PROGRAMME SPECIFICATION FOR BA _Hons_ Street Arts by suchenfz

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									PROGRAMME SPECIFICATION FOR: BA (Hons) Street Arts
Date revised: March 2009



1.       PROSPECTUS INFORMATION
Awarding Institution                                        University of Winchester
Teaching Institution (if different)
Programme Accredited By (if relevant)                       University of Winchester
Title of Final Awards                                       BA (Hons), DipHE, Cert HE
Title of Programme                                          BA (Hons) Street Arts
                                                            Single Honours
Language of Study                                           English
UCAS code (or other code if relevant)                       Dip HE W901
                                                            Degree W900
QAA Subject Benchmarking Group                              Dance, Drama and Performance



2. EDUCATIONAL AIMS AND LEARNING OUTCOMES
2.1 The aims of the Programme are:
        To provide a programme of the study of the making and production of contemporary street
         arts performance as a discrete and evolving interdisciplinary performing art form

        To explore theoretical and practical ways in which street arts practices emerge from and
         interact with personal, dramaturgical, cultural and socio-political contexts

        To explore critical interaction between theory and practice of street arts and its contextual
         roots in other related performing and visual arts disciplines

        To create emerging independent and skilled street arts performance makers, who have
         knowledge of the professional street arts sector and are creative and critically reflective
         practitioners

        To equip students to develop practical ways of producing work in diverse situations in
         creative and sustainable relationships as producers and promoters of their work

        To equip students to develop work that refers to a wider perspective of street arts practice that
         include trans cultural practice and cross disciplinary practice

        To foster increased confidence and independent thinking through and in collaboration with
         group projects and individual work


2.2 Distinctive features of the Programme are:
 a) This programme will be interdisciplinary in approach. It will emphasise the creation of
    contemporary street arts practice and draw from a diverse range of theory and practice. Areas of
    knowledge that will be integrated into the programme of study will include: dramaturgy, new
    media, circus and carnivalesque arts, puppetry, street dance, music, creative and performance
    writing, visual arts, visual comedy, site specific practice, production skills


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 b) The programme will produce students with wide ranging skills and who will have specialised
    knowledge of how to create performances in outside spaces and unusual sites. Students will be
    able to accommodate and position their work in a wide range of cultural events and practices
 c) The programme will be integrated into professional practice and will involve create work at a
    standard suitable for public scrutiny. They will also have the experience of working with
    creative producers
 d) The programme will create work that will draw from European and transcultural influences. The
    students will develop by gaining experience from proposed student exchange with the
    University of Girona and the co-development of projects that will follow from these exchanges
 e) The programme will study as a central theme of street arts the interface of body and technology
    both as content and through the ways that students will document their work and create personal
    profiles

 f) While acknowledging that theoretical and practical knowledge are different, this programme
    will seek to allow theory and practice to mutually inform one another where appropriate.
    Through the valuing of process in performance making, the programme will allow for
    articulation of the learning process in either theoretical or practical terms or both of these in
    different balances depending on the independent learning needs of the student in question.

 g) Rigorous assessment strategies that will reflect (a) & (b) above. We will use a wide variety of
    assessment strategies that will balance the practical with the reflective, and that will allow the
    articulation of the reflective in both creative and analytical academic forms.

 h) Acknowledging experiential learning and knowledge. The programme values that knowledge in
    the arts often comes through practice and that interest is often stimulated through practice, even
    when the communication strategy used by the student is traditionally academic in nature.

 i)       Professional level workshops by practicing artists. The BA Street Arts will engage successful,
          practicing performing artists to deliver workshop material across its various modules. This will
          help advance both practical engagement with the curricular material and theoretical engagement
          with current practices by drawing students into work at advanced practical levels.

2.3 The Learning Outcomes of the Programme are:
(The programme is designed to meet the requirements of the Framework for Higher Education
Qualifications (FHEQ) at BA level. The learning outcomes reflect the benchmarks for Dance, Drama
and Performance 2007/8).
      By the end of level 4 students will be able to:
           Show an understanding of the core concepts and range of Street Arts practices
           Begin to understand the concept of ‘context’ in street arts production and interpretation.
           Devise, generate and perform a range of street arts material
           Conceptualise and articulate reasoned arguments both orally and in writing.
           Demonstrate basic competence in the use of appropriate performance and productions skills
            for their performance outcomes.


      By the end of level 5 students will be able to:
           Critically engage with dramaturgical and devising models in relation to the contexts in which
            they are used.


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       Reveal an understanding of how street arts are and have been utilised in a range of sites and
        settings
       Understand and demonstrate competence in relation to the concept of artist as producer.
       Begin to theorise and analyse their practice in relation to different objectives dictated by
        context.
       Engage and have an understanding of a directed performance which has a public outcome
       Show an appreciation of the ideological problematics surrounding the development of Street
        Arts
       Demonstrate developing skills in performance practice
       Competently plan and manage practical performance projects


By the end of level 6 the students will be able to:
       Generate a collaborative piece of work suitable for public performance by an emerging artist
        or company
       Critically review practical projects by applying appropriate practical and theoretical research
        methodologies.
       Undertake a substantial independent study related to themes of the programme
       Demonstrate an awareness of the application of theatre and performances practices in other
        cultural and geographical contexts.
       Demonstrate a critical awareness of their own practice in relation to other contemporary
        practice


In addition, students undertaking a Final Year Project will be able to demonstrate:
       An integrated understanding of concepts, methodological skills and tools with independent
        research skills in the production of a Street Arts Final Year Project.
       Students successfully completing the programme will have a knowledge and understanding
        of:
(i)         The process of creating and producing contemporary street arts performance
(ii)        Current developments within contemporary street arts performance practice and research
(iii)       Theory and techniques relevant to the use of diverse performance resources and
            vocabularies found in contemporary street arts practice
(iv)        Rehearsal strategies, production protocols and professional structures
(v)         Street arts performance as cultural and political intervention
(vi)        Research methodologies, including practice-based research

       Students successfully completing the programme will attain the following intellectual and
        cognitive skills:
(i)         Ability to critically evaluate the relationship between theory and practice and articulate
            this in relation to their own practice.
(ii)        Ability to situate practice within historical and current performance practice and research
(iii)       Ability to situate their own work in relation to its cultural and socio-political context
(iv)        Ability to critically reflect on their own creative practice and that of others
(v)         Ability to formulate and articulate methodologies in street arts



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             Students successfully completing the programme will obtain the following skills and other
              attributes:
      (i)        devising skills, including planning, development and presentation of performance works
      (ii)       The ability to work individually and collaboratively in challenging and complex
                 production and performance contexts to create work which has relevance to the wider
                 field of contemporary performance
      (iii)      writing skills, including the ability to weigh critical positions, construct arguments and
                 structure ideas
      (iv)       Skills of argument and debate
      (v)        Ability to create effective document of their work for a wider audience
      (vi)       Ability to identify, negotiate and meet personal and group tasks framed by challenging
                 deadlines
      (vii)      Interactive group skills
      (viii)     Professional independence and self management
      (ix)       Independence in self directed study
      (x)        Personal analysis and diagnosis



3.            LEARNING, TEACHING AND ASSESSMENT

3.1           Introduction

The BA Street Arts programme offers the opportunity to develop creative skills in street arts practice
within a framework of a contextual and analytical framework and also importantly through the
experience of producing work for public performances with creative producers. Many aspects of the
learning experience will be embedded in an experiential pedagogy and also in the practice created by
partnerships with other street arts festivals and overseas universities and events.

