoolse, R., Eijl, P.J. van, Bruijn, Elly de. Naar een instellingsbrede excellentiestrategie in het hbo: een onderzoek naar de ontwikkeling van talent. Tijdschrift voor Hoger Onderwijs, Volume 28, Issue 4, (2010), pp: 217-227.

Mrs. J.M.C. Reist Mrs. Reist has been asked as s student panel member. She attends the hbo Master Artistic Research (MAR) at the Royal Academy of Fine Arts / Royal Conservatoire in The Hague. Her field of expertise is performance. In addition to her solo projects she organises with her ensemble Los Caballeros various workshops / exhibitions / lectures within and outside the institute. At the moment she is involved in several projects in New York - individually and in cooperation with the NYFA (New York Foundation of the Arts). She represents the students’ view on teaching methods, facilities and quality of field work. For this audit Mrs. Reist has been individually briefed on the audit visit process, accreditation in higher education and NQA’s working method. Education: 2011 – 2013 2008 – 2011 2008

Master Artistic Research (MAR) - the Royal Academy of Fine Arts / Royal Conservatoire in The Hague Bachelor of Fine Arts – ECAV, Ecole Cantonale D'art du Valais, Sierre “Fotoacademie Amsterdam”, Bachelor of Photo (1. Semester)

Work experience/performances: April 2012 The Naïve Genius say the Darndest Things – Performance, commissioned by the Appel Amsterdam. Dec. 2011 “Some Exhibitions are more Equal than other” – Group Show, Royal Gallery, KABK, The Hague July-Nov. 2011 Communication / PR Assistant at Extra City, Antwerp July 2011 Diploma-Exhibition Bachelor of Fine Arts – ECAV Sierre May 2011 “Wer ist der/die beste Künstler/in mit Bernbezug” - “Who is the best Artist with Berneconnection” - Group Exhibition at Gallery Milieu Berne May 2011 Co-coordination of the Performance festival ACT Sierre April 2011 Performance in collaboration with C. Démétriadès at the Performance festival ACT in Luzern

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Feb. 2011

One month residency in Berne - «Offenes Atelier Beerhaus» - «Open Studio Beerhaus» with Group Exhibition Organization & Mediation of the symposium «Exhibition and Art spaces today», Berne with Sybille Omlin, Stefan Wagner, Sabine Hagmann, Robert Irrland, Daniel Suter – in English Jan. 2011 Installation in collaboration with C. Magnin and C. Raynal at the Music and Art Festival «Forum Valais», Sierre Dec. 2010 «The one day Retrospective» - Exhibition initiated in collaboration with C. Démétriadès in Sierre Oct. 2010 «Perdu quelques part» - Group exhibition initiated and organized by V. Chablais and the ECAV, Sierre Co-curating Exhibition - «Looping Memories – les chambres au Château Mercier» initiated by Bernhard Bischoff and the Collectors Ketterer / Erle Berne (Curated by 15 Students of the Bachelor of Fine Arts ECAV Sierre) March 2010 Co-organization & curating the exhibition «Vitrine» at the Gallery Bernhard Bischoff and the Off-space Marksblond – a project initiated by K. Reist 2009 – 2010 Dance teacher in Berne 2008 Group Exhibition with the “Fotoacademie Amsterdam” Sept.-Nov. 2007 Assistant and organization of the project «The Flying Dog» of Athi-Patra Ruga - Artist South Africa, Artist in Residence Bern April-Sept. 2007 Realization of the dance production «Hotel Inzane» (Dancer and realization Costumes) Feb.-May 2007 Preparation course photography Fotoacademie Amsterdam 2006 – 2009 Assistant, organization of Casting and Photo-shootings, of divers photographers in Bern, Caspar Martig, Rolf Weiss, Guy Jost, Love Weber,Rolf Sigenthaler. Sept.-Oct. 2006 internship by Heidy-Jo Wenger and Herwig Ursin - Decoration and Artistic productions 2005 – 2009 Dancer of the Inzane dance Company

