DCE 200-04
DANCE APPRECIATION
3/3 (3 semester hours/ 3 credits)
PREREQUISITES: none
FOR WHOM PLANNED: undergraduate students desiring General Education Core Fine Arts and Global Marker credit courses. SOME SECTIONS ARE WRITING INTENSIVE.
SPRING 2008
LOCATION:
Jarrell Hall (Tuesday) 9:30-10:45
HHP 221 B (Thursday) 9:30-10:45
Sections:
10946 DCE 200-04 T 9:30-10:45 Jarrell Hall .GFA.GL.WI
R 9:30-10:45 HHP 221 B (Reading Groups 5 and 6)
INSTRUCTOR INFORMATION:
Ann Dils, Emily Quinn
Office Hours:
Please make an appointment through email to meet with either Ann or Emily
Email:
Ann Dils: ahdils@uncg.edu
Emily Quinn: emquinn@uncg.edu
CATALOG DESCRIPTION: 200 Dance Appreciation (3:3)
Introductory study of dance through a variety of critical lenses and practical experiences. Lectures, films, demonstrations, and practical dance experience.
STUDENT LEARNING OUTCOMES:
At the conclusion of this course, students should:
For all classes:
For writing intensive classes:
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. After the sixth absence before March 19, you will be dropped from the class.
Studio Policies:
Students must wear the appropriate dancewear for this course. During studio time, all students must dress out in clothing fit for movement. No jeans, no shoes. Out of respect for the learning environment there will be no food in the studio space and no cell phones tolerated.
Assignments:
Mid-term test—10%
Final Test—10%
Readings outlines and discussion points—20%
Weekly Journals—10%
Participation grade—10%
Go Dance outing and journal—15%
Concert Essay—15%
Choreography Project—10%
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
Late Work:
In fairness to those students who complete their work on time, I will deduct 5 points for each day that an assignment is late.
EVALUATION METHODS:
All essays must be double-spaced and in twelve point font. I will not accept emailed essays.
Generally essays will be graded in three parts:
♦ Content makes up 60% and is assessed by evaluating depth of thought, attention to detail, and achievement in following the parameters of the assignment.
♦ Structure, making up 20%, is flow and organization of the essay.
♦ Grammar, also 20%, includes spelling, complete sentences, comma usage, and attention to matters and rules of grammar.
Specific rubrics for each assignment will be posted in Blackboard.
The following is a description of each assignment in detail:
Mid-term Test: This test will cover material from the beginning of the semester to the midpoint. (10%)
Final Test: This test will cover material from the midpoint to the end of the semester. (10%)
Readings outlines and
discussion points: 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, POSTED BY EMILY), 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. In addition to
the readings specifically assigned to your reading group, I may assign
discussion questions or quizzes to reinforce your reading. (20%)
We are discussion groups 5 and 6. Our assigned readings are:
ÒAfrican Dance: Transition and ContinuityÓ by Robert W. Nicholls (pp. 55-70)
PREPARE: THURSDAY, JANUARY 31/ PRESENT: TUESDAY, FEBRUARY 5
ÒStripping the Emperor: The Africanist Presence in American Concert DanceÓ by Brenda Dixon Gottschild (pp. 249-258)
PREPARE: THURSDAY, FEBRUARY 21/ PRESENT: TUESDAY, FEBRUARY 26
ÒWho Copped My Hip-HopÓ by Eric Prideaux (pp. 383-386)
PREPARE: THURSDAY, APRIL 10 / PRESENT: TUESDAY, APRIL 15
Weekly Journals: Every Tuesday you will turn in a 1-3 page reflection on what happened in class the previous week. In these journals you will summarize and reflect on the readings, lectures, and Thursday dance experiences. What stood out as being significant to you? What did you learn that you didnÕt know before? How did the class meet or challenge your expectations? More specific questions will be assigned throughout the semester. (10%)
Participation: Participation is required for both Tuesday and Thursday classes. Your participation grade will be based on your in class behaviors such as wearing appropriate clothing on Thursdays, vocal participation in discussions, physical participation in movement exercises, and your level of engagement and investigation of ideas presented. Your participation grade will be negatively affected by behaviors such as sleeping or looking at Facebook during lecture, lack of engagement, disruptive behavior, failure to dress out, and failure to participate in class activities. If you behave inappropriately at a dance concert, I will take points off your participation grade as well. Trust me, I will find out, even if IÕm not there. (10%)
Go Dance! Assignment and Essay: Outside of class you will attend a dance class or organized social dance. (Sorry, going to the club will not be accepted for this assignment.) You will write a journal entry about the experience, including a description of the type of dance you learned, a description of the community that participated in the event, and a personal reflection on the experience. Also you are required to turn in something from your social dance experience such as a ticket stub or cocktail napkin, to show me where you went. You will receive ideas for locations in class. (15%)