Learning and teaching will be undertaken through a variety of mechanisms that enable students from
both a theoretical and practical grounding in the first year to establish their own pathways and styles
through the degree to create their own contextualised outputs in the final year.

They will inform, analyse and build upon their practical experience through lectures, seminars,
presentations, performances and through completing assignments that will involve critical analysis
and documentation.

This is in accordance with the University Learning and Teaching Strategy, which prioritises a student
centred ethos (1.5). Since the course aims to offer an understanding and knowledge of professional
practice, the teaching will include significant input from professional performance makers, both
visiting lecturers and permanent members of staff, many of whom have their own established
practices. Again, this reflects the university L&T strategy, which prioritises employability (1.6).

3.2. Means of delivery

Practical workshops and student labs are the key teaching method since the subject is a Performing
Arts degree. Some of these workshops will be delivered in an intensive mode of learning delivered
over vacations. It is expected that work with practitioners will take place during weekend workshops
also. The processes and outcomes of practices will provide examples of work that students can reflect
upon and refer to in the seminars, lectures and tutorials. This reflection leads on to further testing
through performance making.

Tutorials for groups and individuals are used, for example, to discuss issues in advance of
presentations and assignments, for feedback on assignments, guidance on specific and general issues


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relating to independent study and/or discussion of the Independent study. They facilitate specific and
directed guidance and feedback on both conceptual and procedural matters, and seek actively to
develop student-centred independent learning.

Student presentations require individual students to defend before their peers and tutors argument
that evaluates, assesses and synthesises research-based evidence pertaining to specific issues,
concepts, theories and practices. Presentations develop the skills of independent research; which
include library and computer research, and information gathering and writing skills. They develop in
the student the ability to weigh critical and theoretical positions, construct argument and structure
ideas. They develop skills of discussion and argument; skills of organisation, time management and
presentation, also oral and communication skills.

Tasks online require students to deliver work (e.g. the creation of websites and the development of
the websites through the addition of pages), respond to tasks (e.g. development of interactive sites in
locative media practice that evaluated partly by work created on line) and present documentation
online (e.g. to be evaluated as a text outcome of a project) using all the media through which
responses can be realised. Also used as a contemporary means to discuss processes and document
results to a wider audience. The creation of small scale social networks (wiki sites) through which
information, ideas and projects can be discussed and shared.

Trips and visits Outside influences enrich learning by offering students the opportunity to share
appropriate and relevant events that they experienced together and with their tutors as a common
audience. Such interventions offer the opportunity for spontaneous, informed response and allow
students to season their critical skills in an environment of professional expertise. The University of
Winchester has a fine strategic position and is well able to make good use of world-class centres of
performance practice regionally and nationally.

Professional practitioners It is vital that there are opportunities for students to work with
professional practitioners who bring ‘real world’ experience into the institution, working closely with
students and offering a range of specific devising methods for specific audiences.

Work Practice in which practical work is developed in tutor supervised relationships with
professional practitioners and in performance making and in workshops on the site of performances



4. ASSESSMENT STRATEGY

Assessment is crucial in both summative and formative modes in that students can reflect on
achievements, concretise them, acknowledge weaknesses and create new personal agendas to
overcome such weaknesses. In this sense assessment contributes to the pedagogy and is not seen as an
unwelcome chore, rather it is the means by which students and staff can reflect on the quality of
teaching and learning and seek redirection where necessary. Assessment in this sense should not
distress students and in order for this to happen, students must own an understanding and contribute
to assessment practices.


The assessment strategy of the programme operates in line with the Assessment Strategy of the




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University of Winchester as published in 2002. The University Strategy is not proscriptive and states:

‘The strategy recognises the diversity of disciplines, associated programme and module aims, team
philosophies and student populations which the strategy must serve and is driven by principles which
aim to avoid inadvertent restriction of programmes or student entitlement’.1

It is the strategic aims of the assessment on this programme not to favour one method over another
but to offer a wide range of assessment possibilities that will both test the learning and teaching
criteria and also define areas where students can choose to be assessed in their best light. Also
assessment should encompass best ways of capturing achievement in a diverse and multifaceted
degree programme. Although much work in Street Arts practice is group based, there is a tradition of
solo performance that needs to be accommodated. Assessment will therefore allow for individual
responses to be made within group processes through the use of documentation and individual
journals. Also where an individual performance can be clearly rationalised, then assessment can be
delivered on that basis. There are effective models of practice in all of these outcomes in the BA
Performing Arts degree.

In this programme, modules are deliberately divided into a large number of single modules and
optionality is possible within modules rather than between them. By this we mean that although the
assessments are set, much of the content of the devised performance outcomes is the choice of the
student. This is standard practice in the field of Dance, Drama and Performing Arts. The modules
express therefore a wide variety of assessment requirements in response to diverse learning outcomes
and there will be a need for tutors to develop a wide variety of assessment methods appropriate to
their requirements balanced by the clear philosophy of how the degree as a whole ‘fits’ together.

Methods of assessment should wherever possible be adaptable to an ongoing documentation of work
using new technologies, blogs and websites and as a way of evidencing work, reflections as well as
administrating future projects
Assessment in the BA Street Arts Programme reflects a wide variety of leaning outcomes. Whilst the
degree has a significant strand of practical outcomes that are to be evaluated using performances,
websites, and presentations, the degree also needs to draw from more contextual and theoretical
modules that use essays as their primary outcome. Also, journals and documentation are to be used to
reflect on the process of the development of practical work

The degree acknowledges the use of other media through which the students will (in part) choose to
be assessed i.e. video recordings, viva, and web delivery. In the latter, there will be the opportunity to
expand the idea of documentation using video and audio media and interactive debating networks

4.2 Assessment Tasks at Different Levels

Level 4 assessment is designed to facilitate the acquisition of and test a range of subject specific
skills, practical skills, study skills, research skills and transferable skills necessary for honours level
study of Street Arts.