Workshops followed 2008 – 2011: Anne-Julie Raccoursier, Lausanne Gregg Smith, South Africa / Paris Joris Lacoste, Paris Joelle Flumet, Geneva Hans Stalder, Berne Urs Lehmann & Sarah Kreuter «Unkraut & Biopop», Zurich Bernhard Bischoff Dorota Buczkowska, Poland Mark Luyten, Antwerp Ingrid Wildi-Merino, Chile / Switzerland Perform the Exhibition, Sierre Lybia/Olafur Nigel Rolf

Video Performance Performance Photo/Installation Painting Fellowship «Curating Video Art» Fellowship Installation / All media EExhibition analyzing - „Dislocation“ Symposium – Performance, Installation Research / Groupwork Performance / exchange with the RCA London

Mrs ing. I.J.M. de Jong Mrs De Jong is deployed as an NQA-auditor. Since 2005 she has audit visiting experience in existing and new training programs in different sectors of higher education. She is involved in internal projects of NQA as well as in the standardisation of internal processes, the associated logistics and digitisation.


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Mrs De Jong also advises in the preparation and implementation of an integral quality system in secondary education. Besides she is co responsible for creating the audit panels. Since January 2010 account management belongs to her tasks. From training and experience Mrs De Jong has knowledge of organisational, pedagogical and educational processes. Mrs De Jong has attended the NQA auditor training Higher Education. In 2010 she participated in the NVAO training and is certified secretary. Education: 2012 – 2013 2000 – 2004

Business Administration Education and Knowledge management in the agricultural sector, Stoas High School, ’s-Hertogenbosch, The Netherlands

Work experience: 2005 – present Netherlands Quality Agency, auditor/advisor 2004 – 2005 Essent, file analist, deptor department Sogeti Nederland B.V., administrative employee, quotation department 2003 – 2004 For graduation: * studying the wish for payed advice for internship providers by Aequor * creating a new structure for the evening course Dutch flower arranger with teacher and student course guides 2000 – 2004 A number of internships as a teacher and developer of study material in secondary schools

Mr Drs. J.G. Betkó Mr Betkó has been asked to serve as NQA auditor. In his function as executive member of the Dutch National Union of Students (LSVb) he has gained experience with different aspects of higher education, like budgeting, accreditation, student participation and excellence. In this capacity he participated in the realisation of the new accreditation system. As member of the evaluation committee ‘Study Choice consultation – what is effective?’, he was twice involved with the allocation of OCW subsidies to institutes of higher education and universities seeking to experiment with study choice interviews. Mr Betkó is familiar with NQA’s method of working and was certified by the NVAO to act as secretary to the accreditation panels. Education 1999 - 2007

History study, Radboud University

Work experience 2009 – present Netherlands Quality Agency: auditor 2008 – 2009 Member evaluation committee “Study Choice Consultation – what works?” (part I & II, under supervision of SURF) 2007 – 2009 Dutch National Union of Students (LSVb): executive member

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Annex 4:

Program for the site visit

16 oktober 2012 Tijdstip

Programmaonderdeel

Deelnemers Panel

8.45 – 14.00 uur

Korte kennismaking, welkom door Aafje Terwey (waarnemend faculteitsdirecteur Theaterschool), Jet de Ranitz (voorzitter CvB van de AHK) en Bridget Kievits (lid CvB AHK) Materiaalbestudering: - Studiemateriaal - Studentmateriaal (inclusief de afstudeerdossiers) - Documentatie

14.00 – 14.30 uur 14.45 – 15.30 uur

Inclusief lunch, graag in het lokaal waar het panel ook het materiaal bestudeerd. Spreekuur en rondleiding Blok Inhoud I: Docenten die met afstuderen afstudeerfase te maken hebben, 1 per opleiding

08.30 – 08.45 uur

15.45– 16.30 uur

16.45– 17.30 uur

Blok Inhoud II: afstudeerfase SNDO AMch - DD

Blok Inhoud II: afstudeerfase JMD - NBA - MTD

Panel

Panel (gesplitst) Gonnie Heggen (SNDO) Gerleen Balstra (JMD) Hlif Svavarsdottir (NBA) John Taylor (MTD) Lot Siebe (DD) Jeroen Fabius (AMch) Een 4e jaars student en Alumni: een alumnus per Fernando Belfiore (SNDO, opleiding lichting 2010-2011) Btissem Amadour (DD, Lichting 2010-2011) Diego Gil (AMch, lichting 2011-2012, Skypet later)

