DOCSLIB.ORG

SYLLABUS Spring 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUN ScholarWorks San Diego State University School of Music & Dance SYLLABUS Spring 2015 Course Title: DANCE 181 – Introduction to Dance (3 units - lecture) Instructor: Graham Hempel, Associate Professor of Dance Email: [email protected] Phone: 619-594-6828 Office: Music 211 Office Hours: Tuesday & Thursday 8:00 – 9:00 AM Also by appointment. This course is one of nine courses that you will take in General Education Foundations. Foundations courses cultivate skills in reading, writing, research, communication, computation, information literacy, and use of technology. They further introduce you to basic concepts, theories and approaches in a variety of disciplines in order to provide the intellectual breadth necessary to help you integrate the more specialized knowledge gathered in you major area of study into a broader world picture. This course is one of four Foundations courses that you will take in the area of Humanities and Fine Arts. Upon completing this area of Foundations, you will be able to: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. COURSE DESCRIPTION Foundations of dance in Western civilization. Dance as art, therapy, fitness, ritual, and social discourse. Analysis of dance in film, video, and live performance with an appreciation for artistic intent, technique, and style. COURSE OBJECTIVES At the completion of this course, the student will be able to demonstrate a practical application of the subject matter in the following ways: 1. Identify the significant historical periods, major works, and dancers & choreographers who have shaped the development of dance through the ages. 2. Identify the contrasting forms of dance, theory and craft of dance, and appreciate dance as a social discourse. 3. Appreciate dance as an art form including its training, aesthetics, technique & style, artistic intent, and rich tradition of performance. 1 COURSE CONTENT 1. Lectures and readings from scholars in the field of dance that investigate and interpret some of the more significant factors and events that have shaped the development of dance. 2. Videos, films, and recordings illustrating and analyzing many of the events and performances in the world of dance. 3. Guest speakers and discussions highlighting and exploring the field of dance as time & funding permit. COURSE ADMITTANCE POLICIES Prerequisite: None Crashing: Students wishing to add this course must write their name, major, and class level on the “crash-list.” Students will be taken according to academic need (i.e., dance & music majors first, liberal studies, drama, & art next, etc.). Auditing: No auditors. You may choose the Credit/No-credit option instead. Credit/No-Cr: For those students choosing the credit/no-credit grade option, a grade of CREDIT will only be assigned to those receiving a grade of C or higher, and for those receiving a grade of C- or lower a NO CREDIT must be assigned. All students in this option must complete all the requirements that are expected of other students. (CR/NC grade is not an option for dance majors.) NOTE: Observations of the class, by outside visitors, is expressly forbidden without prior consent of the instructor. Any visitors permitted to observe must first introduce themselves, before the class starts, and then observe quietly while seated at the back of the room and only if seats are available. COURSE REQUIREMENTS Required Syllabus & Reader: Hempel, Graham. DANCE 181: INTRODUCTION TO DANCE. Spring 2015. Required Text: Jonas, Gerald. Dancing: The pleasure, power, and art of movement. New York: Harry N. Abrams, 1992. GV 1594 J66 1992 Required Materials: Three ParSCORE “Test Forms,” and pencils. 2 CLASSROOM PROTOCOL 1. ZERO TOLERANCE POLICY – ALL ELECTRONIC DEVICES MUST BE TURNED OFF AND PUT AWAY! – NO EXCEPTIONS! Cell phones, laptops, i-pods, blackberries, i-phones, or any other electronic device may not be used at any time while class is in session. Absolutely no text-messaging during class. Noncompliance will result in the device being confiscated. A second offense will result in a warning being filed with the Center for Student Rights & Responsibilities. A third offense will result in expulsion from the class, the grade of “F” being assigned, and the denial of course forgiveness. 2. TALKING or DISRUPTIVE BEHAVIOR Unapproved talking, or any disruptive behavior, during class time will result in expulsion from that class session (Section 41304/California Code of Regulations/SDSU Catalogue). If you are late for class or have to leave early please do so quietly. 3. FOOD & BEVERAGES No food, beverages, or chewing gum allowed in the classroom at any time. Water bottles excepted. 