Devising contains tasks that are practical, written and oral to allow differentiation between students at
Level 4 to prepare them for informed and critically reflective practice. The weighting privileges
performance as the module delivers one of the key performance skills for the degree. Assessment
however recognises the need for wider reading and the ability to write and record through a journal
and to present coherently through a viva. Production and Performance Skills 1 and 2 set assessment
tasks that again lead to informed practice in which the student develop physical, visuality and media
technology skills as a prerequisite to the development of tangible street arts skills and ‘making’ skills
within conceptual frameworks that involve an introductory understanding of the interfaces of site,

1
    University of Winchester, Assessment Strategy 2002, p 3.

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body and material. Therefore assessment tasks reflect both journals that document and evaluate
process and performances that reveal the degree of embodied knowledge. Web based tasks including
the creation of websites and the use of the site for communication and documentation and
dissemination reflect the need for the contemporary street arts practitioner to be engaged in the
interactivity that characterises street arts practice. To complete the range of assessed tasks, essays and
debates in the Street as the stage and The Dramaturgy of Public Space provide the need to test the
scholarly approach to research and articulation of research outcomes. At the end of Level 4, the
students will be equipped in practical, scholarly, presentational, digital skills and through critical
reflection will be able to engage in the more detailed and skilled Level 5 of the degree
At Level 5, in Extending Practice I and 2, the assessment tasks of performance (as research) and
journal reflect the importance of an informed and critically reflective process and of documentation in
street arts practice. The students are asked first to explore and then create material in a journey
towards Directed Performance. Visualising the Street and Cross Disciplinary Practice will provide
areas of study and praxis that will inform that journey through exploring wider perspectives that will
challenge the students’ journey both conceptually and practically. At the same time the students are
expected to write in either journal or essay form using both traditional and web based platforms
maintaining scholarly standards and drawing from contextual research. They are assessed alongside
the informed process of making new work to create a balanced range of skills that act as a base for
independent Level 6 study

Assessments at Level 6 allow students to balance their independent study between written and
practical work. They can choose to follow a more scholarly route by opting to be assessed by
dissertation in FYP and for writing tasks in Performance Criticism (possibly equipping themselves for
more researched based post graduate work) or they can develop a more performance and creative
production route by opting for performance and written assessment in FYP and in Creative
Production. Current Debates and Practices offers the student critical reflectivity in either potential
directions.

Assessments, therefore, are designed to ensure students progressively acquire a range of writing,
practical and presentational skills across the three Levels. At Level 4, writing skills are introduced
and assessed, while at levels two and three writing is expected to be based upon a wider range of
research and reading. Practical and performance skills are assessed in a similar progressive manner
with Level 4 concentrating on the acquisition of basic skills, Level 5 the ability to apply those skills to
a detailed brief across a variety of contexts and, at Level 6, to enter into deeper experimentation and
innovation.

4.3 Assessment Methods

Students will be assessed summatively and formatively using a variety of formats that will provide
tutors with a dynamic understanding of the student’s progress throughout the course of study,
enabling them to give good quality feedback to support the student’s learning. The formats of
assessment have been adopted specifically to test the student’s knowledge in a variety of ways and
thus provide the dynamics necessary to ensure parity as well as making assessment part of the overall
learning process. The formats of assessment will remain broadly consistent throughout the course so
that students can fully understand the assessment process and use it as part of their continued
development. In most cases assessment echoes types of undertakings that students might encounter in
a professional context and it considered to be a key driver for students to undertake assessment tasks
that are in keeping with the format that they would have to produce within an industry setting.

4.3.1 Group Performance – testing appropriateness of form to content and ability to analyse at the
moment of description.
4.3.2 Group Website – testing technical and aesthetical skills as well as concepts of editorial
judgment.


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4.3.3 Group Assignment – testing the ability of individuals to work methodically and coherently
towards a given outcome.
4.3.4 Group Presentation – testing the ability to work in a team as researchers and disseminate a
range of research outcomes.
4.3.5 Journal/Documentation/Web Based Journal – testing the ability to reflect critically on
personal and group development across the use of different media
4.3.6 Essay – testing the scholarly approach to research and articulation of research outcomes.
4.3.7 Viva – testing the ability to articulate and debate learning in an oral fashion,
4.3.8 Proposal – testing the ability to envision and plan all aspects of a potential project.
4.3.9 Debate– Testing the ability of students to articulate their analyses within live debate

4. 4 Assessment criteria

The following form the basis of assessment criteria that are adapted and / or added as appropriate for
specific assessments and printed within module guides. Specific assessment criteria exist for the FYP
and are detailed in the module description.

4.4.1 Level 4
Work at this level is introductory. Students should gain familiarity with the critical terminology and
concepts of the subject area in which they are working and should begin to build confidence in
working within a practical environment. There is a strong emphasis on formative work at this level
which will enable students to develop as self-reflexive learners and to begin to engage in critical
debate with a degree of sophistication.

                 Written Work should demonstrate:

                 a) reference to essential reading, and wider reading where appropriate

                 b) familiarity with concepts and theories introduced on the module

                 c) application of reading and concepts to specified street theatre practices

                 d) a clear structure and writing style and, where appropriate a supporting
                    bibliography according to the guidelines in the study skills handbook

                 e) ability to construct and argument supported by relevant exemplification

                 f) suitability for the form of work

                 Practical Work – whether group or individual – should demonstrate:

                a) an understanding of the technical requirements of the medium studied

                b) the ability to utilise the medium for effective communication with an audience

                c) an understanding of the use of street arts conventions

                d) an appreciation of the theoretical underpinnings of these conventions

                e) engagement with critical reflection on the product and the process, from self and
                      others


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               f) evidence of individual participation in collaborative work.

               Presentations should demonstrate:

               a) clarity of argument supported by evidence from the module and wider research

               b)   an engagement with concepts, theories, and issues raised during taught sessions
                    and in accompanying reading and through research

               c)   effective presentation skills

4.4.2 Level 5
Work at this level is developmental. Students take the theoretical approaches and practical skills
fostered through level 1 and begin to engage with them in an increasingly sophisticated and self-
critical manner. In practical terms this is evidenced by a continual pushing at the boundaries of the
possible. In theoretical terms this is evidenced by an increasing self-awareness in the learner and
through the critique of theory and practice.

                Written work – should demonstrate:

                a) ability to utilise concepts and theories explored on the module

                b) an engagement with essential and wider reading

                c) evidence of wider reading and research beyond that covered in taught sessions

                d) a clear argument, supported by evidence and appropriate use of footnotes and
                   bibliography according to the guidelines in the study skills handbook

                e) a sophisticated understanding of suitable style for different forms

                Presentations should demonstrate:

                a) a critical engagement with concepts, theories, and issues raised during taught
                   sessions and in the accompanying reading

                b) developed presentation skills including the use of performance skills where
                   appropriate.


