Wednesday, 2 December 2015

Permission giving...

As you are all now in the depths of your respective module's work and busy figuring out how to communicate your thoughts and ideas in writing I wanted to blog a note about permission giving.

Whether you are opening windows to past experiences through reflections in Module One, mapping out the landscape of your potential research project in Module Two, or giving light to the emerging themes of your research through Module Three, it is vital that you give yourself the permission you feel you need to share your voice publicly.

Discussions with each other through your blogs, linked-in and Skype calls are great for bouncing ideas, listening to and processing alternative perspectives, as are the conversations you have through one-to-one tutorials with your advisor, but ONLY YOU CAN DETERMINE WHEN YOUR WORK IS SAYING WHAT YOU NEED IT TO SAY.

We have talked during Skype group calls about the student/teacher relationship that we aim to facilitate through the MAPP DTP, and that not being a traditional - teacher holds all knowledge and student waits to receive that knowledge.  Whilst we are happy to offer another voice, a more critical, questioning voice perhaps to your ideas, our intention is really to hold space for your ideas to form, emerging from you as they are intrinsically about YOUR professional practice.  You do not need anyone outside of you to tell you when something is 'right'.  Please do try and use tutorials and the sending of drafts of work via email as an opportunity to ask questions, hear an alternative voice rather than expect permission to go ahead to come from your advisor.

We do not mean this as 'you're on your own', far from it, in developing the on-line MAPP community we want you to feel supported and part of a community of learners/practitioners on this journey, and as your advisors we are very much walking it alongside you...but not for you.

Give yourself the permission, the space, the muddling needed to know when you're communicating what it is you intend to.

Wednesday, 4 November 2015

...the beginning of knowledge is not knowing...

I've just been reading the keynote presentation that Simon Ellis gave recently at the Thinking Dance Symposium at Leeds Beckett University (I was unable to make it, but great to catch the flavour of this fantastic keynote online). 

I wanted to share this with you, in relation to our Skype conversations over the weekend and our learning, knowing, expectations as we move through the MA.

'Perhaps what we should concentrate on is becoming comfortable with not understanding everything that is going on. Perhaps we should be comfortable with not seeing everything. After all, the beginning of knowledge is not knowing'

See what you think and share...

Monday, 2 November 2015

Accepting the process...embracing the unknown

We had two great Skype conversations yesterday, with opportunity for you all to share thoughts, worries, experiences as a community.

Adesola has blogged a reflection on the morning Skype call and pointed towards the blogs of those involved in that discussion - 

I am going to review a little the evening call to share something of the conversations there and share some experiences around process and not knowing.  

Please do check-in with each others blogs and comment particularly if you have been unable to join a Skype call this month.

The evening Skype raised discussions over literature.  What we see this as, how we access it, respond to it and not get too overwhelmed by it.  We talked about the literature not having all the answers we may be looking for, but offering alternative views.  That within our research we are not looking to prove something, not looking for either/or responses but to broaden the landscape of our practice through the inclusion of other voices.  Tara is going to blog around this notion of things not needing to be 'right or wrong' but the multiple alternatives there can be.

Adesola talked of the literature as ingredients rather than the finished meal.  When we 'use' literature in our research we are not looking to regurgitate what has already been said, nor are we trying to justify or 'back-up' our own thoughts with those of others, seemingly more secure because they exist in print.  

Ainsley referred to the 'holes in the literature' - what's not there being of interest and is sharing thoughts around this through her blog -
Cathie shared concerns over the stance of the literature and each piece seeming to have its own agenda.  We talked about the need to navigate through this with your own voice and she is going to continue this notion of swimming through the literature in her own blog

Louise is going to blog about not feeling too overwhelmed and seeing time and research  perhaps not as constrained but as opportunities for possibilities. 

Whenever we feel overwhelmed 'time' seems to take a priority in discussions.  'How do we find time?' Adesola and I have spoken before of alternative ways of seeing time, not as something to be found but more the rhythms that work for us, emerge from us and our relationship with our research.  Feeling overwhelmed can often be related to fear, frustration, not knowing, feeling that we should know, assuming there are some answers out there...

