Artesis Plantijn Hogeschool Antwerpen
Koninklijk Conservatorium van Antwerpen
Production practice 3-drama, music, improvisation, creation, workshops38244/3656/2627/1/11
Study guide

Production practice 3-drama, music, improvisation, creation, workshops

38244/3656/2627/1/11
Academic year 2026-27
Is found in:
  • Bachelor of Dance, programme stage 3
This is a single course unit.
Study load: 18 credits
It is not possible to enrol in this course unit under
  • exam contract (to obtain a credit).
  • exam contract (to obtain a degree).
Co-ordinator: Reehorst Nienke
Other teaching staff: Baidoo Samuel, Tuytschaever Karel
Teaching staff are not (all) known yet.
Languages: Dutch
Scheduled for: Academic year
This course unit is marked out of 20 (rounded to an integer).
Possible deadlines for learning account: 01.12.2026 ()
Re-sit exam: not possible.
Possibility of deliberation: You have to pass this course unit (will never be deliberated).
Total study time: 540,00 hours

Prerequisites

previously registered for Production practice 2-workshops, creations.

Short description

In a practice-oriented dramaturgical laboratory, students learn to use storytelling, performativity and audiovisual media to articulate their artistic practice and position as dance artists within a professional context.

Learning outcomes (list)

Embodies a wide range of dance skills
Embodies the movement propositions of a teacher/choreographer
Develops, incorporates and re-defines technical- and performative skills during process and performance
Broadly integrates skills and knowledge in order to develop a sustainable dance practice
Develops autonomy in shaping and communicating their own artistic practice.
Engages in, interprets, translates and performs creative dance projects
Performs material with the relevant intention and expression
Invests in experiencing and embracing a diversity of artistic visions
Translates a diversity of movement propositions, compositional ideas and methodologies linked to the style and vision of a choreographer
Analyses a personal connection and resonance to the form and content of a work
Critically reflects and integrates feedback from self, peers and teachers
Authentically invests in movement investigation
Develops and expresses a personal voice within the conceptualisation and creation of own artistic work
Positions and articulates their own artistic practice within a professional context.
Develops dramaturgical thinking as a tool within performative and artistic processes.
Reflects critically on artistic choices, forms of presentation and professional positioning.
Positions and articulates their own artistic practice within a professional context.
Interacts and collaborates with other disciplines and practices
Investigates, transfers and embodies skills from other courses in the execution and exploration of repertoire and creations
Stimulates and contributes ideas in artistic collaborative creative settings
Uses relevant social and group dynamics skills to contribute to, share and take responsibility in diverse group settings
Stimulates and contributes ideas in artistic collaborative creative settings
Facilitates the responsibility of functioning as an individual within a class group
Uses relevant skills to communicate and dialogue with diverse target groups
Stimulates and contributes to a critical and constructive dialogue about an artistic process

Course content

Production Practice 3 focuses on the students artistic development through the following components: repertoire, workshops, creation, improvisation, drama and music. Production Practice includes a series of artistic courses and projects with national and international guest teachers who address the student as a dance artist and provide a series of skills and experiences relevant to enter the professional dance field.

In Repertoire, the student learns and explores movement material of an existing piece of a (guest)choreographer leading to a form of presentation. The student is introduced to the compositional ideas and working methods linked to the style and vision of the choreographer and is encouraged to explore the relationship between form and content. The student is guided to find his or her own embodied connection to and interpretation of the existing dance material. The material is taught by the choreographer or an assistant /dancer from the company.

In Creation, the student experiences a creative group process which will lead to a creation and presentation. The process is guided by a (guest) choreographer. The student explores different creative and compositional working methods linked to the style and vision of the choreographer. The student participates actively in the process of exploration and composition. 

In Workshops, the student participates in an experience with a dance artist that can take many formats that range from a 2 hour workshop or post show discussion to a week long residency or symposium. Dance artists are invited to share their personal visions for students to experience new working methodologies or artistic practices. 

In Improvisation the students will continue to work on deepening essential core principles and their integration in other areas.

In Music students deepen their relationship to music in their own material and reflection on choices made.

In Drama, students apply previously developed performative and dramaturgical skills within a practice-oriented programme focusing on storytelling, artistic positioning and audiovisual communication. Through a dramaturgical laboratory, students explore how body, voice, text, camera, editing and performativity can come together within a personal audiovisual presentation of their artistic practice. Students develop their own dramaturgical concept and translate this into a short audiovisual presentation aimed at a professional artistic context. In addition, students learn to articulate their artistic practice verbally and performatively to various professional contexts, such as choreographers, programmers, residency venues and artistic partners.

Production Practice as a cluster of subjects brings students in touch with different elements of the professional dance working field with artists active in the field, providing a wide range of experiences of artistic practice, styles and methodologies. Students analyse their relationship with each different practice experienced and the resonance each has within their own development as a dance artist.

Study material (list)

DigitapMandatory
Live dance performances, concerts and exhibitions in De Singel, in Antwerp and across BelgiumMandatory
Study guide for the bachelor dance programmeMandatory
Digital resources to research artists contributing to the programme, professional dance companies, digital archives, databases and online journals and blogsRecommended
Industry knowledge sources of magazines, publications, reports and studies on current developments in the professional fieldRecommended
Library Sources for books on dance history, theory, pedagogy, artistic research, academic research and biographical and critical writings on choreographers and artistic practicesRecommended

Educational organisation (list)

Learning Activities
Artistic praxis200,00 hours
Collaborative learning100,00 hours
Work time outside of contact hours240,00 hours

Evaluation (list)

Evaluation(s) for first exam chance
MomentForm%Remark
1st examination periodArtistic practical assessment25,00
1st examination periodArtistic skills assessment permanently during class weeks (Permanent evaluation)50,00
1st examination periodProject assignment25,00

Evaluation (text)

Evaluation

See 'Evaluation (list) for the specific evaluation components of the course unit.

Re-sit exam
Not all courses have a re-sit exam possibility. Refer to the notification above in this ECTS information sheet for the possibility of a re-sit exam for this course unit.
A re-sit exam:
• is not possible for assessment methods that use permanent evaluation (see evaluation list above). When a re-sit exam is possible for the course, the grade for the permanent evaluation of the first examination period is transferred to the second examination period.
• is possible for the evaluation components that do not include permanent evaluation.

Attendance requirement:
Your attendance is mandatory (except in cases of illness, force majeure, or written approval from the program) in order to be assessed through permanent evaluation. Unjustified absence will negatively affect your chances of passing the course.
Conditions for legitimate absence:

* An absence legitimised by a medical certificate uploaded in iBamaFlex.
* Due to an Act of God, if approved by the head of the programme.
* Exceptional circumstances, if previously approved by the head of the programme.