DCE 200-06 (10951)

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 credits. Some sections also carry Writing Intensive credit.

INSTRUCTOR INFORMATION:

Ann Dils and Loren Groenendaal

Spring 2008

Jarrell Hall (Tuesday) 9:30-10:45

Dance Studio HHP 208 (Thursday) 9:30-10:45

OFFICE HOURS:

Dils- please make an appointment through email.

Groenendaal-make an appointment through email referencing my potential availability schedule posted on Blackboard

EMAIL:

Ann Dils: ahdils@uncg.edu

Loren Groenendaal: lmgroene@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:

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

For writing intensive classes:

Incorporate constructive feedback from the instructor and other readers to improve written work.

TEACHING STRATEGIES: lectures, films, demonstrations, and practical dance experience

ACADEMIC HONOR CODE:

To read the UNCG Academic Integrity Policy:

http://academicintegrity.uncg.edu/complete/

THE WRITING CENTER

You are encouraged to visit the Writing Center for all of your essay work.

http://www.uncg.edu/eng/writingcenter/

ATTENDANCE POLICY:

Learning in this class depends on your active, engaged participation. Our absence policy reflects this need. After 2 absences, your grade will be lowered 1/3 letter grade per absence. Being late to class or leaving early will also lower your grade. 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 for 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 count as one absence. After the sixth absence before March 19, you will be dropped from the class. If you are on a UNCG sports team or encounter personal or familial illness during the semester, please speak to Ann or Loren.

ON THURSDAYS COME TO CLASS

WITH: - The appropriate dancewear for this course. During studio time, all students must dress

in clothing fit for movement. No jeans.

- Paper, pen or pencil, and your readings. There will be in class writing assignments and discussions on the reading.

- Students may bring laptops but they are not required. Laptops may only be used if permission is given.

WITHOUT: Food, drinks (except water), or street shoes.

ON TUESDAYS and THURSDAYS: Please turn off your cell phone when you enter class.

ASSSIGNMENT OVERVIEW:

Attention to Readings (including outline and discussion group) —20%

Participation (Tuesdays and Thursdays)—10%

Journal—10%

Mid-term Test—10%

Final Test—10%

Social Dance Essay—10%

Concert Essay—15%

Group Choreography Project—15%

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 POLICY (unless otherwise noted (Journals):

-Papers up to 24 hours late will lose 10%, 3% for each subsequent day.

-I do NOT except emailed essays, but in special circumstances, you may email me your essay as a Microsoft Word 2003 or earlier .doc format, however your grade will be reduced by 10%.

-The last possible day to turn in late work is Thursday, May 1

EVALUATION METHODS:

Tests:

Mid term Test—10% (100 points): This test will cover material from the beginning of the semester to the midpoint. The Midterm Test will be held in class on EITHER Tuesday, March 4 OR Thursday, March 6 in Jarrell Hall. TBA

Final Test—10% (100 points): This test will cover material from the midpoint to the end of the semester. The Final Test will be held on Thursday, May 8 12 Noon–3:00 P.M. in Jarrell Hall.

Other:

Social Dance Experience and Essay—15% (150 points)

You will attend an approved social dancing venue of your choice, take a class in that form of dance, and stay to dance after the lesson has ended. You may choose from line dancing, contra dancing, swing, Latin social dances such as salsa, or ballroom. You will email me a brief proposal stating what event you plan on going to me assuring me and yourself that you have confirmed with the organizer that the event is happening on the date you plan on going. You will answer questions in a 2-3 page essay form describing the style of dance that you learned and the experience in general, making connections to other forms of dance and concepts that we are learning about in class. 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. The rough draft will be read and edited by a peer in the class, and then by me, using that feedback you will rework your first draft. The final paper will be graded by me. Specific Rubric for Essay will be posted as a separate document on blackboard.

Proposal due Tuesday, January 29 or earlier

Rough draft due and exchanged in class on Thursday, February 14

Peer’s edited Social Dance Rough draft due on Thursday, February 21

Rough draft returned by Thursday, February 28

Final essay due Thursday, March 20

Some ideas for locations:

-Any dance hosted by the Piedmont Swing Society. See the website below for a calendar of their events http://www.piedmontswingdance.org/membership.html

-Latin Dance Night at the Speakeasy in Winston Salem

-Contra Dancing at the Vintage Theater in Winston Salem Tuesday at 8

-Latin Dance at Artistika Concert Café on S. Elm St. Greensboro Saturday 8-10 with Salsa lesson.

-Event that you are qualified to attend on the dance calendar at go triad’s website http://calendar.gotriad.com/

Concert Discussion- 10% (100 points): You will attend one of the dance concerts listed below. You may attend other dance concerts for good student credit or personal enjoyment/development, but you may NOT use those later concerts for this assignment. Prior to going to the show, you will be given some questions or ways of looking at the dance. Then we will have and in-class discussion. To be prepared, you should take notes during the concert and do some thinking and writing after the show and prior to the in-class discussion. You will need to present your ticket, program, and notes from the performance on the discussion day. Discussion questions and specific rubric will be posted as a separate document on Blackboard.