This is something that came up in different ways across both Skype calls and something I thought I would address through my experience of improvisation in dance practice.  When we improvise we are putting ourselves in a conscious place of 'not knowing'.  Improvised dances emerge as we respond in the moment to our environment (body, self, others, sound, space).  These dances are composed instantly through the responses we trust our bodies to make.  Improvisation is about taking risks...About not knowing, and being excited by the possibilities of what may emerge.  It is about being responsive, fluid, open to change...just like research.

Through improvisation we put ourselves in a vulnerable place (time and time again) and accept this as part of the process of investigation.  We are not looking for the 'right' movement, or a product at the end of the improvisation, but we are accepting not knowing, enjoying the unknown as we navigate journeys within it.  Our lived body is our resource.  We are able to draw on past experiences, patterns within the body, rhythms of past relationships of ourself to others to the environment.  This rich site of knowing (us), allows us to enter and embrace the unknown, fearless...accepting the vulnerability of the process to reveal deeper connections with ourselves, with others, with the environment.

Research asks us to do the same.

This TED talk from Brené Brown offers some thoughts on this process and the power of change, connections and vulnerability.

Share your thoughts on this...

Monday, 19 October 2015

Finding Balance...

A note for all this week on finding balance...helpful not just in the dance studio, but in our lives.

As you really get into the flow of your study now, working through the module handbooks, reading, reflecting, thinking about the documents you will write it is important to find your relationship with the MA.  That may sound easy, especially as this MA is centred around you and your professional practice, but being in a relationship with it, one that is harmonious and fruitful may not be so straight forward at times.

Achieving a balance between work, study, home can be tricky and something of a juggling act at times.  Try to breathe (always!) and look at things (tasks, to do lists) in bite-size chunks.  Whilst we have been stressing the importance to the connections through the MA as a whole, these can be the undercurrents rather than the waves you ride each day.  Try to focus on a task each week, rather than overload yourself with too much forward thinking.  Sometimes in a race to get to the finish line (assessment  / graduation) you can miss the beauty of the journey.

As you work through Module One, have in mind the final presentation of your work - a Portfolio of your learning presented via your annotated (extended) CV, current Job Description and your claims for accreditation (Area Of Learning essays) illustrated with supporting materials.  Refer to the images for this and signposting on Adesola's blog as a way to visualise what this might look like, then approach it one task at a time.  Let the AOL titles emerge from the process of annotating your CV (reflecting on your prior learning experiences).  This way one thing speaks to the next and the balance between them comes more naturally than 'plucking' titles to write to that may then become onerous tasks.  At the end of the first module you also submit a Review Of Learning essay, offering you a chance to make explicit the connections for your through this module and reflect on the learning journey of this term.  You cannot do this until the end of the module, so let it sit for now, on your radar, but not something 'to do' yet.

In Module Two balance is largely between extending your understanding of your proposed subject area (for your research inquiry) and deepening your knowledge of research as a whole, of approaches to research and methods of research; both through a process of questioning.  The harmony here is achieved when the research methodologies begin to align with methods and are in balance with your questions - not answering them, but in balance with them.

Module Three's you're eventually trying to find a balance between your written paper, oral presentation and professional artefact in the holistic sharing of your research process with a wider community.  In the process of finding that balance you will be looking at the relationship between 'things'; the data, the literature, your experiences.  Right now you're probably in the depths of data collection, questioning, probing, listening, reflecting, responding to the many different light bulbs turning on for you...

Keep it all in perspective.  What balances for you one day may not the next, what balances for one of you simply may not for the next person.  So 'striking a balance'? I'm not sure we truly do, weaving through relationships, balancing multiple things, thoughts, feelings in a constant, fluid process...yes.

What are your thoughts?


Sunday, 4 October 2015

Conversations and Connections...