                Practical Work should demonstrate:

              a) an understanding and demonstration of a range of practical methodologies.

              b) the ability to utilise and adapt methodologies for a given context

              c) an awareness of the use of context

              d) an understanding of the use of street arts conventions

              e) an appreciation of the theoretical underpinnings of these conventions

              f) engagement with critical reflection on the product and the process,
                       from self and others
               g) evidence of individual participation in collaborative work.

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4.4.3 Level 6
Work at this level allows the student to build upon the developmental work undertaken at level 5, to
specialise and to increasingly focus their approach to the programme and to deepen their
understanding in specific areas of study. Students will increasingly question material which, at level
4, was merely digested and will engage critically with their own work and with their tutors in order to
develop as truly self-reflexive learners and practitioners.

                Written work – should demonstrate:

                a) a sophisticated critical engagement with concepts and theories discussed on the
                   module

                b) a sophisticated critical engagement with both essential and wider reading

                c) a clear argument presented in a flowing style with the use of academic or other
                   style as appropriate to the assessment outline

                d) self-directed research into areas beyond the material explored in taught sessions

                e) a clear matching of style to the form

                Presentations should demonstrate:

                a) a sophisticated critical engagement with a range of concepts and theories

                b) the introduction of a new topic, material, or approach which extends the seminar
                   group’s understanding of the subject

                c) the utilisation imaginative forms

                d) relevance of form to content


                Practical Work should demonstrate:

                a) the ability to utilise a range of street arts methodologies for effective
                   facilitation/intervention

                b) a sophisticated understanding of and the ability to utilise a range of
                   methodologies

                c) originality in practice

                d) an understanding of the theoretical underpinnings of practical conventions

                e) engagement with critical reflection on the product and the process, from self and
                   others

4.5 Grading Student Work

Student work is marked according to grade criteria published in the student handbook and subject
handbooks. Specific assessment criteria for each module are also published in module guides. All
work will be double marked. The tutors will ensure that standards and parity are maintained in
marking by utilising a system of sample marking meetings on large modules to produce agreed


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‘bench-marks’ for the banding of assessments, while second marking all levels will ensure
consistency in marking is maintained. FYPs are marked by two tutors who do not see each other’s
comments until they meet to agree a mark. A sample of work from all modules, including the FYP, is
sent to the external examiner each semester.

Our marking policy is to offer encouragement, whilst explaining clearly and constructively the reason
for the grade and how students can improve future work. Some modules, particularly those with large
student numbers will utilise the practice of also providing groups with verbal feedback on
assessments – feedback may also be posted on the Learning Network.

In order to develop student learning and facilitate student progression all students who fail an
assessment will be required to discuss it in a tutorial with the marker. Those students who achieve
grades in the forties will be strongly encouraged to see their tutors in order to receive feedback on
how they can develop their learning.

4.6 Methods of Delivery and Assessment
Assessment Chart: BA Street Arts


Level 4
 Module and Credits                    Assessment and % of Total          Example Criteria
                                       Marks
 Devising                              Journal &           30%            Ability to generate and frame
                                       Performance                        devised material and to
 Credits 30
                                       Semester 1          15%            document it
                                       Semester 2          15%

                                       Performance               50%
                                       Viva                       20%
 Performance Skills 1                  Performance                70%     Ability to use neutrality,
                                       Viva                       30%     presence, stillness in street
 Credits 15
                                                                          arts practice

 Production Skills1                    Presentation               50%     Demonstrate ways digital
                                                                          technologies challenge
 Credits 15                            Web based
                                                                          performance conventions
                                       journal                    50%
 The Street as the Stage               Performance                70%     Understanding the relevance
                                                                          of the term ‘carnival’ to
 Credits 15                            Essay 30%
                                                                          contemporary street arts
                                                                          practice
 The Dramaturgy of Public Space        Essay 50%                          Ability to articulate
                                       Debate                     50%     dramaturgical analyses
 Credits 15
                                                                          within academic writing

 Performance Skills 2                  Presentation (proposal)    30%     Demonstrate a key skill and
                                       Performance                70%     how it could employed in
 Credits 15
                                                                          street arts practice

 Production skills 2                   Presentation               70%     Ability to create and
                                       Journal Written/Digital            document a model of
 Credits 15
                                       or web-based               30%     interactive media for use in


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                                                                       street arts practice

Please note that at the beginning of each Semester at Level 4 there are 18 hours dedicated to a
practitioner directed Performance Project. This follows the successful model on BA Performing Arts.
However, mode of delivery will depend upon negotiation with the practitioner and the topic, e.g. all
delivery may take place over 1 weekend with a performance at the end. This is not assessed, although
hours for this will be adjusted from Performance Skills 1 & 2 and Production Skills 1 and 2. (Please
see specific module descriptions for hours breakdown)



Level 5

 Extending Practice 1               Journal                 50%    Ability to resource, design and
                                                                   create materials for a
 Credits 15
                                    Performance            50%     performance
 Cross disciplinary practice        Presentation          100 %    Ability to implement and
                                                                   evaluate a working methodology
 Credits 15

 Visualising the Street             Performance             60%    Ability to articulate coherently
                                                                   and critically in a written or
 Credits 15
                                    Journal/Evaluation     40%     visual media working methods of
                                                                   key practitioners


 Street Arts Study                  Essay                 80%      Ability to research and define
                                    Viva                    20%    key elements of a street arts
 Credits 15
                                                                   performance company
 Extending Practice2                Performance            60%     Ability to match performance
                                    Proposal               20%     material to appropriate form of
 Credits 15
                                    Journal               20%      street arts practice

 Trans-cultural   Context      and Presentation             70%    Ability to articulate how
 Street Arts                                                       different street art practices are
                                    Essay                 30%
                                                                   informed by trans-cultural
 Credits 15
                                                                   practices

 Directed Performance               Performance            70%     Ability to create a street arts
                                    Journal              15%       performance in a public space
 Credits 30
                                    Documentation           15%

Level 6
 Module       and Assessment and % of Total Marks                  Example Criteria
 Credits
 Final        year Negotiated proposal/presentation       0%       Ability to carry out extended
 project           Either:                                         research through choosing
                   A dissertation of 8000-10,000                   appropriate methodologies
                   words                                100%
                   or
                   A negotiated outcome of practice and
                   documentation (Examples include one of the

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                   following: practice outcome with appropriate
                   written reflection; balance of practice/written
                   split to be negotiated; performative essay and
                   reflection; devised street arts performance
                   with artist statement and performance
                   manifesto)                               100%
 Production        Presentation Proposal & Viva              20%     Coherent and realistic production
 Project           Performance                               50%     plan
                   Extended Programme Notes                  10%
                   Written evaluation                      20%
 Current Debates Portfolio of annotated materials             100%   Ability to write coherently about
 and Practices                                                       current street arts and
                                                                     performance practices
 Performance       Outline writing project proposal           25%    Demonstrate different ways of
 Criticism OR      A negotiated series of critical articles          writing about streets arts
                   and/or reviews, (2000 words in total)             performance
                   based around the writing project           75%
 Creative          Research document                          60%    Articulate problems between
 Production        Presentation and promotion of                     creative producers and street arts
                   projects                                   40%    practitioners.