4e jaars: Olga Tsetsvova (SNDO, Skypet later) Katja Hofman (DD) Christina Ciupke (AMch2, Skypet later) Een 4e jaars student en Alumni: een alumnus per Revé Terborg (JMD, lichting opleiding 2010 - 2011) Chanquito van Hoeven (NBA, lichting 2011-2012) Anne Rooze (MTD, lichting 2011-2012) 4e jaars: Art Srisayam (JMD) Daniel Montero (NBA) Angela Rabaglio (MTD)


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17.45-18.00 uur

Blok Inhoud III: Skype/telefonische afstudeerfase AMch en interviews SNDO

Amch: Alumnus: Diego Gil (AMch, lichting 2011-2012) 2e jaars (laatste jaar): Christina Ciupke SNDO: Olga Tsetskova (SNDO4)

17 oktober 2012 Tijdstip 08.30 – 09.30 uur 09.30 – 10.15 uur

Programmaonderdeel Materiaalbestudering panel Blok Inhoud III: Per opleiding 1 student propedeuse en hoofdfase

10.30 – 11.15 uur

Gesprek met docenten JMD-NBA-MTD

Vertegenwoordiging docententeam: spreiding naar studiejaren, vakgebieden, speciale taken (zoals begeleiding, lectoraat), 2 per opleiding

11.30 – 12.15 uur

Gesprek met docenten SNDO-AMch-DD

Vertegenwoordiging docententeam: spreiding naar studiejaren, vakgebieden, speciale taken (zoals begeleiding, lectoraat), 2 per opleiding

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Deelnemers (maximaal 6 à 8) SNDO 3e: Clara Burdet JMD 2e: Thomas Walschot NBA 1e: Sara Lutz (komt uit voortraject) MTD 2e: Moreno Perna DD 2e: Ingeborg Nijboer AMch 1e: Keren Levi JMD: Brinkman, Mariette (docent speltechniek/stemtechniek, coach, tutor, 1e, 2e en 3e jaar). Bart Sluis (docent moderne dans, 1e en 2e) NBA: Joanne Zimmermann (docent klassiek dans, spitzen, repertoire). Nancy de Wilde (docent dansgeschiedenis (ook op MTD), 1e en 2e jaar) MTD: Vivianne Rodrigues de Brito (vakdocent hedendaagse dans, 1e, 2e en 3e jaar) Roos van Berkel (vakdocent movement analyses, 1e en 2e jaar) SNDO: Felix Ritter (mentor, docent dramaturgie en concept development, 1e en 2e jaar) Bruno Listopad (docent choreografie, 1e jaar) DD: Jelle van der Leest (lespraktijk algemeen, lespraktijk BO, literatuurstudie, studiebegeleider, 1e, 2e en 3e jaar) Damar Lammers (mentor, studiebegeleider) AMch: Felix Ritter (zie ook bij SNDO), Andrea Bosic (mentor)


Tijdstip 12.15 – 13.15 uur

13.15 – 14.00 uur

Programmaonderdeel Lunchpauze + overleg / extra bestuderen materiaal e Faculteitsdirecteur en 1 gesprek met opleidingsmanagement artistiek leiders alle opleidingen

14.15 – 15.00 uur

Blok Borging

Examencommissie

15.15 – 16.00 uur

Bijzonder Kenmerk Young Bachelor Ballet

Betrokkenen AHK, NBA en werkveld

16.00 – 17.00 uur

Beoordelingsoverleg Panel e 2 gesprek Faculteitsdirecteur en opleidingsmanagement artistiek leiders alle , inclusief afronding opleidingen