Great to talk with everyone during this morning's Skype call.

It was really good to hear you sharing your thoughts on your learning, your practice and your research, in response to these conversations I said I would blog about the holistic approach of the MA itself in terms of connections and conversations that are happening throughout the modules and throughout your learning.

I find it interesting the ways in which we identify ourselves through the roles we assume; teacher, student, dancer, parent; and hear this through the MA as identifying as module one, two or three. I wanted to talk a little about how we might approach our identities through the MA from a more holistic perspective, one which sees all of these identities (and others) as connected elements of us.

Whilst the MA, and other programmes and roles we encounter, may appear divided in terms of structure - we have 3 modules, each one needing to be 'completed' before moving on to the next, the programme as a whole places you at the centre of it and as such points to you being the connecting thread between the specificities of each module.  It is important to recognise that the MA, like other aspects of your life, is not something separate from you.  It is something you have chosen to embark on at a particular point in your life, your career and as such is a part of your life journey.  

I feel that one of the values of the MA is that it offers you a framework through which to explore your thoughts and experiences around your professional practice.  The MA itself does not give you the answers, or provide the steps you must take in order to advance your practice, but its intention is more to stimulate and draw out your own thoughts and experiences and help you to situate them within a broader frame of reference - dance pedagogy.  We tend to identify with a particular place that marks in someway where we are and how we feel at a particular time in our lives.  Being on Module Two of the MA for example offers a context to the shape of our learning and being at this point perhaps, but our learning is not confined only to the demands of the module.  There are specific 'things' that the module requires you to attend to; literature review, ethics proposal, research methods, in the same way that Module One asked you to identify specific Areas of Learning through reflection on your prior experiences, but these tasks are not external things as such.  They are prompts to explore different layers of you perhaps.  You move between them and make sense of them because you are connected to them, they exist and have value because of you.

The monthly Skype calls and our blogs are a great example of the importance of having conversations around our practices, conversations which go across the modules and beyond the structures of the university into the wider profession.  The different modules allow for different perspectives and layers of learning, but the MA as a whole, you as practitioners, is connected; one module to the next, the whole programme to you and your professional practice.  It important to allow those conversations for yourselves to flow through the modules, as they flow through your lives.  Let them be guided by structures but not limited to them perhaps.

How does that sound for you?


Friday, 2 October 2015

Week 1...

Thoughts for the first week of term;

Hopefully you've all been able to access your Module handbooks now (UniHub / MyLearning / MA Professional Practice dance technique pedagogy page / Handbooks folder) and had a little time to read through and maybe begin to digest them.  
Maybe you've been able to find (or re-find) a quiet space for your learning?  
Got your blogs up and running?  
Met fellow MAPPers (online at least)?
If you haven't don't panic! do talk to your advisor if you're stuck with anything though!

Week by week we aim to support and guide your journey through the MAPP via our blogs, posting reminders as to tasks to be looking at, drafts of papers to submit to us, our own observations, thoughts, musings or articles/videos we think may be of interest to you.  Please do get into the habit of checking in with our blogs on a weekly basis as well as writing your own, feel free to comment on ours, each others whenever you want to it's a great way to get conversations going and take thoughts further.
Those new to the MA, if you have set up your blog and sent us your address you're now added to the list of blog addresses on unihub so that others can find and follow your blog - have a go this week at posting something, sharing your thoughts coming onto the MA maybe, something of your area of work, so that others can begin to get to know you a little.  As we go through the term we will ask you to pick up on elements of each others blogs in order to form seeds of discussion for our monthly Skype meetings.

Our first group Skype meeting is this weekend 
SUNDAY OCT 4TH, we offer a morning (1100) and an afternoon (1700) (UK time) slot, you need to check Adesola's blog
and comment to let her know which call you would like to join, make sure you have connected with her on Skype <aonthephone> and she will call you in.
Look forward to talking on Sunday!


