DCE 200-07 (10951)

DCE 200-07 (10952)

DANCE APPRECIATION

3/3 (3 semester hours/ 3 credits)

PREREQUISITES: dance major

FOR WHOM PLANNED: undergraduate students desiring General Education Core Fine Arts and Global Marker credits. Some sections also carry Writing Intensive credit. One section restricted to dance majors.

INSTRUCTOR INFORMATION:

Ann Dils

Spring 2008

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

Dance Studio HHP 340 (Thursday) 9:30-10:45

OFFICE HOURS: Dils- please make an appointment through email.

EMAIL: Ann Dils: ahdils@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:

1. 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.

2. 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.

3. Demonstrate familiarity with selected information about dance as practiced globally.

4. Demonstrate an ability to interpret and evaluate information and writing about dance in and from diverse global cultures.

5. Write and speak clearly and coherently about distinct global dance forms and cultures and their interconnections.

6. Demonstrate an increased ability to move and to use movement as an expressive medium

For writing intensive classes:

7. 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:

--journals or notebooks and pen or pencil

-- 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:

--a cell phone that will ring, vibrate, or temp you to text message.

ASSSIGNMENT OVERVIEW:

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

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. Our assigned readings are in red.

Participation (Tuesdays and Thursdays)—10%

A- Level: enthusiastically and thoughtfully participating in all activities, especially in Tuesday discussions and Thursday activities

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

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

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

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

In class work/ journals—10%

Journal entries will vary from week to week. They may include readings quizzes, in class writing assignments, or questions for reflection. You are expected to have one journal entry each week responding to the week

Mid-term Test—10%

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%

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.

Concert critiques/ essays (rubrics will be discussed in class for these activities)—

-- pre-critique concert discussion 10%

-- 1 two-three page critique of a dance concert. 10% (due just after spring break)

--1 three-five page essay that substantially incorporates at least one reading in a discussion of a dance concert, dance class, or other dance event or dance community. The process of writing this essay will be supported by peer review and by submitting a draft to Ann for comments. 5% first draft/ 15 % final draft

GRADING SCALE:

LATE WORK POLICY (unless otherwise noted (Journals):

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

-Please turn your work in in paper form. No emails.

Good Student Credit

I will add ten points to your lowest 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:

--Doing work for Prime Movers. See Lisa Werner.

-- 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.

TOPICAL OUTLINE

Dates/Topics in black

Other Deadlines in red

Readings in blue

Concerts in purple

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

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

Reading: 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

Concert Discussion/ critique Option 1: The Vagina Monologues is a celebration of female sexuality in all its complexity and mystery. Based on interviews with over 200 women about their memories and experiences of sexuality, The Vagina Monologues is February 14-15-16 at 7:30 pm in the EUC Auditorium.

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

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

Tuesday, February 19 and Thursday, February 21: Modernism

Modern dance in Germany and the United States (Loren)

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

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)

Concert Discussions #1 and 2 (Thursday, February 21)

APPROACHING THE CONTEMPORARY

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

Reading: 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/ critique Option 3: 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

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

Concert Discussion #3 (Thursday, March 20)

Tuesday, March 25 and Thursday, March 27

Concert critique due Tuesday, March 25

Concert Discussion Option 4: FRI-SAT, 3/28-29 at 8PM | MFA Concert: Work by Kerrie-Jean Hudson ($12 general admission; $9 seniors and children; $6 students)

Prepare to lead readings discussion (Thursday, March 27)

Tuesday, April 1 and Thursday, April 3: contemporary dance in g/local communities (Emily)

Concert Discussion #4 (Thursday, April 3)

Reading: 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)