17.00 – 17.30 uur

Deelnemers (maximaal 6 à 8) Panel

Aafje Terwey(vervangend faculteitsdirecteur) Gabriel Smeets (SNDO) Eddi de Bie (JMD) Christopher Powney (NBA) Angela Linssen (MTD) Jopie de Groot (DD) Jeroen Fabius (AMch) Klaas Backx (beleidsmedewerker dans, kwaliteitszorg), Marianne Gerner (hoofd beleidsondersteuning AHK) en Steven Schenk (studiebegeleider, vakdocent theorie kleinkunst). Jet de Ranitz (College voorzitter AHK), Christopher Powney (artistiek leider NBA), Ted Brandsen (artistiek leider Het Nationale Ballet), Jane Lord (medewerker scouting & outreach NBA), evt. Klaas Backx (beleidsmedewerker Dans) of Marianne Gerner (hoofd beleidsondersteuning AHK) Panel Aafje Terwey (vervangend faculteitsdirecteur) Gabriel Smeets (SNDO) Eddi de Bie (JMD) Christopher Powney (NBA) Angela Linssen (MTD) Jopie de Groot (DD) Jeroen Fabius (AMch) Bridget Kievits (lid CvB AHK)


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Annex 5:

Documents examined and Performances

Kritiche reflectie (basisdocumenten) KRITISCHE REFLECTIE HOOFDDOCUMENT KRITISCHE REFLECTIE BIJLAGE Overzicht documenten inzage KRITISCHE REFLECTIE BIJLAGE Afstuderen bij de opleidingen KRITISCHE REFLECTIE BIJLAGE Clusterschema’s KRITISCHE REFLECTIE BIJLAGE Didactisch concept KRITISCHE REFLECTIE BIJLAGE Matrix Dublin - competenties KRITISCHE REFLECTIE BIJLAGE OER 2012-2013 KRITISCHE REFLECTIE BIJLAGE Onderzoek bij dans KRITISCHE REFLECTIE BIJLAGE Overzicht afstudeerders KRITISCHE REFLECTIE BIJLAGE Overzicht afstudeerwerken KRITISCHE REFLECTIE BIJLAGE Stagegids uitvoerend KRITISCHE REFLECTIE BIJLAGE Stagegids uitvoerend ENGLISH Bijzonder kenmerk Klassieke danser Bijzonder kenmerk Aanvraagdossier Bijzonder kenmerk Aanvraagdossier ENGLISH Bijzonder kenmerk bijlage 1 basisrooster 1-4 Bijzonder kenmerk bijlage 2 basisrooster 5-8 Bijzonder kenmerk bijlage 3 basisrooster HBO Docent dans DD Informatiedossier DD Informatiedossier ENGLISH DD Kengetallen DD rooster 1 2011-2012 DD rooster 2 2011-2012 DD rooster 3 2011-2012 DD rooster 4 2011-2012 Master Choreografie AMch Informatiedossier ENGLISH AMch rooster 2012-2013 AMch Kengetallen Dans richting SNDO SNDO Informatiedossier ENGLISH SNDO Kengetallen SNDO rooster 1 2011-2012 SNDO rooster 2 2011-2012 SNDO rooster 3 2011-2012 SNDO rooster 4 2011-2012


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Dans richting NBA NBA Basisrooster 2011-2012 NBA Informatiedossier NBA Informatiedossier ENGLISH NBA Kengetallen Dans richting MTD MTD Blokrooster 2011-2012 MTD Informatiedossier MTD Informatiedossier ENGLISH MTD Kengetallen Dans richting JMD JMD Blokrooster 2011-2012 JMD Informatiedossier JMD Informatiedossier ENGLISH JMD Kengetallen

Aanvullende documentatie Standaard 1: • DD Leer- en ontwikkelingslijnen • JMD Leer- en ontwikkelingslijnen • Landelijk vastgestelde competenties en opleidingskwalificaties Opleidingsprofiel Danser • Landelijk vastgestelde competenties en opleidingskwalificaties Opleidingsprofiel Choreograaf • Landelijk vastgestelde competenties en opleidingskwalificaties Opleidingsprofiel Docent Dans • MTD Competenties en gedragsindicatoren • NBA Competenties en gedragsindicatoren • SNDO Competenties en gedragsindicatoren Standaard 2: • Didactisch Concept Theaterschool Dans • Onderzoek Theaterschool Dans o Notitie Onderzoek Theaterschool Dans o Bijlage 1. Ontwikkeling Dansnotatie o Bijlage 2. Ontwikkeling interculturaliteit (DD) • RendezVous Programma - Werkveldoriëntatie o Ter informatie o RendezVous 2010 - 2012 (nrs. 51 t/m 63)