Thursday, 24 September 2015

TransDisciplinary Improvisation Symposium at Middlesex University London

This symposium has come about through the research interests of Mdx faculty through the schools of Media and Performing Arts - it is a space for sharing research, exchanging thoughts and networking through professional practice.  MAPP DTP students and alumni are most welcome to attend (booking at the Student concessionary rate) equally please do share this with others within your professional communities that may be interested.
Hope to see some of you there!

T.I.N. presents What’s in a Name?
View this email in your browser

(TIN) TransDisciplinary Improvisation Network presents What’s in a Name?

 23rd - 24th October 2015

Event times:
  • Friday 23rd October: 13.00pm – 20.30pm 
  • Saturday 24th October: 09.00am – 17.00pm 
Improvisation is a long–standing practice that is central to the processes of many performance forms with well-established practices and associated discourses. More recently the significance of improvisation has been recognised in contexts beyond the arts, including for example design, education, therapy and management, making this a dynamic and emergent field of research.
Strongly grounded in the creative arts and led by expert improvisers this event will be an opportunity to articulate and elaborate practices and contribute to the emerging critical discourses of all things improvisatory, refining understandings of creative approaches, terminologies and significances.
The day will include key note presentations, papers by leading researchers/artists, workshops, performances and open research spaces for shared creative dialogue, such that we use the modalities of the improvised (and the various practices we bring) as a way to consider the nature, benefits and problematics of improvisation.

Guest Key Note Presentations:
David Toop, Professor of Audio Culture and Improvisation  -
Sondra Fraleigh, Professor emeritus and Dance Artist/Writer -

Gary Peters, Professor of Critical and Cultural Theory -
In the evening we have a improvised performance event, in conjunction with the Inside Out festival by: Jonathan Impett, Simon Limbrick, Ben Dwyer, Helen Kindred, Robert Vesty, Vida Midgelow, Suzanne Martin and guests.
Registration open online at our online store.
 £75 (waged/ institution) and £45 (unwaged/freelance artist/student)

Middlesex Staff free attendance to conference, evening reception £15. Please register through the Online Store.
(NB. All presenters need to register)

If you wish to join the conversation on social media, we'd like to suggest the hashtag #TINconf15.

How to get here

The conference is held at our main campus in Hendon, north London, which is located 10 minutes from the Northern Line and Thameslink rail line, both of which take you to central London in under 30 minutes.
For directions and maps please click here.


Informal inquiries can be directed to the conference conveners:
Vida Midgelow:
Helen Kindred:

Registration & Refreshments: Studio 3, Ravensfield Theatre

Venue: Middlesex University, The Burroughs, London, NW4 4BT - Map

Join the conversation on social media, @TINConference15, hashtag #TINconf15.
Copyright © 2015 Middlesex University, All rights reserved.

Our mailing address is:
Middlesex University, The Burroughs, London, NW4 4BT

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Monday, 21 September 2015

New Term...

Good to talk to some of you joining us on the MAPP DTP at our induction this weekend, and looking forward to talking with others through the week.  Returning students - very much looking forward to having you back with us and continuing your journeys this term!

A few notices and thoughts as we all prepare to start the new (school) year on the MA together...

Adesola and I continue to be your advisors this term, and from this academic year we will be Co-leading the programme itself too, working together to help to grow a wider MAPP community.  You should still contact your advisor for tutorial discussions, drafts of work etc, and anything programme related - enrolment, fees, assessment etc can be directed to either of us as Programme Leaders.

Term begins on Monday Sept 28th and runs for 12 weeks through to the Winter break (Dec 18-Jan 3)
Your next submission date (across all modules) is MONDAY JAN 4th 2016.

Our monthly Skype meetings for all MA students resume on Oct 4th, again we will be offering an AM and a PM meeting in the hopes that you can make one of them from wherever you are in the world.  We aim to keep these to the first Sunday of each month at 1100 and 1700 (London time).