Concert Journal/Essay: You will attend two dance concerts this semester. For the first concert, (seen before Spring Break), you will choose one dance from the program to write about. In a journal entry, you will write a detailed description of the dance, focusing on its formal, aesthetic elements, as well as an analysis and interpretation of the meaning or significance of the dance to you. For the second concert (seen after Spring Break), you will write a 3-5 page essay which will include description, discussion, and interpretation of the entire performance and the relevant issues you perceive surrounding the work. (15%)
For Concert Essay 1 you may see the following performances:
FRI-SAT, 2/15 at 8PM, 2/16 at 2PM
and 8PM | Prime Movers Concert ($12 general admission; $10 seniors and
children; $5 students)
FRI-SAT, 2/29 and 3/1 at 8PM | MFA
Concert: Work by Emily Quinn ($12 general admission; $9 seniors and children;
$6 students)
For Concert Essay 2 you may see the following performances:
FRI-SAT, 3/28-29 at 8PM | MFA Concert: Work by Kerrie-Jean Hudson ($12 general admission; $9 seniors and children; $6 students)
FRI - SAT, 4/4-5 at 8PM | MFA
Concert: Work by Julia Edwards and Sara Geffert ($12 general admission; $9
seniors and children; $6 students)
Choreography Project: Students will work in small groups to create a short piece of site specific choreography. Each group will chose a location on campus and create a 2-3 minute dance for that location. Groups will organize outside rehearsals among themselves. Each dance should be well-rehearsed. Music, costumes, and props may be used, but are not required. Individually, students will also prepare a journal entry about their dance, explaining how and why they made choices about their choreography, explaining their individual input to the group, and describing their experience choreographing with a group. Students will also complete an evaluation of each member of their group explaining their participation and function within the group. (10%)
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.
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:
Reading Groups 5 and 6: Prepare reading outlines and discussion points for the article ÒAfrican Dance: Transition and ContinuityÓ by Robert W. Nicholls (pp. 55-70)
Tuesday, February 5: African dance
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)
Reading Groups 5 and 6 present on ÒAfrican Dance: Transition and ContinuityÓ
Thursday, February 7: African Dance
DANCED MODERNISM
Tuesday, February 12 and Thursday, February 14: Indian dance—from religions tradition to national treasure
Tuesday, February 19: Modernism
Modern dance in Germany and the United States
ÒThe Negro Dance: Under European EyesÓ by AndrŽ 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:
Reading Groups 5 and 6: Prepare reading outlines and discussion points for ÒStripping the Emperor: The Africanist Presence in American Concert DanceÓ by Brenda Dixon Gottschild (pp. 249-258)
APPROACHING THE CONTEMPORARY
Tuesday, February 26: contemporary ballet: BalanchineÕs The Four Temperaments, Matthew BourneÕs Swan Lake
Present on 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: Contemporary Ballet
Tuesday, March 4: MIDTERM
Due: Journal on Concert #1
Thursday, March 6:
Tuesday, March 11 and Thursday, March 13: SPRING BREAK
Tuesday, March 18: contemporary dance in India
ÒSex Appeal and Cultural Liberty: A Feminist Inquiry into MTV IndiaÓ by Jocelyn Cullity and Prakash Younger (pp. 363-382)
Due: Journal on your Go Dance! Assignment (plus evidence of attendance)
Thursday, March 20: contemporary dance in India
Tuesday, March 25 and Thursday, March 27; Tuesday, April 1 and Thursday, April 3; Tuesday, April 8 and Thursday, April 10: contemporary dance in global/local communities
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, April 10:
Reading Groups 5 and 6: Prepare reading outlines and discussion questions for ÒWho Copped My Hip-HopÓ by Eric Prideaux (pp. 383-386)
Due: Concert Essay
Tuesday, April 15:
Present on ÒWho Copped My Hip-HopÓ by Eric Prideaux (pp. 383-386)
Tuesday, April 15 and Thursday, April 17; Tuesday, April 22 and Thursday, April 24:
ÒWho Copped My Hip-HopÓ by Eric Prideaux (pp. 383-386)
ÒGlobal Breakdancing and the Intercultural BodyÓ by Halifu Osumare (pp. 387-401)
Tuesday, April 29: Exam Review
Thursday, May 1: Present choreography projects, turn in journal entry on choreography projects
Thursday, May 8: 12 Noon–3:00 P.M. FINAL
UNCG Dance Department Performance Calendar
february
FRI-SAT, 2/15
at 8PM, 2/16 at 2PM and 8PM | Prime Movers Concert ($12 general admission; $10
seniors and children; $5 students)
This concert consists
of auditioned undergraduate and graduate student choreography. Prime Movers is
a student-led organization that serves as the voice of the Department. This is
their annual concert production.