4. CLASS STARTING & ENDING TIMES. Section 1 – TTh class: From 9:30 to 10:45 AM every Tuesday and Thursday. 5. PARTICIPATION a. Attendance. Each student is expected to attend all classes, keep up with the reading assignments, and participate in class discussions. b. Absences and tardiness. Attendance will be taken occasionally, especially at the beginning of the semester. Please don't be tardy. c. Make-up policy: Classes: • Most sessions include video material that is essential and cannot be re-shown. • The professor is not available for missed material (either lecture or video). • He is available to students who attend regularly and seek assistance with assignments or clarification of the material. Exams: Due to the large numbers of students in this class and problems with cheating, exam make-ups are not allowed. (The only exception to this rule is a serious and compelling reason that is well DOCUMENTED such as an emergency medical procedure, a court appearance, or a documented family crisis.) Assignments: Assignments cannot be made up; they simply must be turned in by their respective deadlines. 3 COURSE REQUIREMENTS (continued) EXAMINATIONS: NOTE: The University Cheating Policy will be strictly enforced for each exam. 1. The first mid-term exam will be given during the sixth week. 2. The second mid-term exam will be during the eleventh week. 3. The final exam will be scheduled during Final Examinations week, in accordance with university policy, as found on the Spring 2015 Class Schedule at http://arweb.sdsu.edu/es/registrar/finalexams/15_spring.html The final examination is a comprehensive (cumulative) exam based on all of the material covered during the semester. Sec. 1 – TTh (0930) class: Final exam is 8:00 to 10:00 AM, Thursday, May 14, 2015 in our classroom. 4 COURSE REQUIREMENTS (continued) DANCE CONCERT ASSIGNMENTS: Each student is required to attend two, full-length, professional* dance concerts. These should be concerts of contrasting dance forms such as one ballet & one modern, or one traditional & one jazz dance. (See your instructor for his definition of a “dance concert” if you are in doubt.) Be sure to obtain a program and ticket stub for each concert. Staple the ticket stub to the front of the program; write your name, course number, and meeting days and time on the program; and submit these to your instructor by the deadline. Note: Do not staple both programs together, and do not staple the program to the term paper. * College level or greater. No high school, teenage, or children’s recitals/concerts. DEADLINE for submission is Thursday, May 7, 2015 at 9:30 AM. Late submissions will be accepted, but graded down for each school day late. Where to find concert information: 1. Bulletin board in our classroom. 2. The bulletin board in the hallway near M-113. 3. Newspapers: Union-Tribune “Night & Day” (Thursdays); “Arts Section” (Sundays) San Diego Weekly Reader (Thursdays) 4. On-line dance calendar: http://www.utsandiego.com/ TERM PAPER – CONCERT CRITIQUE: a. Select one of the concerts that you have attended. b. Using the format found in the appendix, write a critique of this concert and submit it to your professor by the deadline (listed below) at the end of the term. Overview of Requirements & Guidelines (see pages 37-39 for details): 1) The paper must be written in the third person, and in a standard format such as APA or MLA. (See reference librarians if you need assistance on these formats.) 2) This critique must be word-processed using a font of 12-point type, have one-and-a-quarter inch margins all around, and be a five page paper (double spaced). Note: The cover page is considered an additional page. 3) Detailed guidelines for the critique will be discussed before the second mid-term exam. c. Paper is due at the same time as your concert programs: d. DEADLINE for submission is Thursday, May 7, 2015 at 9:30 AM. Note: Late papers will be accepted, but graded down one letter grade for each school day late. 5 GRADING The final course grade is based upon the following requirements: Maximum Points Percentage Mid-term Exam #1 60 20 Mid-term Exam #2 60 20 Dance Concerts attendance (2 @ 15 ea.) 30 10 Concert critique paper 30 10 Final Exam (comprehensive) 120 40 300 100 NOTE: The lowest mid-term exam will be eliminated from the total points. Thus, the maximum points will be 240, and the grade will be assigned according to the following scale. (Note: A missed exam will not be eliminated; it will be averaged in as a zero.) Points Grade 223 – 240 A 215 – 222 A- 210 – 214 B+ 199 – 209 B 191 – 198 B- 185 – 190 C+ 175 – 184 C 167 – 174 C- 162 – 166 D+ 151 – 161 D 143 – 150 D- 0 – 142 F CLASS PROCEDURE and OFFICE HOURS Class Procedure.
Recommended publications
  • Stage by Stage South Bank: 1988 – 1996