In class on Thursday, April 3

Dance Concerts to choose from for this assignment:

All Concerts occur in the UNCG Dance Theatre in HHP

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, 2/29 and SAT, 3/1 at 8PM 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)

Group Choreography Project-10% (100 points): Working together, your group must come up with a minimum of two minutes and no more than five minutes of practiced movement. You may use music, props, and text if you choose, but it must be clean and appropriate for the assignment. Costumes are required, but do not need to be purchased or elaborate. 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. 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. You will not be graded on your technique, but on execution of the assignment, clarity, collaboration, and writing. Specific rubric will be posted as a separate document on Blackboard.

Project proposal due in class on Thursday, March 27

Group Choreography Project will be presented in class on Thursday, April 24

Written Reflection and Evaluation due in class on Tuesday, April 29

Weekly/On going work:

Attention to Readings (including outline and discussion group) –20% (100 points)

All readings should be completed by the beginning of class on Tuesdays for the week under which they are listed on the topical outline below. Some journal prompts will address the readings, in which case you will not only need to complete the reading by the beginning of class on Tuesday, but also respond to it by that time as well.

For selected readings you will serve as “first responders.” For these readings, you will complete an outline and a list of discussion questions and bring it to class the previous Thursday. During class, your reading group will compare notes and come up with a joint outline and list of discussion questions. You will also discuss possible answers to questions you pose. I will share your final product from this in class work across the classes (due Thursday at midnight). Your questions will become part of the lecture the following Tuesday, and become part of our classes’ collected study materials. Selected questions will return again on the midterm and final. There are two reading groups in this class: Groups 9 and 10.

The New Ballet by Michel Fokine (pp. 147-150)

PREPARE: THURSDAY, FEBRUARY 14

PRESENT: TUESDAY, FEBRUARY 19

Sex Appeal and Cultural Liberty: A Feminist Inquiry into MTV India by Jocelyn Cullity and Prakash Younger (pp. 363-382)

PREPARE: THURSDAY, FEBRUARY 29 OR THURSDAY, MARCH 6 TBA

PRESENT: TUESDAY, MARCH 18

Participation (Tuesdays and Thursdays)—10% (100 points):

A- Level: enthusiastically and thoughtfully participating in all movement activities and frequently in discussions

B- Level: participating in all movement activities and frequently in discussions

C- Level: participating in movement incompletely and occasionally in discussion

D- Level: partial participation in movement and rarely in discussion

F- Level: present, but non-participatory, distracting self or others

Journal - 10% (100 points):

You will respond to prompts on Blackboard with a weekly journal entry consisting of at least 4-6 sentences to each prompt. The quantity, style, and subject matter of the prompts may vary from week to week. I will be prompting you to discuss the readings, in-class experiences, including various movement studies, in class discussions, lecture, or videos. In addition to responding to the prompt, you may also write about questions the class has caused you to think about, what you have realized or understand better, what is confusing you, how what you have learned in this class is intersecting with what you are learning in other classes, how the class has impacted your perspective of dance, movement, the human body, other arts. I will view your Journal periodically on black board. I will grade each entry. I may comment back to you. Be sure to check for my comments before you do the next week’s entry. You are expected to have one journal entry each week responding to the week of class prior by Tuesdays at 9:30 am. I will have the prompts up by midnight on Sunday nights if not earlier.

4 = A, clearly written thorough exploration of the prompt(s)

3 = B, clearly written semi-thorough exploration of the prompt(s)

2 = C, unclearly written minimal exploration of the prompt(s)

1=D, unclearly written statement that does not adequately address the prompt(s)

0=F, no response given

A response that is late up to a week will lose one point, every week thereafter-another point.

Each student may miss one journal entry without penalty. However, the 0 grade will still appear.

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.)

-- Attending study skills sessions

-- Going to the Writing Center for consultation on Dance Appreciation essays

-- Attending an on campus dance rehearsal (be sure to get permission in advance from faculty or student that is leading the rehearsal, and a note stating your presence)

-- Attending extra dance concerts (program and ticket must be provided)

You must attend two events for ten points extra credit.

NO OTHER EXTRA CREDIT IS OFFERED FOR THIS COURSE.