Adesola co-ordinates the Skype meetings and will post a reminder before each one on her blog (remember to check-in with our blogs weekly for any notices like this), make sure you have sent a contact request to Adesola on Skype <aonthephone> before the call and comment on her blog to let her know which call (1100 or 1700) you want to join.  It's helpful when you send a contact request to note that you are on the MAPP DTP so that we know who you are!

As soon as I have an up to date list of all blog addresses (those new to the programme remember to send your advisor your address as soon as you have it set up) I will upload this onto our MA PROFESSIONAL PRACTICE DANCE TECHNIQUE PEDAGOGY PROGRAMME PAGE ON UNIHUB (in the Resources Folder).  Don't forget the blogs are your space to communicate with each other, read, leave comments at a time that works for you and do make a point of checking in with our blogs on a weekly basis as this is how we will communicate with you all as a community on the MA.

For this week in preparation for term starting, take the time to download the handbook for your module and have a read through it.  Returning students please do check you are enrolled for the correct continuing module (Module Two - module code WBS4630 / Module Three - module code  WBS4760), those coming in on Module One you should be enrolling this week (module code WBS4510) any problems do let us know!


Tuesday, 14 July 2015


With apologies for the delay in your results from the work submitted in May being published, I am happy to confirm that all grades have now been approved by the University Assessment boards and External Examiners and should be visible for you on MyUniHub.  Well done to you all, some really exciting work emerging here across all the modules!

If you have any problems viewing your grades here please do contact the UniHelp desk.
You should have received written feedback on your work also now from your advisor, if you have any queries or problems accessing this please contact us.

Over the next two weeks we will be updating Module Handbooks and general information on our Programme Area on UniHub, do take a look at the end of the month and access the handbook and information for the next module you are moving onto in September.   Those of you who have completed the MA now and will be moving on to new ventures in September, we look forward to seeing you at the Graduation ceremony on Friday!

Our new term will start on Monday Sept 28th, and we will have a new schedule of group Skype meetings to post soon for you also.

If your summers have some space in them we have a few more places on our Dance and Writing Summer Intensive running Aug 17-21, student rate £250, this will benefit any of you as you move between the modules on the MAPP DTP.  Each day will start with a morning movement class and afternoons will be spent looking at research, writing, referencing skills with the focus on how we translate our physical experiences in dance into writing.  It would be great to move with you and spend the week together if you can make it.

Please use this link to book, or comment here with any questions...


Wednesday, 10 June 2015

Summer Intensive is open for booking...

The Dance and Writing Professional Practice Summer Intensive will take place August 17th-21st 2015 and will be held at Middlesex University's Hendon Campus, London.

Dates: August 17-21, 2015

Costs: £350 (Full/institution funded)  £250 (concessions/unwaged/students)
Venue: Middlesex University London NW4 4BT
Facilitators: Adesola Akinleye and Helen Kindred
Bookings and Payment online:
The programme has been designed in response to feedback from students on both the MAPP DTP and the BA Professional Practice (arts) programmes concerning the transition from vocational training, performance work, independent practice, studio teaching into studying within a university environment and being able to confidently share rich bodies of experiential knowledge through academic writing.

The programme intends to address these transitions through a mix of studio (practical) dance classes and classroom sessions;  accessing and developing literature reviews, citation methods, academic writing structures and written expression of physical experiences, engaging with social media and web 2.0 online developing confidence in online learning and sharing.

Each day will begin with a movement class followed by sessions looking at text, research skills and writing to help students develop confidence in what they have to offer as academic students and to encourage students to draw on their somatic knowing of movement to inform their ideas and writing.

Please do contact myself or Adesola if you have any questions or need further information on this.

Thursday, 14 May 2015

MA Presentations May 29th 2015

You are warmly invited to attend the

MA Professional Practice, Dance Technique Pedagogy
Finalist Presentations

May 29th 2015
College Dance Studio (CG60)
Middlesex University London

Schedule of the day:

12.30 arrival / coffee and finalists set-up

13.00 – 14.30 Presentations  - 2 finalists presenting their Research Projects, each presentation is approx 30mins with questions, comments, invited afterwards.