    Stage by Stage South Bank: 1988 – 1996

    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
  • A Mixed Blessing at the Ballet 01

    A Mixed Blessing at the Ballet 01

    Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady.
  • History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted

    History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted

    History Timeline from 13.7 Billion Years ago to August 2013. 1 of 588 pages This PDF History Timeline has been extracted from the History World web site's time line. The PDF is a very simplified version of the History World timeline. The PDF is stripped of all the links found on that timeline. If an entry attracts your interest and you want further detail, click on the link at the foot of each of the PDF pages and query the subject or the PDF entry on the web site, or simply do an internet search. When I saw the History World timeline I wanted a copy of it for myself and my family in a form that we could access off-line, on demand, on the device of our choice. This PDF is the result. What attracted me particularly about the History World timeline is that each event, which might be earth shattering in itself with a wealth of detail sufficient to write volumes on, and indeed many such events have had volumes written on them, is presented as a sort of pared down news head-line. Basic unadorned fact. Also, the History World timeline is multi-faceted. Most historic works focus on their own area of interest and ignore seemingly unrelated events, but this timeline offers glimpses of cross-sections of history for any given time, embracing art, politics, war, nations, religions, cultures and science, just to mention a few elements covered. The view is fascinating. Then there is always the question of what should be included and what excluded.
  • The Biomechanics of the Tendu in Closing to the Traditional Position, Pli#233

    The Biomechanics of the Tendu in Closing to the Traditional Position, Pli#233

    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The iomechB anics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233; Nyssa Catherine Masters University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Engineering Commons Scholar Commons Citation Masters, Nyssa Catherine, "The iomeB chanics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233;" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4825 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Biomechanics of the Tendu in Closing to the Traditional Position, Plié and Relevé by Nyssa Catherine Masters A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Mechanical Engineering Department of Mechanical Engineering College of Engineering University of South Florida Major Professor: Rajiv Dubey, Ph.D. Stephanie Carey, Ph.D. Merry Lynn Morris, M.F.A. Date of Approval: November 7, 2013 Keywords: Dance, Motion Analysis, Knee Abduction, Knee Adduction, Knee Rotation Copyright © 2013, Nyssa Catherine Masters DEDICATION This is dedicated to my parents, Michael and Margaret, who have supported me and encouraged
  • 2.Documentals, Pel.Lícules, Concerts, Ballet, Teatre

    2.Documentals, Pel.Lícules, Concerts, Ballet, Teatre

    2.DOCUMENTALS, PEL.LÍCULES, CONCERTS, BALLET, TEATRE..... L’aparició del format DVD ha empès a que molts teatres, televisions, productores, etc hagin decidit reeeditar programes que havien contribuït a popularitzar i divulgar diferents aspectes culturals. També permet elaborar documents que en altres formats son prohibitius, per això avui en dia, hi ha molt a on triar. En aquest arxiu trobareu: -- Documentals a) dedicats a Wagner o la seva obra b) dedicats a altres músics, obres, cantants, directors, ... -- Grabacions de concerts i recitals a) D’ obres wagnerianes b) D’ altres obres i compositors -- Pel.lícules que ens acosten al món de la música -- Ballet clàssic -- Teatre clàssic Associació Wagneriana. Apartat postal 1159 Barcelona Http://www. associaciowagneriana.com. [email protected] DOCUMENTALS A) DEDICATS A WAGNER O LA SEVA OBRA 1. “The Golden Ring” DVD: DECCA Film de la BBC que mostre com es va grabar en disc La Tetralogia en 1965, dirigida per Georg Solti. El DVD es centre en la grabació del Götterdämmerung. Molt recomenable 2. Sing Faster. The Stagehands’Ring Cycle. DVD: Docurama Filmat per John Else presenta com es va preparar el montatge de la Tetralogia a San Francisco. Interesant ja que mostra la feina que cal realitzar en diferents àmbits per organitzar un Anell, però malhauradament la producció escenogrficament és bastant dolenta. 3. “Parsifal” DVD: Kultur. Del director Tony Palmer, el que va firmar la biografia deplorable del compositor Wagner, aquest documental ens apropa i allunya del Parsifal de Wagner. Ens apropa en les explicacions de Domingo i ens allunya amb les bestieses de Gutman. Prescindible. B) DEDICATS A ALTRES MÚSICS, OBRES, CANTANTS, DIRECTORS, ..
  • The Royal Ballet Present Romeo and Juliet, Kenneth Macmillan's

