DCE 200.03
DANCE APPRECIATION
3/3
(3 semester hours/ 3 credits)
PREREQUISITES:
none
FOR
WHOM PLANNED: undergraduate students desiring General Education Core Fine Arts
credit course and Global Marker credit.
Spring 2008
Jarrell
Hall (Tuesday) 9:30-10:45
HHP 306
(Thursday) 9:30-10:45
INSTRUCTOR
INFORMATION:
Ann
Dils, ahdils@uncg.edu
Amanda
Diorio, ardiorio@uncg.edu
Office
Hours: please make an appointment
through email
STUDENT
LEARNING OUTCOMES:
At
the conclusion of this course, students should:
Demonstrate an understanding of dance as
a means of creating, recreating, and expressing place. Among the places we will
study this semester are sacred, social, and aesthetic spaces and
social/political spaces such as cities, communities, and nations.
Demonstrate an understanding of dance as
a means of global exchange. Among the exchanges we will study this semester are
transferences of artistic practices and preferences, social preferences about
bodies and movement, and identities.
Demonstrate familiarity with selected
information about dance as practiced globally.
Demonstrate an ability to interpret and
evaluate information and writing about dance in and from diverse global
cultures.
Write and speak clearly and coherently
about distinct global dance forms and cultures and their interconnections.
Demonstrate an increased ability to move
and to use movement as an expressive medium
TEACHING
STRATEGIES: lectures, films, demonstrations, and
practical dance experience.
Attendance:
The Dance
Department requires an 80% participation rate to get credit for the
course. Because this class meets
twice a week, you will be permitted three absences without penalty. 1/3 of a letter grade will be deducted
for each absence incurred over the maximum absences allowed for this class. Sitting and watching a class does not
count as participation in the studio portion of class. Two tardies equals one absence. A tardy constitutes being more than
five minutes late to class or leaving early. If you are more than five minutes
late to class you will be asked to sit out from that section of class, but you
will be expected to start participating in the next section of class that day.
Non-participants will be asked to take written observations of the class. Two
instances of non-participation counts as one absence. If you get injured please
speak to either me or Ann immediately. After
the sixth absence before March 19, you will be dropped from the class.
Assignments:
Mid-term
test—10%
Final
Test—10%
Readings
outlines, reading reflections and discussion points 20%
Participation
grade—10%
Journals-10%
Choreography
Project-20%
Movement
Studies-10%
Personal
Movement Essay - 10%
Concert Essay
- 10 %
EVALUATION
METHODS:
Mid-term test—10%
Final Test—10%
Test are made from a variety of questions including matching, fill in the blank and essay. The final is not cumulative.
Readings outlines and reflections- 20%
Discussion on January 31 and February 14, Presentations on February 5 and 19
During the semester your class will serve as Òfirst
respondersÓ for selected readings.
On the Thursday before a particular reading is due, your group will
complete an outline of a faculty-selected reading and a list of discussion
questions. Your outline and
questions will be shared across the classes (due Thursday at midnight), become
part of the lecture the following Tuesday, and become part of our classesÕ
collected study materials. The questions you pose will be
discussed in class (be prepared to participate in discussion!). Selected
questions will return again on the midterm and final. There are four readings
groups in our section: 1, 2, 3, 4.
Participation
grade—10%
Your participation in class on Tuesdays and Thursdays will
be observed. Proper participation
includes having a postitive attitude towards activities and asignments, being
an active part of class and lecture discussions and beinging energy to the
dance classes.
Journals-10% Due Every Week
Each week you will be
assigned a Journal entry that you will post on blackboard reflecting on your
work in class on the previous Thursday. Each entry will be graded out of ten
total points. Every week I will tell you what you will be reflecting
about either a reading, a class, or a movement study. You
should talk about: what you enjoyed, what you found difficult, if you have done
anything like this before, what you learned from the movement etc.
Choreography
Project-20%
Projects will be performed in class on April 10
Students will
be assigned to a group and given class time to work on a choreography project.
Working together, your group must choose a piece of music and come up with a
minimum of two minutes of practiced movement that reflects the music. It must
be clean and appropriate for the assignment. There is a great deal of freedom
for this project; please be respectful in choosing movements, music, text,
props, costume, etc. Since
there is a limited amount of class time for this project; your group may need
to schedule outside rehearsals.
A detailed assignment description and rubric will be given before you begin the
project. You will not be graded on your technique, but on execution of the
assignment, clarity, collaboration, and writing. You will also be required to
write a two to three page reflection about your creative process including how
the group worked together and how the dance came into being.
Movement
Studies-10%
We will be
doing several in class movement studies where you will be put into groups and
you will create short phrases or dances using the movements we learned in
class.
Concert
Essay - 10 % Due March 18
You will
attend one of two Dance Concerts held by the UNCG Department of Dance listed bellow. Write a three to five page description,
discussion, and interpretation of the performance and the relevant issues you
perceive surrounding the work. Describe your opinions of the music. Talk about the overall atmosphere of
the performance and the theatre.