14.45-15.45 – Assessors questions/discussion with finalists

Please confirm attendance via email to Helen Kindred

Saturday, 25 April 2015

Presentation and Submission of your work...

As you approach the stage of preparing work for submission I thought it may be helpful to re-post this blog offering some guidance as to the presentation of your work in line with the University's expectations.  Whilst the content and expression of your experiences for each essay is most important, presenting work for consideration by the University also expects you to adhere to certain protocol.

Some guidelines:

Presentation of Essays
Essays should be typed, 1.5 or double spaced. 

Please justify the margins on both sides. Fonts: use Times New Roman, Arial or Garamond. 

The cover page should include; 
your name
student number
programme and year
module number and title
module tutor - PLEASE MAKE SURE YOU STATE HELEN KINDRED, SENIOR LECTURER IN DANCE (TG55) to ensure any hard copy work submitted gets to the correct office.
full title of assignment and date written and word count.

Please do not use bold type or underlining in your essay, but italicize any foreign words as well as book titles and titles of choreographic works, plays or films. Use single quotes (‘and “double quotes” inside single quotes’).
1)            References in bibliography:
A bibliography is a list of all source material you have used, whether or not you have quoted from it. It is important to show that you have extended your knowledge by referring to other texts/works/authorities. A bibliography should be presented in alphabetical order of author’s surname. There are various ways of setting out a bibliography, but the details should always include:

Surname, Initial(s). Date of publication. Title in italics. Place of Publication: Publisher.

For example:
Ostwald, P. 1999. Vaslav Nijinsky. A Leap into Madness. London: Robson Books.

Edited book:

Surname, Initial(s). (ed.). Date of publication. Title in italics. Place: Publisher.

For example:
Carter, A. (ed.). 1998. The Routledge Dance Studies Reader. London: Routledge.

Book chapter:

Surname, Initial(s). Date. Chapter title. In Name of editor (ed.), Book Title. Place of Publication: Publisher, pages in book.

For example:
Carter, A. 1996. Bodies of knowledge: Dance and feminist analysis. In Patrick Campbell (ed.),Analysing performanceA critical reader. Manchester: Manchester University Press, 43-55.

Journal articles:

Surname, Initial(s). Date. Title of article. Title of journal volume (issue no.), page numbers.

For example:

Gill, R., and Pratt, A. 2008. In the Social Factory? Immaterial Labour, Precariousness and Cultural Work. Theory, Culture & Society 25(7), 1–30.

Videography / DVDs (a list of videos /DVDs you have used):

Name of choreographer. Date of work. Title of work in italics. [DVD/video, etc]. Place of distribution, distributing company.

For example:
Khan, A. and Cherkaoui, S.L. 2008. Zero Degrees [DVD]. Sadler’s Wells on Screen. Axiom Films International Limited.

Media broadcast, e.g. television programme

Title. Year. Type of media. Originator (e.g. channel). Exact date and time of broadcast.

For example:
The Culture Show. 2013. TV. BBC2. 13th March, 2200 hrs.

Live performance:

Choreographer. Year of premiere. Title in italics. Company (optional). [Location. Date seen].

For example:
Ashton, F. 1948. Cinderella. [Royal Opera House, London. 13 January 2004].

Newspaper articles:
1)    Printed:
Surname, Initial(s). Title of article. Title of newspaper, day and month of article, page number.

For example:
Rae, B. 2008. Mozart dances at Civic Theatre. The New Zealand Herald, 25 August, 11.

2)    Electronic:
Surname, Initial(s). Year of publication. Title of Article. Title of Newspaper in italics [online]. Day and month of article. Page number of article - if applicable. Available from: URL of database supplier [accessed date].

For example:
Dickson, Andrew. 2011. Immersive Theatre: It Was a Ghost in the Library with a Violin. The Guardian [online]. 4 July, 14. Available from: [accessed 2 January 2012].