    The Royal Ballet Present Romeo and Juliet, Kenneth Macmillan's

    February 2019 The Royal Ballet present Romeo and Juliet, Kenneth MacMillan’s dramatic masterpiece at the Royal Opera House Tuesday 26 March – Tuesday 11 June 2019 | roh.org.uk | #ROHromeo Matthew Ball and Yasmine Naghdi in Romeo and Juliet. © ROH, 2015. Photographed by Alice Pennefather Revival features a host of debuts from across the Company, including Akane Takada, Beatriz Stix-Brunell, Anna Rose O’Sullivan, William Bracewell, Marcelino Sambé and Reece Clarke. Principal dancer with American Ballet Theater, David Hallberg makes his debut in this production as Romeo opposite Natalia Osipova as Juliet. Production relayed live to cinemas and on Tuesday 11 June 2019. This Spring, The Royal Ballet revives Kenneth MacMillan’s 20th-century dramatic masterpiece, Romeo and Juliet. Set to Sergey Prokofiev’s seminal score, the ballet contrasts romantic pas de deux with a series For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media of vibrant ensemble scenes, set against the backdrop of 16th-century Verona as evoked by Nicholas Georgiadis’s designs. A work which has been performed by The Royal Ballet more than 400 times since it was premiered at Covent Garden in 1965, Romeo and Juliet is a classic of the 20th-century ballet repertory, and showcases the dramatic ability of the Company, as well as incorporating a plethora of MacMillan’s signature challenging choreography. During the course of this revival, Akane Takada, Beatriz Stix-Brunell and Anna Rose O’Sullivan debut as Juliet. Also performing the role during this run are Principal dancers Francesca Hayward, Sarah Lamb and Marianela Nuñez.
  • Dance Program Handbook 2020-2021

    Dance Program Handbook 2020-2021

    Bethel College Academy of Performing Arts Dance Program Handbook 2020-2021 DANCE HANDBOOK CONTENTS GUIDE Contact Information 1 General Policies 2 Dance Department Expectations 4 Dress Code 5 Class Requirements 7 Ballet 6 Pointe 10 Jazz 11 Tap 12 Modern 13 Irish 13 Hip Hop 14 Adult Classes 14 Company Requirements 14 IMPORTANT CONTACTS Bethel College Academy of Performing Arts (316) 283-4902 EMAIL: [email protected] 300 E 27th Street, North Newton KS 67117 WEBSITE: www.bcapaks.org Lisa Riffel, Operations Manager (316) 283-4902 [email protected] Haylie Berning, Director of Dance (316) 619-7580 [email protected] Molly Flavin, Instructor (316) 283-4902 [email protected] Emily Blane, Instructor (316) 283-4902 [email protected] Resa Marie Davenport, Instructor (316) 283-4902 [email protected] Aviance Battles, Instructor (316) 283-4902 [email protected] Cathy Anderson, Instructor (316) 283-4902 [email protected] 1 GENERAL INFORMATION AND POLICIES Please read the current registration packet for a complete list of BCAPA’s policies and safety precautions. Keep in mind that some of the below policies may be affected by COVID policies put in place by BCAPA and Bethel College. 1. Communication Methods and Response Time. The best way to contact BCAPA’s dance director is by phone message at (316) 283-4902 or by email at [email protected]. Current students can find important information on upcoming events, workshops, and other announcements at our website, www.bcapaks.org or our Facebook page. 2. *Drop-Off Expectations. In the interest of safety, students must be accompanied to and from their classes by an adult.
  • Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund

    Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund

    DOCUMENT RESUME ED 381 839 CS 508 906 AUTHOR Carr, John C. TITLE "Crazy for You." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95] NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 902-905. PUB TYPE Guides General (050) EDRS PRTCE MF01/PC01 Plus Postage. DESCRIPTORS Acting; *Cultural Enrichment; *Drama; Higher Education; Playwriting; Popular Culture; Production Techniques; Secondary Education IDENTIFIERS *Crazy for You; Historical Background; Musicals ABSTRACT This booklet presents a variety of materials concerning the musical play "Crazy for You," a recasting of the 1930 hit. "Girl Crazy." After a brief historical introduction to the musical play. the booklet presents biographical information on composers George and Ira Gershwin, the book writer, the director, the star choreographer, various actors in the production, the designers, and the musical director. The booklet also offers a quiz about plays. and a 7-item list of additional readings. (RS) ....... ; Reproductions supplied by EDRS ore the best that can he made from the original document, U S DEPARTMENT OF EDUCATION Ofi.co ofEaucabonni Research aria improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERIC1 Et This document has been reproduced as received from the person or organization onqinallnq d 0 Minor charms have been made to improve reproduction quality. Points or view or opinions stated in this document do not necessarily represent official OERI position or policy -1411.1tn, *.,3^ ..*.
  • Young Choreographer 1920 Press Release