UNCG Dance Concerts that qualify for GSC only, NOT the Concert Essay:

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)

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)

TOPICAL OUTLINE

Dates/Topics in Black

Other Deadlines in Green

Readings in Black

Concerts in Purple

Tuesday, January 15 and Thursday, January 17: Course introductions

Tuesday, January 22 and Thursday, January 24: Strategies for watching dance

Syllabus and “Helpful Example” on Blackboard under Course Documents

DANCE TRADITIONS

Tuesday, January 29 and Thursday, January 31: Dancing Community: European folk dance, court dance, Romantic ballet, Classical ballet (excerpts from Swan Lake)

Social Dance Proposal due Tuesday, January 29 or earlier

Tuesday, February 5 and Thursday, February 7: African dance

“Sundiata, An Epic Tale of Old Mali” by D.T. Niane (pp. 23-29)

“Mande Music” by Eric Charry (pp. 31-40)

“African Dance: Transition and Continuity” by Robert W. Nicholls (pp. 55-70)

DANCED MODERNISM

Tuesday, February 12 and Thursday, February 14: Indian dance—from religions tradition to national treasure

Social Dance Rough draft due and exchanged in class on Thursday, February 14

READING GROUPS 9 AND 10 ASSIGNMENT 1:

Before class Thursday, February 14:

read The New Ballet by Michel Fokine (pp. 147- 150), make outline and discussion questions

In class on Thursday, February 14:

work with group to make joint outline and list of discussion questions and possible answers

Midnight on Thursday, February 14:

above in class work is due

In class on Tuesday February 19:

serve as “first responders” in lecture discussion

Concert Discussion Option FRI-SAT, 2/15 at 8PM, 2/16 at 2PM and 8PM | Prime Movers Concert ($12 general admission; $10 seniors and children; $5 students)

Tuesday, February 19 and Thursday, February 21: Modernism

Modern dance in Germany and the United States

Peer’s edited Social Dance Rough draft due on Thursday, February 21

“The Negro Dance: Under European Eyes” by André Levinson (pp. 85-90)

FIRST RESPONDER: “The New Ballet” by Michel Fokine (p. 147-150)

Excerpt from Cubism and Culture by Mark Antliff and Patricia Leighten (pp. 151-154)

“Illuminating the Dark Heart”: Expressionism, Primitivism, and the influence of Mary Wigman on American Modern Dance by Mary Anne Santos Newhall (pp. 291-310)

“Ruth St. Denis and India’s Dance Renaissance” by Uttara Asha Coorlawala (pp. 311-328)

APPROACHING THE CONTEMPORARY

Tuesday, February 26 and Thursday, February 28: contemporary ballet: Balanchine’s The Four Temperaments, Matthew Bourne’s Swan Lake

Social Dance Rough returned on Thursday, February 28

READING GROUPS 9 AND 10 ASSIGNMENT 2:

Before class Thursday, February 28 (or March 6, TBA):

Read Sex Appeal and Cultural Liberty: A Feminist Inquiry into MTV India by Jocelyn Cullity

and Prakash Younger (pp. 363-382), make outline and discussion questions

In class on Thursday, February 28 (or March 6, TBA):

work with group to make joint outline and list of discussion questions and possible answers

Midnight on Thursday, February28 ( or March 6, TBA):

above in class work is due

In class on Tuesday, March 18:

serve as “first responders” in lecture discussion

“Stripping the Emperor: The Africanist Presence in American Concert Dance” by Brenda Dixon Gottschild (pp. 249-258)

“The Balanchine Woman” by Ann Daly (pp. 259-268)

Concert Discussion Option FRI, 2/29 and SAT, 3/1 at 8PM at 8PM | MFA Concert: Work by Emily Quinn ($12 general admission; $9 seniors and children; $6 students)

Tuesday, March 4 and Thursday, March 6: MIDTERM exact date TBA

Tuesday, March 11 and Thursday, March 13: SPRING BREAK

Tuesday, March 18 and Thursday, March 20: contemporary dance in India

Social Dance Final Essay due Thursday, March 20

FIRST RESPONDER: Sex Appeal and Cultural Liberty: A Feminist Inquiry into MTV India” by Jocelyn Cullity and Prakash Younger (pp. 363-382)

Tuesday, March 25 and Thursday, March 27; Tuesday, April 1 and Thursday, April 3; Tuesday, April 8 and Thursday, April 10: contemporary dance in g/local communities

Choreography Project proposal due in class on Thursday, March 27

Concert Discussion Option FRI-SAT, 3/28-29 at 8PM | MFA Concert: Work by Kerrie-Jean

Hudson ($12 general admission; $9 seniors and children; $6 students)

Concert Discussion is in class on Thursday, April 3

“Globalization Makes Art Bland” by Thea Narissa Barnes (pp. 91-94)

“Flash Afrique” by Thomas Hahn, Jochen Schmidt, and Ayoko Mensah (pp. 95-101)

“Dancing the Unsayable” by Ann Daly (pp. 269-271)

“Vibrating with Taipei: Cloud Gate Dance Theatre and National Kinesthesia” by SanSan Kwan (pp. 335-344)

“The Syncratism of Tai Chi and Bach” by Anna Kisselgoff (pp. 345-346)

FINAL Thursday, May 8: 12 Noon–3:00 P.M.

GSC only 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)

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
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.