5.   ENGAGEMENT WITH THE ACADEMIC INFRASTRUCTURE AND OTHER
ACCREDITATION REQUIREMENTS
Agreement with the framework for Higher Education Qualifications and the QAA Code of Practice is
assured by the validation process and by annual monitoring process.
The preparation of this document and the planning for this degree has been undertaken with reference
to and engagement with various internal strategies and procedures and with reference to external
sources.
       Internal documents include:
       University Research and Knowledge Transfer Strategy;
       University Learning and Teaching Strategy;
       University Assessment Strategy;
       University Common Academic Regulations for Undergraduate Programmes of Study;
       University Strategic Plan;
       Faculty of Arts Strategic Plan;
       Faculty of Arts: PGT Scheme Framework Document (Proposal).


       Other:
       Consultation with students on BA (Hons) Performing Arts; BA (Hons) Drama;
       Consultation with staff across the Department of Performing Arts;
       Consultation with staff in the Faculty of Arts.


       External:


                                                                                            13
        Consultation with appropriate performance arts organisations including practitioners (e.g.
        Desperate Men); producers (e.g. Simon Chatterton, Sian Thomas); and organisations (e.g.
        Independent Street Arts Network and National Association of Street Artist) and from students
        at the Central School of Speech and Drama conference in Theatre Materials (April 18/19
        (2008))

        QAA benchmark statements for Dance, Drama and Performing Arts:

        As outlined in the documentation relating to subject benchmarks for Dance, Drama and
        Performing Arts, the content of the BA Street Arts programme at the University of Winchester
        reflects the origins and particulars of the subject as well as its interdisciplinary nature:

         ‘There is a traditional intersection between Drama, Dance and Performing Arts and other
        subject domains, and whose continuation acknowledges a general interdisciplinary focus in the
        arts and humanities.’ 1

         ‘the public and community nature of performance practice, particular emphasis may be placed
        on collaborative learning and heuristic principles, on 'learning through doing' in group
        contexts’. 2

        As already indicated these ‘group contexts’ will often involve work being undertaken in
        particular situations outside of the university. Therefore the programme places a strong
        emphasis on developing within students the skills to:

        ‘identify[ing] and interpret[ing] the cultural frameworks which surround performance events
        and on which these events impinge, and taking these into account in creating and/or
        interpreting performances’ 1

        All aims and outcomes of this programme reflect the relevant subject knowledge and
        understanding, subject skills and general skills as detailed in the QAA benchmarking
        statement.2

        The subject benchmarks stress that current offerings across the country, whilst sharing certain
        central concerns and understandings, provide for a richness in their diversity and commitment
        to innovation

1http://www.qaa.ac.uk/academicinfrastructure/benchmark/honours/dance.asp accessed on 20th April
2008
2 ibid

6.      PROGRAMME STRUCTURE, LEVELS, MODULES, CREDIT AND AWARDS
The Street Arts programme is a Single Honours pathway. The BA Honours is 3 years full-time or part
time equivalent as defined by the Common Academic Framework.
Study comprises a combination of single, double and quadruple modules that over the three levels
represent the equivalent of 24 x 15 credit modules. 360 credit points in total make up an Honours
degree; this total being inclusive of the multiple modules.
Students completing the requirements for progression to Level 5 (120 credit points) are eligible for a
Certificate in Higher Education and those completing the requirements for progression to level three
(240 credit points) are eligible for a Diploma of Higher Education as exit qualifications. Students with
300 credit points but without a pass in the Final Year Project are eligible for an ordinary degree.
There are no exceptions to the common academic regulations and no requests for exemptions have


                                                                                            14
been made to the University Academic Standards Committee.
Programme Structure table:
 Credits                                   All students
 Level 4                                   Semester 1
 30                                        Devising (NB runs across both Semester 1 and 2)
 15                                        Performance Skills1
 15                                        Production Skills 1
 15                                        The Street as the Stage
                                           Semester 2
 15                                        The Dramaturgy of Public Space
 15                                        Performance Skills 2 Delivery of skill based part of
                                           module in intensive 2 week period within vacation
 15                                        Production Skills 2
 Award
 Requirements for progression/exit award
 Pass 8 modules (120 credits)
 Certificate of Higher Education
 Level 5                                   Semester 1
 15                                        Extending practice 1
 15                                        Cross disciplinary Practice
 15                                        Visualising the Street
 15                                        Street Arts Study
                                           Semester 2
 15                                        Extending Practice 2
 30                                        Directed Performance
 15                                        Trans-cultural Context and Street Arts
 Award
 Requirements for progression/exit award
 Pass 8 Modules (240 credits)
 Diploma of Higher Education
 Level 6                                   Semester 1
 15                                        Current Debates and Practices
                                           Semester 2
 15                                        Students take either
                                           Creative production or Performance criticism
                                           Semester 1 and 2



                                                                                       15
 30                                            Final Year Project
 60                                            Production Project
 Award
 Requirements for progression/exit award
 Pass 8 Modules (360 credits)
 Honours Degree