FRI, 2/29 at 8PM | MFA Concert: Work by Emily Quinn ($12 general
admission; $9 seniors and children; $6 students)
Continued March 1
at 8pm.
march
SAT, 3/1 at
8PM | MFA Concert: Work by Emily Quinn ($12 general admission; $9 seniors and
children; $6 students)
FRI-SAT, 3/28-29 at 8PM | MFA Concert: Work by Kerrie-Jean Hudson ($12 general admission; $9 seniors and children; $6 students)
april
FRI - SAT,
4/4-5 at 8PM |
MFA Concert: Work by Julia Edwards and Sara Geffert ($12 general admission; $9
seniors and children; $6 students)
FRI - SAT, 4/11-12 at 8PM | MFA Concert: Work by Madeleine Reber ($12 general admission; $9 seniors and children; $6 students)
FRI - SAT, 4/18-19 at 8PM | MFA Concert: Work by Jen Guy ($12 general admission; $9 seniors and children; $6 students)
FRI - SAT, 4/25 at 8PM, 4/26 at 2PM and 8PM | Departmental Concert ($12 general admission; $9 seniors and children; $6 students)
may
FRI - SAT, 5/2
at 8PM, 5/3 at 2PM and 8PM | BFA Senior Thesis Concert ($12 general admission;
$9 seniors and children; $6 students)
ACADEMIC HONOR CODE:
To read the UNCG Academic Integrity Policy:
http://academicintegrity.uncg.edu/complete/
ATTENDANCE POLICY: Learning in this class depends on your active, engaged participation.
Our absence policy reflects this need. After 3 absences, your grade will be lowered 1/3
letter grade per absence. Being late to class or leaving early will also lower your grade. If
you are on a UNCG sports team or encounter personal or familial illness during the
semester, please speak to Ann or Emily.
ADDITIONAL REQUIRMENETS:
Please turn off your cell phone or beeper when you enter class.
To find out about the Writing Center: http://www.uncg.edu/eng/writingcenter/
Helpful Example:
The following essay may be helpful as you prepare to write your critique. It is from A Primer for Movement Description by Cecily Dell, published by the Dance Notation Bureau, Inc., New York, NY, 1970.
What Can I Say About a Dance?
Someone moves. You want to describe the movement. What can you say? You could start by saying what the person did. You can choose from among the many intransitive verbs in your vocabulary--he ran, he stopped, he turned, he jumped, he walked, he sat. Or the person might have done something involving an object, allowing you a larger choice of transitive verbs—he threw it, he picked it up, he broke it, he tossed it, he brushed it off, he laid it down. You might want to become more specific, describing which parts of his body moved in the action, or even which direction he moved in, or how the direction of his movement related to various other people or objects surrounding him.
If you say this much and no more, you will get something similar to the script of a play, with perhaps a few stage directions included. But, when reading a play, you can never know the varying intonations, colorations, emphases, hesitations with which the actor delivered the lines in the live theatre event. In the same way, a description of movement, no matter how detailed, when limited to the action itself, yields little information about how the mover really moved. You know what he did but you don't know how he did it. Did he run with a tight, condensed motion or in long, free strides? Did he turn abruptly or very slowly? The thing he picked up - did he brush it off lightly, or slap his hand over it, and if he laid it down, did he just drop it down or was he paying attention to where he was putting it?
There are many verbs in the language which combine these two ideas - what someone does and how he does it. For example, to fling, toss and hurl are all various ways to throw something, each with a slightly different quality. To tap, jab and punch are different ways of quickly exerting physical pressure on someone. To pull something, one may jerk at it or tug it.
Adverbs, such as hurriedly, carefully, calmly, smoothly, and adjectives like gently, soft, weak, lively, forceful, are rich resources for conveying the shades of movement quality. Below are three paragraphs, all concerned with the same basic movement action. The first describes only the action itself, while the second and third add qualitative description. The latter two show only two of hundreds of possible variations in quality within the same action.
- He came down the stairs and stopped, walked to the door, put his hand on the knob, turned it and opened the door.
- He came bounding down the stairs and stopped abruptly, walked slowly and hesitantly to the door, put his hand firmly on the knob, turned it fiercely and flung open the door.
- He came softly down the stairs and stopped, suspended, walked firmly to the door with a swinging forward stride and dropped his hand on the knob, turned it with a tightened grip and, bracing himself, opened the door.
An adequate everyday vocabulary serves perfectly well for describing actions, both quantitatively and qualitatively.
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
Frequent 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
Learning 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
Learning 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
Knowing 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
Time 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
Expect 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
There 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.