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Standaard 3: • Examencommissie Theaterschool o Ter informatie o Agenda’s en verslagen (2011-2012) en jaarverslag 2010-2011 o Relevante documenten Onderwijs- en examenregeling Theaterschool (NL en ENG) Oprichting Examencommissie Theaterschool Reglement Examencommissie Theaterschool Studentenstatuut AHK Werkwijze studenten met functiebeperking AHK Bijzonder Kenmerk: • Ter informatie • Stukken Sirius Audit 2011 o Zelfreflectie Sirius 2011 1a o Zelfreflectie Sirius 2011 1b o Zelfreflectie Sirius 2011 2 o Zelfreflectie Sirius 2011 3 o Instellingsrapport Sirius 2011 Overig: • Organogram Theaterschool 2012-2013 • Onderwijsevaluaties o Nationale Studenten Enquête 2011 Ter informatie Resultaat NSE Theaterschool Dans 2011 Ranking HBO Dans Ba Voltijd Factsheet NSE 2011 AHK o Vakevaluaties 2012 Ter informatie Overzicht Vakevaluaties Theaterschool Dans 2011 - 2012 Resultaten Vakevaluaties Theaterschool Dans 2011 - 2012 (25x) o Ter Tafel (niet op USB-stick): Programma Evaluaties Theaterschool Dans 2009-2010, 2010-2011 en 2011-2012 van alle opleidingen • Alumni Enquêtes o Ter informatie o Kunstenmonitor 2009 en 2010 Rapportage Kunstenmonitor 2009 Rapportage Kunstenmonitor 2010 o Ronde Tafels DD verslag Ronde Tafel 2012 JMD verslag Ronde Tafel 2012 SNDO Maria Mavridou SNDO Violetta Perra o Rapportage Alumni Onderzoek Dans 2011 • Management informatie o Managementrapportage Theaterschool najaar 2011 o Managementrapportage Theaterschool voorjaar 2012


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•

Medewerkerstevredenheid o Rapportage medewerkerstevredenheidsonderzoek Theaterschool 2011

Ter tafel (niet op USB-stick) • Notulen plenair overleg Theaterschool 2011-2012 (directie, artistiek leiders Dans en Theater) • Notulen dansoverleg 2010-2012 (directie, artistiek leiders dans) • Notulen directieoverleg 2010-2012 (directie) Representatieve selectie stageverslagen, assessments, tentamens, portfolio’s, scripties, etc. Representatieve selectie handboeken, studiematerialen, literatuur en readers

Performances Panel members visited the following performances: May 27th June 5-9th June 13-16th June 20-23 th June 20-23 th June 26-27th June 27-28th June 28-30th

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MaCH SNDO JMD DD MTD MTD NBA MTD

Het Veemtheater Amsterdam Programme 1 & 2 Frascati Amsterdam Bijlmerparktheater Amsterdam Graduation piece Theatreschool Amsterdam Years 1-3 Theatreschool Amsterdam Years 1-3 Theater Corso Amsterdam Stadsschouwburg Amsterdam Graduation piece Theatreschool Amsterdam


Annex 6:

Summary theses

Below a summary of the students whose work have been examined by the panel. According to NVAO’s rules only studentnumbers are included. In preparation for the site visit the panel attended performances of students. A list of performances is added below. DD: 10060 7651 10060 9038 10060 7650 10060 9222 10060 8985 10060 9019 10060 9146 Dans: 10060 8008 SNDO 10060 8015 SNDO 10060 9731 SNDO 10060 6335 NBA 10060 8248 NBA 10060 9204 MTD 10060 8988 MTD 10060 9116 JMD 10060 8079 JMD 10060 8914 JMD


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Annex 7: Declaration of Comprehensiveness and Accuracy


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Amsterdamse Hogeschool voor de Kunsten

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