7.    SUPPORT FOR STUDENTS
7.1 Introduction
The University provides the following support:
Student Handbook; Personal Tutor system; Counsellors; Chaplaincy; Careers Service; Job Shop; Equal
Opportunities Officer; Disabled student support; Induction and Pre-Entry Study Skills Programme;
general Study Skills Programme; Library Skills and Study Skills Programmes; Child Care Nursery;
Welfare Advice; Bursaries; Financial Advice; the Learning Network, IT support; Student Exchanges.
The Faculty, Department and Programme provides the following support:
Personal Tutoring; PDP; Module Handbooks and Guides; Tutorials; Assignment Feedback; Programme
Leadership.
All students at the University of Winchester have a personal tutor: a designated member of staff who
represents a point of contact for academic and, if necessary, and in the first instance, personal
problems.
This noted, all tutors are willing to provide students with help and advice. To this end details of module
tutors’ e-mail addresses, office details and telephone extension numbers are, for example, published in
module guides. Office hours are posted near tutors’ offices, enabling students to arrange tutorials.
Tutors generally make themselves available for at least a morning and afternoon each week. Module
reports are received at programme Committee which will meet six times a year.
In the programme there will be throughout the course (but especially in the build towards public
performances) classes in the practical and production classes where there will be workshop inputs from
creative producers and practitioners and especially from the Hat Fair team in which students will
receive commentary and feedback. This will also be an important element of the module Street Arts
Study and Creative Production
Another source of help and advice is the Faculty Office and the Programme Administrator. For many
students the latter remain their first point of enquiry throughout their undergraduate career.
Students who aim to enter the Street Arts programme will be able to meet members of the core
teaching teams on open days and visit days that are held throughout the year and also during the
clearing process.
Support is provided by the Faculty and Programme for Student Handbooks; Module Guides;
Assignment Feedback; the Learning Network; PDP; Exchange Programme;
LEN in particular provides learning support


7.2 PDP
In line with recommendations by the Dearing Report, the University of Winchester offers students the
opportunity, as part of their programme of study, to undertake Personal Development Planning (PDP).
The Media Production Programme recognises the importance of students having a reflective
understanding of the skills they have acquired, the skills they may need, and an accurate and verifiable

                                                                                             16
record of their achievement. The operation of PDP is voluntary but the Programme has in place a
system to make participation as simple and uniform as possible.

The operation of the scheme falls into three optional areas:

Skills Audit: students will be invited to undertake personal skills audits at the start and end of each
level. The audits will be used, in consultation with either the Personal Tutor or other member of
academic staff, to identify needs and achievements. The skills audit is a personal document restricted to
the student and their academic contact.

Module Reflections: voluntarily undertaken in conjunction with module evaluations, Module
Reflections are records of skills which students feel they have gained on each module and areas in
which they feel they require more knowledge or experience. The Module Reflection is a document
restricted in the same manner as the Skills Audit.

PDP Statement: developed over the three years of the course, the PDP Statement is a document
intended for use by the student in gaining work or continuing education. It takes aspects of both the
Skills Audits and Module Reflections and distils key elements which, together with additional aspects
such as work experience, extra curricula activities within the University, and work undertaken during
the students’ time at University, combine to give a complete and accurate record of the students’
activities during their University career. The statement is signed off by the students’ academic staff
contact and by any other interested party such as an employer. The PDP Statement becomes the
property of the student who may use it to demonstrate experience and skills to future employers. A
copy of any ‘signed off’ sections of the PDP Statement is kept by the University.

Initially, hard copy documentation will be made available to students to undertake the operation of the
scheme but development of electronic means possibly by using Moodle/LEN is currently being
developed.

7.3. University Student Support

Beyond the support offered within the programme, Student Services run an extensive counselling
service and provide advice and a programme of workshops on study skills. The nationally accredited
Careers Office provides a range of information and services including one-to-one sessions and a
programme of speakers and other events. Student services also provides the following support:
Chaplaincy; Careers Service; Job Shop; Equal Opportunities Officer; Study Skills Programme; Pre-
Entry Study Skills Programme; Child Care Nursery; Welfare Advice; Bursaries; Financial Advice.
Students can also access services which offer support and advice on a range of areas from the Student
Union.
Programme and departmental specific support:
Regular progress tutorials
A disability liaison officer to facilitate communication regarding the needs of disabled students
Excursions to performances

Students have access to a wide variety of rooms that are managed by administrative staff to support
student rehearsal schedules.

There is also a specialist team of theatre technicians in the Faculty who provide excellent support to
students’ practical work and provide specific training around specialised knowledge to help enhance
the level of students’ practical work including particular features of risk assessment, health and safety
etc. This will get supplemented by the experience of the staff and their specialist knowledge of street
arts performance



                                                                                             17
8. CRITERIA FOR ADMISSION
All applications are made through UCAS
240-280 points Single honours or equivalent qualification or experience in a related programme
Applicants whose first language is not English will be required to show evidence of a TOEFL score of
560 or above or IELTS score of Band 6 or above
In addition to this, students will be required to show potential for practical work (through a workshop
and an interview)
The university specifies a General Admission Requirement which must normally be satisfied by
candidates aged 21 or under. This requirement is the equivalent of passes in two subjects at Advanced
level supported by passes in three other subjects at GCSE Level, but may be satisfied by a specified
level of achievement in a wide range of qualifications. The admissions requirements for a year of entry
are detailed in the University’s Undergraduate Prospectus for that year.

Candidates who do not satisfy the General Admission Requirements may be admitted to a programme
or field of study provided that they can submit evidence of previous serious study and demonstrate the
capacity and attainments to pursue successfully the proposed course.

The programme interviews all candidates. This is not to impose further barriers of performance
standards, rather to ensure potential and commitment. The process allows us to exercise judgment in
the case of students who have failed who seem likely to fail to achieve the above requirements. Will
offer places to applicants with minimum entry qualifications if we consider that with appropriate
support they are capable of working to degree standards.

All of this may apply particularly to potential students who have relevant professional experience who
are seeking time to develop their practice or who wish to explore a more academic route to post
graduate study. These students may be recruited through the Universities contact with ISAN and other
professional bodies, students entering from visual arts and especially overseas students.



9.       QUALITY ASSURANCE AND ENHANCEMENT


9.1 Introduction
The following quality assurance (QA) mechanisms are utilised:

         Programme Committee
         Student representations (cohort based)
         End of module student evaluation questionnaires
         Module Report produced by the Module Co-ordinator and student representatives
         Student Satisfaction Survey
         Faculty Quality Committee
         External audits as appropriate

Reference points applied:
Including consideration of stakeholder feedback from, for example, current students, graduates and
employers.