How did the show leave you feeling? Did the show make you feel any
different about dance? Describe an image that you remember from one of the
pieces. Try and get your tickets in advance at
the University Box office in the EUC.
The concert being sold out is not an excuse.
Prime
Movers Concert
Friday
February 15 at 8pm and Saturday February 16 at 2 and 8pm
Emily
Quinn's Thesis Concert
Friday
February 2 at 8pm and Saturday March 1 at 8pm
All
assignments must be 12 point font and double spaced.
Grading
Scale:
97-100 =A+
93-96 = A
90-92 = A-
87-89 = B+
83-86 = B
80-82 = B-
77-79 = C+
73-76 = C
70-72 = C-
67-69 = D+
63-66 = D
60-62 = D-
59 = F
TOPICAL
OUTLINE:
Tuesday,
January 15 and Thursday, January 17:
Course introductions
Tuesday,
January 22 and Thursday, January 24:
Strategies for watching dance
DANCE
TRADITIONS
Tuesday,
January 29: Dancing
Community: European folk dance, court dance, Romantic ballet, Classical
ballet (excerpts from Swan Lake)
Thursday,
January 31: Ballet
Technique Class and Reading Discussion
Tuesday,
February 5: African
dance and Reading Presentation
ÒSundiata,
An Epic Tale of Old MaliÓ by D.T. Niane (pp. 23-29)
ÒMande
MusicÓ by Eric Charry (pp. 31-40)
ÒAfrican
Dance: Transition and ContinuityÓ by Robert W. Nicholls (pp. 55-70)
Thursday,
February 7: African Technique Class
DANCED
MODERNISM
Tuesday,
February 12 : Indian
dance—from religions tradition to national treasure
Thursday,
February 14: Story
Telling Movement Study and Reading Discussion
Prime
Movers Dance Concert Friday and Saturday
Tuesday,
February 19: Modernism
and Reading Presentation
Modern
dance in Germany and the United States
ÒThe
Negro Dance: Under European EyesÓ by André Levinson (pp. 85-90)
ÒThe
New BalletÓ by Michel Fokine (p. 147-150)
Excerpt
from Cubism and Culture by Mark Antliff and Patricia Leighten (pp. 151-154)
ÒIlluminating
the Dark HeartÓ: Expressionism,
Primitivism, and the influence of Mary Wigman on American Modern Dance by Mary
Anne Santos Newhall (pp. 291-310)
ÒRuth
St. Denis and IndiaÕs Dance RenaissanceÓ by Uttara Asha Coorlawala (pp.
311-328)
Thursday,
February 21: Limon/Modern
Technique Class
APPROACHING
THE CONTEMPORARY
Tuesday,
February 26: contemporary
ballet: BalanchineÕs The
Four Temperaments,
Matthew BourneÕs Swan
Lake
ÒStripping
the Emperor: The Africanist Presence in American Concert DanceÓ by Brenda Dixon
Gottschild (pp. 249-258)
ÒThe
Balanchine WomanÓ by Ann Daly (pp. 259-268)
Thursday,
February 28: Ballet
Movement Study
Emily
Quinn Thesis Concert Friday and Saturday
Tuesday,
March 4 and Thursday, March 6: MIDTERM
Tuesday,
March 11 and Thursday, March 13:
SPRING BREAK
Tuesday,
March 18 and (March 19 Last Day to
Drop) Thursday,
March 20: contemporary dance in India
Sex Appeal and Cultural Liberty: A Feminist Inquiry into MTV
IndiaÓ by Jocelyn Cullity and Prakash Younger (pp. 363-382)
Tuesday, March 25: contemporary dance in g/local communities
The following readings will
be spread over the next several classes:
ÒGlobalisation Makes Art BlandÓ by Thea Narissa Barnes (pp.
91-94)
ÒFlash AfriqueÓ by Thomas Hahn, Jochen Schmidt, and Ayoko
Mensah (pp. 95-101)
ÒDancing the UnsayableÓ by Ann Daly (pp. 269-271)
ÒVibrating with Taipei: Cloud Gate Dance Theatre and
National KinesthesiaÓ by SanSan Kwan (pp. 335-344)
ÒThe Syncratism of Tai Chi and BachÓ by Anna Kisselgoff (pp.
345-346)
Other
readings to be announced
Thursday, March 27: Improvisation class
Tuesday, April 1: contemporary dance in g/local
communities (cont.)
Thursday, April 3: Rehearsal day for choreographic
projects
Tuesday, April 8:
contemporary dance in g/local communities (cont.)
Thursday,
April 10: Choreographic
Project Showing
Tuesday,
April 15: Hip Hop
Lecture 1
ÒWho Copped My
Hip-HopÓ by Eric Prideaux (pp. 383-386)
ÒGlobal Breakdancing and the Intercultural BodyÓ by Halifu
Osumare (pp. 387-401)
Thursday,
April 17: Hip Hop
Technique Class
Tuesday,
April 22: Hip Hop
Lecture 2
Thursday,
April 24: Hip Hop
Movement Study
Tuesday,
April 29 and Thursday, May 1
(LAST DAY OF CLASSES, Tuesday, exam review)
Thursday,
May 8: 12
Noon–3:00 P.M. FINAL
Good
Student Credit
I will add ten
points to your final grade if you take steps to improve your skills as a
student. You must provide some evidence of your attendance at two on-campus events (i.e. notes from the
Writing Center, materials from library tours, ticket stub, etc.) along with a brief written outline of what you learned.
These credits
are earned by:
-- Attending library orientations or tours (these are only
given at the beginning of the semester and must be scheduled in advance. See an instructor to set up a tour!!)
-- Attending
study skills sessions
-- Going to
the Writing Center for consultation on Dance Appreciation essays
-- Attending
extra dance concerts (program and ticket must be provided)
-- Attending
an on campus dance rehearsal (be sure to get permission in advance from faculty
or student
that is leading rehearsal,
and a note stating your presence)
You must
attend two events for ten points extra credit.
NO OTHER EXTRA
CREDIT IS OFFERED FOR THIS COURSE.
ADDITIONAL
REQUIRMENETS:
Please
turn off your cell phone or beeper when you enter class.
Please
come to class on Thursdays in attire appropriate for physical activity. No
jeans or skirts. You are not
allowed to wear street shoes on the theaters dance floor.
To
find out about the Writing Center:
http://www.uncg.edu/eng/writingcenter/
ACADEMIC
HONOR CODE:
To
read the UNCG Academic Integrity Policy:
http://academicintegrity.uncg.edu/complete/
SEVEN
PRINCIPLES FOR GOOD PRACTICE IN UNDERGRADUATE EDUCATION
by Arthur W.
Chickering and Zelda F. Gamson
From the Wingspread Journal--
special edition
SUMMARY Following is a brief
summary of the Seven Principles for Good Practice in Undergraduate Education as
compiled in a study supported by the American Association of Higher education,
the Education Commission of States, and The Johnson Foundation.
1. GOOD PRACTICE ENCOURAGES
STUDENT FACULTY CONTACT
requent student-faculty contact in and out of classes is the most important
factor in student motivation and involvement. Faculty concern helps students
get through rough times and keep on working. Knowing a few faculty members well
enhances students' intellectual commitment and encourages them to think about
their own values and future plans.
2. GOOD PRACTICE ENCOURAGES
COOPERATION AMONG STUDENTS
earning is enhanced when it is more like a team effort than a solo race. Good
learning, like good work, is collaborative and social, not competitive and
isolated. Working with others often increases involvement in learning. Sharing
one's own ideas and responding to other's reactions improves thinking and
deepens understanding.
3. GOOD PRACTICE ENCOURAGES
ACTIVE LEARNING
earning is not a spectator sport. Students do not learn much just sitting in
classes listening to teachers, memorizing pre-packaged assignments and spitting
out answers. They must talk about what they are learning, write about it,
relate it to past experiences, and apply it to their daily lives. They must
make what they learn part of themselves.
4. GOOD PRACTICE GIVES PROMPT
FEEDBACK
nowing what you know and don't know focuses learning. Students need appropriate
feedback on performance to benefit from courses. In getting started, students
need help in assessing existing knowledge and competence. In classes, students
need frequent opportunities to perform and receive suggestions for improvement.
At various points during college, and at the end, students need chances to
reflect on what they have learned, what they still need to know, and how to
assess themselves.
5. GOOD PRACTICE EMPHASIZES
TIME ON TASK
ime plus energy equals learning. There is no substitute for time on task.
Learning to use one's time well is critical for student and professional alike.
Students need help in learning effective time management. Allocating realistic
amounts of time means effective learning for students and effective teaching
for faculty. How an institution defines time expectations for students, faculty
and administrators, and other professional staff can establish the basis for
high performance for all.
6. GOOD PRACTICE COMMUNICATES
HIGH EXPECTATIONS
xpect more and you will get it. High expectations are important for everyone --
for the poorly prepared, for those unwilling to exert themselves, and for the
bright and well motivated. Expecting students to perform well becomes a
self-fullfilling prophecy when teachers and institutions hold high expectations
of themselves and make extra efforts.
7. GOOD PRACTICE RESPECTS
DIVERSE TALENTS AND WAYS OF LEARNING
here are many roads to learning. People bring different talents and styles of
learning to college. Brilliant students in the seminar room may be all thumbs
in the lab or art studio. Students rich in hands-on experience may not do so
well in theory. Students need to opportunity to show their talents and learn in
ways that work for them. Then they can be pushed to learning in new ways that
do not come so easily.