Internet References

Electronic references should contain the following elements:
Surname, initial(s) of author (if known). Date. Title of document [Type of resource, i.e. Online]. Organisation responsible (optional). Available from: Title of Website [accessed date].
For example:
With author:
Cvejic, B. 2010. Xavier Le Roy: The Dissenting Choreography of One Frenchman Less. Available from:
Without author:
BBC News. 2008. Factory gloom worst since 1980 [online]. Available from: [accessed 10 June 2012].
Note: Dates are not always available for web pages. If this is so use (n.d.) to represent no date so that the reader knows you have omitted this element. In the in-text quotation, please reference as follows: Cvejic, 2010 (first example); BBC News, 2008 (second example).

Students should only use internet references when no other possibility for gaining this information exists. This is sometimes the case with current dance performances or choreographers. Dance students are not allowed to use Wikipedia or quotation websites for their assignments. They frequently provide incorrect and plagiarised information or quotations taken out of context which are not a means to find relevant academic information. 

Other source material may be listed e.g. Interviews’; there are no definitive guidelines for the presentation of these, but please give as much information as possible. For interviews give the name and role of person you interviewed, date and place of interview.
2)            In-text quotations
References should follow the Harvard style whereby references are cited in the text as (author, date: page) with full details in the bibliography at the end of the article. As a rule, page numbers should also be present unless the quotation refers to a very general argument or idea. Quotations of three lines or more should be indented in a separate paragraph. Please note that in-text quotations do not include the initial(s) of the author, but initial(s) should be stated in the bibliography.
Direct quotations:
- Phillips (2002: 43) noted that ‘contemporary dance in New Zealand is evolving rapidly’.         
- ‘Contemporary dance in New Zealand is evolving rapidly’ (Phillips, 2002: 43).
If author is not known:       
- This was obviously not the case before 2001 (Beating the Millenium Bug, 2003: 14)
- In Beating the Millenium Bug (2001: 14), it is claimed that this was not the case before 2001.
Secondary sources:                                                                                                          
- Smith (cited in Martin, 1991: 152) stated that one medium can be used in many different ways.                                                                                                                     
- One medium can be used in many different ways (Smith, cited in Martin, 1991: 52).  
Indirect quotations/paraphrasing a passage from a text:                                                                                                                            

- As the economy heated up, the government support for the arts cooled down (Horosko, 2002).                   
- Horosko states that as the economy heated up, the government support for the arts cooled down (2002).
When paraphrasing, you need to state the page number as if it were a direct quotation. If paraphrasing an argument that extends over several pages, you need to state this page range in full (e.g. 58-61). In the above example we can assume that this is an online source as there is no page number stated.

You must submit your work via the Turnitin drop boxes on UniHub PLUS via email to both Adesola and myself (regardless of who is your advisor, as we both need to review your work for assessment).  <> <> 

Module One portfolios, Module Two Research Proposals and Module Three Critical Reviews you must also submit via hard copy either in person to the UniHelp Desk in the Sheppard Library on the Hendon Campus or my post to:
Helen Kindred, Senior Lecturer in Dance
School of Media and Performing Arts (TG55)
Middlesex University London
Ensuring that you mail your work by the submission deadline.  Please note that we will take the date of submission from the date of posting, do not worry about it getting to us on the deadline, but posting it by the deadline.

To submit via UniHub:
Login to UniHub and go to MyUniHub / MyLearning / MA Professional Practice Dance Technique Pedagogy
Within our programme page you will find all the folders including your handbooks, resources and submission.
Open the folder titled SUBMISSIONS MAY
You will see there a checklist of submission content for each module and a Turnitin submission icon.  
Click on the turnitin icon for your Module (one, two or three) to upload your work.
Please note that Turnitin cannot accept work saved through PAGES.  You work must be saved as ONE DOCUMENT as a word file.

Should you have any technical problems with UniHub and turnitin please follow this link for advice.

uniHelp ( for technical problems