9.2 Internal
Internal consultation with students, Action Points and Evaluation of programmes


                                                                                           18
Faculty Strategic Plan
University Academic Regulations
University learning and teaching strategy
University Strategic plan 2006 – 2011
National Student Survey
University of Winchester Student Satisfaction Survey


9.3 External
Framework for Higher Education Qualifications
Subject Benchmarking statement

9.4. Quality Assurance and Enhancement
9.4.1 Quality Assurance and Enhancement at Module Level
Throughout the Department student feedback about specific modules is collated through Module
Evaluation Reports. The data is collected through a questionnaire for all students, plus an end of
module cohort meeting. The tutor collates the forms and produces a report for discussion at
Programme Committee. The report will identify good practice and propose remedies for any points of
concern. Student reps are asked to comment upon draft reports. Some programmes, e.g. Performing
Arts, have a Level 3 ‘Exit meeting’ where students can reflect upon their experience throughout the
programme.
9.4.2 Quality Assurance and Enhancement at Programme Level
The Programme Committee evaluates the success of the programme, using student feedback and
representation. Minutes will inform the Action Points and Evaluation report (AP & E) prepared by the
Programme Leader/Director, which includes the External Examiner’s Report, identifies for attention
and provides an Action Plan for the following year.
9.4.3 Quality Assurance and Enhancement at Faculty Level
The programme submits a departmental Action Points and Evaluation to the Faculty Quality
Committee. The Department submits an Annual Monitoring Report based on the programme AP & E
9.4.4 Quality Assurance and Enhancement at University Level
The quality of the programme is commented upon by an External Examiner appointed by Senate. The
External Examiner’s Report, together with a response from the programme team, is distributed to the
Vice -Chancellor, pro-Vice-Chancellor (Academic), the Chair of the Faculty Quality Committee, the
Dean of Faculty and the Academic Standards Committee.
9.4.5 Quality Assurance and Enhancement at Staff Level
Staff Development, supports the quality of learning and teaching, through Development and Review,
attendance at conferences and regional meetings, external examining and involvement in research
activity. As part of their appraisal staff engage in Collaborative Enhancement of Teaching through
peer review.
9.4.6 External Assurance and Enhancement
There will be regular commentary feedback both informal and more formal communication through
collaborative practice with the creative producers at Hat Fair and in the modules of Creative
Production, Directed Performance, Street Arts Study and as visiting lecturers generally throughout the
programme ensuring a level of professional standards are met alongside academic standards



                                                                                          19
9.5 Staff Development and Research
All staff teaching on the BA Street Arts are involved in Research Informed Teaching, (see below for
research profiles). There is also funding available in the Faculty of Arts for staff development,
including professional workshops, and there are small ‘fast track’ project funds for Learning and
Teaching initiatives alongside the more substantial funds in this area. Currently there is Learning and
Teaching project in the Faculty of arts focusing upon Creative Practice Informed Teaching, as many
core staff are creative practitioners. There are currently two Research Centres in the Faculty of Arts in
which the Street Arts staff research fits: The Centre for Creative Practice and Writing (convenor
Richard Cuming), a cross-department Centre, and The Centre for Expanded Dramaturgies, specifically
set up by Synne Berhndt, Yvon Bonenefant and Dr. Cathy Turner. Cathy Turner and Synne Behrndt
from the Centre for Expanded Dramaturgies will be teaching the Dramaturgy of Public Space and their
research work especially will be relevant to this important part of the programme
Also research programmes from John Lee and Richard Cuming into Street Arts practice and the
Disguised Clown relates directly into the teaching programmes in many of the modules. Jane Watson’s
Corner Shop project jointly funded by the University and ACE is also part of the Hat Fair and acts as a
focus for Street Art practice. Dr Olu Taiwo runs a workshop practice in street arts. Dr Cathy Turner is
artist researcher for Wrights and Sites an international outdoor performance company creating work
throughout Europe. John Lee is Arts Council and Gulbenkian Foundation funded creating new work in
Street Arts practice that informs his research –informed-teaching and delivery modes (Street Arts in
Live Arts /Site Specific; Clowning and Site in Devising) and Janet Lee is artistic director of Strange
Arrangements creating large scale puppetry in street arts practice. Gordon Murray has extensive
experience as a street arts practitioner that is informed by his research interests in carnival and popular
art forms.
All members of staff teaching on the programme have extensive street arts practice and have performed
with or directed major companies.
The programme will offer a valuable stimulus for research into this new academic territory of Street
Arts. This research and knowledge will draw from the expertise of the staff in the research centres as
many of the existing core interests will directly inform this growth e.g. The Centre for Expanded
Dramaturgies
9.6 Staff research profiles:
         Richard Cuming
         Richard is a performer, deviser and director, who has worked both nationally and
         internationally. His interests are in the field of physical and visual performance, and the
         synthesis of different forms. With his company fishproductions he has explored the real and
         the fake in two projects The Family Outing Caravan Holiday (recipient of a Year of the Artist
         Award in 2000) and Love Me Tender, performed in a lost property office (1997). He recently
         co-directed The Visitation of Mr Collioni for Platform 4 Theatre Co (2003/4). With Fuse
         Performance he created Café Lente (2006/7), an immersive performance event which
         combined sound, film and live performance which played at Visual Arts Festivals. He is a
         Principal Lecturer and Head of Performing Arts at The University of Winchester

         Janet Lee is a physical theatre performer and puppeteer. She has directed for and performed
         with Strange Arrangements for the past 10 years as well as collaborating with Australian
         puppetry company Spare Parts Puppet Theatre. Janet has a Master of Arts degree from the
         Victoria University of Technology and is currently completing a PhD with Murdoch
         University researching transculturation and identity in performance. Janet’s specialist areas
         are Physical and Visual Theatre.

         John Lee is a performer, director and educator who have worked as a solo performer
         especially in an international context. He toured his solo shows extensively throughout the
         world for the British Council and in European street and theatre festivals. He has belonged to


                                                                                              20
         a number of companies Skulldugary, Taboo, Magnificent Seven and appeared at the London
         Mime Festival, the Lift Festival. He co-founded Fooltime the first circus centre in the UK. He
         has written and directed for Kneehigh Theatre Company and he is presently a consultant for
         the company. As co artistic director of Fuse he has created a number of productions
         Misguided Tours with fishproductions, Café Lente funded by the Gulbenkian Foundation the
         I Scream Van of Horror. He specialises in the study of the Disguised Clown and has taught at
         many universities and drama colleges around the country. He is a Lecturer in the Department
         of Performing Arts.

         Gordon Murray is a former graduate of Drama Theatre and Television Studies at King
         Alfred’s and a theatre practitioner. His special interests are in practical theatre work,
         community theatre / theatre as event, and in comic performance as transgression. He is
         Associate Director of Blue Tongue Theatre which has been principally involved in
         workshopping and developing new works from play-readings through to final productions.
         He is also involved in ongoing drama projects in Malaysia for Kampung Bahru TC in Kuala
         Lumpur, and has directed a short film for Backbone Films, Spoken in Jest about a comedian’s
         last act of defiance. More recently he has worked as a free-lance theatre director and
         bizarrely: a fashion show choreographer!

         Dr Olu Taiwo is an actor, dancer, drummer and visual artist who teaches dance and
         performance in both real and virtual settings. His principal current choreographic concern is
         the nature of performance within an interactive audio, visual and sensory environment,
         raising issues concerning the interaction between body and technology. His current research
         is based in the conceptual notion of the return beat, and embodies his research in
         performative outcomes. His research underpins the street arts programme with a continuing
         emphasis on visuality and performance.

         Dr Cathy Turner
         Cathy has been a theatre and performance practitioner since 1992, at first working as a
         playwright, usually in devising contexts, particularly in rural touring, then since 1997 moving
         into live art and cross-art-form work. In 1997, she co-founded Wrights & Sites, a group of
         reflective practitioners committed to creating and researching site-specific work. In 1998, the
         group produced The Quay Thing, a major lottery funded project comprising ten performances
         on Exeter’s Quayside. In 2003 they produced an alternative ‘guide’ to Exeter, An Exeter Mis-
         Guide, and A Courtauld Mis-Guide for the Courtauld Institute in London. In the last few
         years Cathy has begun to perform as well as to write, performing with Forced Entertainment
         and producing a three-stage project in 2003, in which she explored the relationship between
         the role of writer and performer. This resulted in three performances and was documented by
         Arts Archives. In 2008 Cathy received an AHRC award for research into writing and
         performance. She is a Senior Lecturer at The University of Winchester.

         Jane Watson is a practitioner and lecturer, whose specialisms are in the field of movement
         and performance. She trained in Paris at the Ecole Jacques Lecoq, after which she set up her
         own performance company, Watson & Co, with whom she devised 4 productions that toured
         internationally. She is a trained Feldenkreis practitioner, and is currently researching the
         ways that this may be integrated with other forms of movement performance. She is
         currently working on an Arts Council funded project curating and performing a series of live
         art performances that take place in a shop.

9.7. Resources for the programme

As stated in ARF the programme will be staffed by current staff in the department who have expertise
in the area of Street Arts. An additional .5 post will be required for Programme Leader, who will also
teach into the programme. The ARF also requires .2 Associate Lecturers, These will be mainly
practitioners who will direct, supervise and mentor projects. The programmes have access to highly

                                                                                           21
skilled staff, and a wide range of visiting practitioners. Properly equipped performance venues are
important in the new programmes, which contain elements of the production disciplines, both technical
and stage management, as well as public showings. The Performance Gymnasium provides an
important venue for the presentation of staff and student work. However it is important to note that, as
the programme title implies, the majority of performances will take place in unusual spaces, both
public and sited. These will take place during the academic year through a ‘mini’ Hat Fair for student
work.

The programme has the support of specifically dedicated technical staff and in the ARF the programme
requires .2 of extra administrative staff,

Street Arts requires practical spaces, both large, for classes and rehearsals, and small, for individual
and small group rehearsals. Between the main Campus and West Downs a number of such spaces are
available. There is a constant demand for rehearsal space on the existing programme, and this will
increase on the new programme. It will require careful scheduling to maximise usage.

The Library has a well-stocked provision in the related subject area, of books, video and audio
materials, constantly updated. It is not envisaged that anything beyond the normal updating of stock
will be required for the new programme.

9.8 IT
The University’s IT services and provision have expanded considerably in recent years, with over 400
fully networked PCs available for student use. Over 100 PCs housed in the Kenneth Kettle Building are
available to students on a 24 hour basis All University owned student accommodation has broadband
internet connectivity. Networked software includes:

         Microsoft Word
         Microsoft Excel
         Photoshop
         PaintShop Pro
         Macromedia Extreme 3D
         Microsoft Powerpoint
         Microsoft Paintbrush
         Microsoft PhotoEdit
         Microsoft Access
         Stats for the Terrified
         Microsoft Project
         Java Development Kit
         Visual Basic
         Outlook
         First Class
         Frontpage
         Dreamweaver
         Microsoft Internet Explorer
         Sound Forge
         Director
         Aftershock
         Fireworks
         On-line software training packages are also available.

A general induction to IT and subject-specific introductions to the Internet are available for all
students. It is clear, however, that a high proportion of students now arrive at Higher Education with a
fair degree of computer literary. A good level of computer literacy will be expected of all students and


                                                                                            22
those who are struggling in this area will be strongly encouraged to seek assistance from the University
IT trainer. All written work for assessment, excepting examinations, will be expected to be word-
processed.

9.9. The Multi-media Centre
The Multi-media centre is operated by the Media Services section of the Information Technology and
Communications Services department (ITCS). An area that has undergone rapid expansion over the
past few years, it is now at the cutting edge offering students professional facilities in television, video,
radio, music, image manipulation and web content creation.

9.10 Video

        23 Sony VX2000/PD150/PD170 MiniDV digital camcorders
        (10 of which are in ‘shooting kits’ including boom mics)
        7 MiniDV palmcorders
        30 twin monitor editing suites running Premiere Pro and Avid Composer. Also included are
        Adobe PhotoShop, Audition. All suites are capable of DVD authoring and are equipped with
        DSR-11 Decamp player/recorders.
        10 twin monitor multi media suites including Flash, Fireworks, Director, Poser, Audition,
        Photoshop and Cubase, with keyboards.
        Audio workstation with sound proof booth
        Graphics workstation
        Video duplication (including DVD)
        All PCs are fitted with removable hard drives which enable multiple users to use each machine.
        (60+ hard drives in stock)
        12 Digital stills cameras

9.11 Newsroom
The Newsroom is equipped with 24 Intel Apple Mac computers, all of which run Microsoft Office and
Apple iLife. In addition, 15 of the computers are installed with Final Cut Studio and 8 with Quark
Xpress. It is planned that these computers will be fed from a specific server in the near future. At that
time AP’s Electronic News Production software will be installed. The Newsroom is also equipped with
audio interfaces for voice over work and Sony DSR-11s for recording and playback of mini DVCam. It
is planned in the near future to directly interface the Newsroom with both the TV studio and the Radio
studio.

9.12 Web Content
Software as above – much of which is available on all networked PCs.
Digital still cameras.
CD and DVD writers.

The Multi-media Centre is subject to a rolling plan of equipment improvement an enhancement. All the
facilities within the Multi-media Centre are centrally owned and controlled and, therefore not specific
to any subject. A committee exists with representatives from all relevant subjects to co-ordinate usage
over the Academic Year.

Students also have access to other items of equipment available on loan from the Multi-media Centre.
These include musical instruments, laptop computers, AV projectors, audio and video and DVD
recorders.

10. THE REGULATORY FRAMEWORK
The University’s Academic Regulations for Undergraduate Programmes of Study apply to this BA
programme. The Programme team follows the ‘QAA Code of Practice on Assessment’. Further


                                                                                                23
regulation is through Programme Committee and External Examiners.
(a)    The programme of study conforms fully with the Common Academic Regulations for
       undergraduate Programmes at The University of Winchester
(b)    Exemptions are not required
c)      There is no External PSRB Accreditation, although there are links with the University of
Girona and Hat Fair Winchester (please see Appendix 1).




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