    Young Choreographer 1920 Press Release

    January 2020 The Royal Ballet announces continuation of Emerging Choreographer Programme The Royal Ballet to continue its commitment to developing choreographic talent with the recruitment of new resident Emerging Choreographer. Closing date for applications Monday 22 March 2020. The Royal Ballet is delighted to announce the continuation of its Emerging Choreographer Programme for 2020. An opportunity for emerging choreographic talent, the role is based at the Royal Opera House, and offers the successful applicant the chance to work alongside some of the world’s leading choreographers and with dancers of The Royal Ballet on developing their own choreographic projects. Inaugural Royal Ballet Emerging Choreographer Charlotte Edmonds trained at The Royal Ballet School where she was a finalist in the Ninette de Valois Junior Choreographic competition for three consecutive years. She also won the Kenneth MacMillan Senior Choreographic Competition in 2011 and 2012. During her time at The Royal Ballet, Edmonds created a number of original works including Meta, Piggy in the Middle and Sink or Swim, an innovative dance film which shines a light on the effects of depression and mental health. Edmonds has also created works for Dutch National Ballet Juniors, Norwegian National Ballet 2, Rambert School and The Grange Festival. Her most recent works include Words Fail Me, a project exploring the relationship between dance and dyslexia, and Wired to the Moon, created for Ballet Cymru. Director of The Royal Ballet, Kevin O’Hare, comments: ‘I’m thrilled to be able to open our Emerging Choreographer Programme for a second time in 2020. This is a wonderful opportunity for aspiring and emerging choreographers to hone their talent with the support For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media of the fantastic team at The Royal Ballet, as well receiving mentorship from some of the most respected and prolific choreographers working in the world today.’ Applications for the role of Royal Ballet Emerging Choreographer close on Monday 22 March 2020.
  • UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations

    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations

    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Performing Citizens and Subjects: Dance and Resistance in Twenty-First Century Mozambique Permalink https://escholarship.org/uc/item/1w33f4s5 Author Montoya, Aaron Tracy Publication Date 2016 License https://creativecommons.org/licenses/by-nc/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ PERFORMING CITIZENS AND SUBJECTS: DANCE AND RESISTANCE IN TWENTY-FIRST CENTURY MOZAMBIQUE A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in ANTHROPOLOGY with an emphasis in Visual Studies by Aaron Montoya June 2016 The Dissertation of Aaron Montoya is approved: ____________________________________ Professor Shelly Errington, Chair ____________________________________ Professor Carolyn Martin-Shaw ____________________________________ Professor Olga Nájera-Ramírez ____________________________________ Professor Lisa Rofel ____________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Aaron T. Montoya 2016 Table of Contents Abstract iv Agradecimientos vi Introduction 1 1. Citizens and Subjects in Portuguese Mozambique 20 2. N’Tsay 42 3. Nyau 84 4. Um Solo para Cinco 145 5. Feeling Plucked: Labor in the Cultural Economy 178 6. Conclusion 221 Bibliography 234 iii Abstract Performing Citizens and Subjects: Dance and Resistance in Twenty-First Century Mozambique Aaron Montoya This dissertation examines the politics and economics of the cultural performance of dance, placing this expressive form of communication within the context of historic changes in Mozambique, from the colonial encounter, to the liberation movement and the post-colonial socialist nation, to the neoliberalism of the present. The three dances examined here represent different regimes, contrasting forms of subjectivity, and very different relations of the individual to society.
  • Convert Finding Aid To

    Convert Finding Aid To

    Fred Fehl: A Preliminary Inventory of His Dance Collection at the Harry Ransom Center Descriptive Summary Creator: Fehl, Fred, 1906-1995 Title: Fred Fehl Dance Collection 1940-1985 Dates: 1940-1985 Extent: 122 document boxes, 19 oversize boxes, 3 oversize folders (osf) (74.8 linear feet) Abstract: This collection consists of photographs, programs, and published materials related to Fehl's work documenting dance performances, mainly in New York City. The majority of the photographs are black and white 5 x 7" prints. The American Ballet Theatre, the Joffrey Ballet, and the New York City Ballet are well represented. There are also published materials that represent Fehl's dance photography as reproduced in newspapers, magazines and other media. Call Number: Performing Arts Collection PA-00030 Note: This brief collection description is a preliminary inventory. The collection is not fully processed or cataloged; no biographical sketch, descriptions of series, or indexes are available in this inventory. Access: Open for research. An advance appointment is required to view photographic negatives in the Reading Room. For selected dance companies, digital images with detailed item-level descriptions are available on the Ransom Center's Digital Collections website. Administrative Information Acquisition: Purchases and gift, 1980-1990 (R8923, G2125, R10965) Processed by: Sue Gertson, 2001; Helen Adair and Katie Causier, 2006; Daniela Lozano, 2012; Chelsea Weathers and Helen Baer, 2013 Repository: Harry Ransom Center, The University of Texas at Austin Fehl, Fred, 1906-1995 Performing Arts Collection PA-00030 Scope and Contents Fred Fehl was born in 1906 in Vienna and lived there until he fled from the Nazis in 1938, arriving in New York in 1939.
  • News from the Jerome Robbins Foundation Vol

    News from the Jerome Robbins Foundation Vol

    NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries.