SYLLABUS Spring 2015

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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.

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.

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.

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.

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.

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. The usual procedure in class will be as follows: Announcements Discussion of recent concerts when appropriate Lecture & slides View videos Discussion on the videos More lecture & slides Adjournment

Established Office Hours of Your Professor: If you need to reach your professor outside of class time you may e-mail or see him in his office. While he is not available for missed material, he is available to students who attend regularly and seek assistance with assignments or clarification of material. See page-1 for office hours.

DANCE 181: Introduction to Dance – Hempel

DANCE 181 – SEMESTER SCHEDULE (TTh) – Spring 2015

Week Date Day Activity Reading Assignment 1 Jan. 22 Thurs. Orientation & video (See page 8) Jan. 27 Tues. UNIT ONE: Lecture & video 2 Jan. 29 Thurs. Lecture & video Feb. 3 Tues. Lecture & video 3 Feb. 5 Thurs. Lecture & video Feb. 10 Tues. Lecture & video 4 Feb. 12 Thurs. Lecture & video Feb. 17 Tues. Lecture & video 5 Feb. 19 Thurs. Lecture & video Feb. 24 Tues. Lecture & video 6 Feb. 26 Thurs. Discussion on Viewing Concerts; Review for exam. Mar. 3 Tues. Mid-term Exam #1* 7 Mar. 5 Thurs. UNIT TWO: Lecture Mar. 10 Tues. Lecture & video 8 Mar. 12 Thurs. Lecture & video Mar. 17 Tues. Lecture & video 9 Mar. 19 Thurs. Lecture & video Mar. 24 Tues. Lecture & video 10 Mar. 26 Thurs. Lecture & video * Mar. 30 to Apr. 3 Spring Break (no classes) Apr. 7 Tues. Lecture & video 11 Apr. 9 Thurs. Lecture & video; Discussion on Writing the Term Paper; Review for exam. Apr. 14 Tues. Mid-term Exam #2* 12 Apr. 16 Thurs. UNIT THREE: Lecture Apr. 21 Tues. Lecture 13 Apr. 23 Thurs. Lecture Apr. 28 Tues. Lecture 14 Apr. 30 Thurs. Lecture & video May 5 Tues. Lecture & video 15 May 7 Thurs. Lecture & video. Term paper and concert programs due! Review for final exam.

Sec. 1 – TTh (0930) class: Final Exam is 8:00 to 10:00 AM, Thursday, May 14 in M-245.

*NOTE: Mid-term exam dates subject to change.

DANCE 181: Introduction to Dance – Hempel

READING ASSIGNMENTS

For Dates Chapter(s) Pages Week 1 Jan. 22 – 27 UNIT ONE: Lectures & videos. 2 Jan. 29 – Feb. 3 Lectures & videos. 1 21-23 3 70-81 5 150 3 Feb. 5 – 10 Lectures & videos. 4 122 2 40-41 4 Feb. 12 – 17 Lectures & videos. 3 87-107 5 131-134 5 151-158 5 Feb. 19 – 24 Lectures & videos. 5 159-161 7 208-227 6 Feb. 26 – Mar. 3 Lecture & video. 7 190-208 Discussion on Viewing Concerts. Feb. 21: Review for exam. Mar. 3 Mid-term Exam #1 7 Mar. 5 – 10 UNIT TWO: Lectures & videos. 1 – 3 30-69 1 17-21 1 26-30 4 108-121 8 Mar. 12 – 17 Lectures & videos. 4 122-127 6 168-170 6 174-175 9 Mar. 19 – 24 Lectures & videos. 5 128-130 5 134-135 5 162-163 10 Mar. 26 – Apr. 7 Lectures & videos. 7 227-237 11 Apr. 9 – 14 Lectures & videos. 6 164-168 Discussion on writing the Term Paper. 6 171-188 Mar. 28: Review for exam. Apr. 14 Mid-term Exam #2 12 Apr. 16 – 21 UNIT THREE: Lectures. 13 Apr. 23 – 28 Lectures. 8 238-239 14 Apr. 30 – May 5 Lectures & videos. 4 126-127 7 230-235

15 May 7 Review for Final Exam. 16 May 14 Final exam.

DANCE 181: Introduction to Dance – Hempel

III. OVERVIEW OF COURSE

UNIT ONE – Dance History Survey Topic: The Power of Dance Topic: Categories of Dance Ritual, Social, & Theatrical Dance Forms. Topic: Dance at Court Ballet de Cour; King Louis XIV & Jean-Baptiste Lully; Dancing Masters. Topic: Early Ballet Professionalization; Developing Traditions; Dance at Court; Dance in late 18th century. Topic: Dance in the 19th century Romantic Ballet; Early American Dancers; Russian Ballet. Topic: Dance in the 20th century Diaghilev & Ballet Russes; Balanchine & American Ballet; Advent of Modern Dance. Topic: The Viewing of Dance Concerts.

UNIT TWO – The Forms of Dance Topic: Ritual Dance Functions of Dance; Spirituality; Rituals. Topic: Folk & Ethnic Dance Dance traditions; Types & Styles of Traditional Dance; Selected Cultures. Topic: Ball-room Dance Court Origins; Deportments & Social Conventions; Fad, Fashion, & Tradition. Topic: Ballet Elements of Ballet; Aesthetics & Ideals; Ballet en Pointe. Topic: Modern Dance Principles of Modern; Exploration; New Spaces. Topic: Tap Dance Topic: Writing a Dance Concert Critique (term paper).

UNIT THREE – Theory, Craft, and Art of Dance Topic: Dance Theory Elements of Dance; Dynamics of Dance. Topic: Craft of Dance I Music & the Structure of Dance Rhythms; Dance Notation. Topic: Craft of Dance II Stagecraft for Dance; Importance & Types of Rehearsals. Topic: Dance in the Theatre Legendary Dancers. Topic: Dance as Art Famous Choreographers & Dance Works.

DANCE 181: Introduction to Dance – Hempel

STUDY GUIDE UNIT ONE Text: See Reading Assignments on page 8. Videos: See Video Notes on pages 13 – 18. Lectures: A Survey of Dance History Topic: The Power of Dance Topic: Categories of Dance Ritual Social Theatrical Topic: Dance at Court Ballet de Cour Catherine de Medicis King Louis XIV Jean-Baptiste Lully Dancing Masters Pierre Beauchamps Topic: Early Ballet Professionalization of ballet Attitudes on the profession – Plato & Aristotle Technical demands Developing Traditions Three types of ballet characterizations Five positions Dance at Court France Japan Java Ghana Dance in late 18th century Court Theatre, Drottningholm, Sweden Dancing from wires Early American Dancer – John Durang Topic: Dance in the 19th century Romantic Ballet Ideals of Romanticism Taglioni Bournonville Imperial Russian Ballet Topic: Dance in the 20th century Diaghilev & Ballets Russes Balanchine & American Ballet Advent of Modern Dance

DANCE 181: Introduction to Dance – Hempel

STUDY GUIDE (continued)

UNIT TWO Text: See Reading Assignments on page 8. Videos: See Video Notes on pages 19 – 23. Lectures: The Forms of Dance Topic: Ritual Dance Functions of Dance Spirituality Rituals Topic: Traditional Dance Dance traditions & definitions Types & Styles of Traditional Dance Selected Cultures Cook Islands Morocco Georgia Guinea Russia United States Topic: Ball-room Dance Court Origins Deportment & Etiquette Social Conventions Fad, Fashion, & Tradition Court dances of the 16th – 18th centuries Ball-room dances of the 19th century Ballroom dances of the 20th century Dance competitions Topic: Ballet Elements of Ballet Aesthetics & Ideals Basic movements Ballet en Pointe Ballet classes Topic: Modern Dance Elements Principles of Modern & New ways of moving Exploration Chance dance Qualities of movement Exploring dance space in new ways New Venues for Performing Dance Topic: African Diaspora Topic: Tap Dance

DANCE 181: Introduction to Dance – Hempel

STUDY GUIDE (concluded)

UNIT THREE Text: See Reading Assignments on page 8. Videos: See Video Notes on pages 24 – 27. Lectures: The Theory, Craft, and Art of Dance Topic: Elements of Dance Time, Space, & Energy; and also the Dynamics of dance. Topic: Craft of Dance I Music & Structure of Dance Rhythms Musical terms Typical dance rhythms Atypical dance rhythms Phrases & phrasing Tempo Dance Notation Need for notation; Definition Methods of preserving & transmitting dance; Labanotation Topic: Craft of Dance II Stagecraft for Dance The theater, & Types of stages Theater traditions & terms Fly loft & riggings, Drapes, & Scenery Lighting & Sound Costuming & Make-up for dance Importance & Types of Rehearsals Topic: Dance in the Theatre Legendary Dancers Fred Astaire & Gene Kelly Margot Fonteyn & Rudolf Nureyev Mikhail Baryshnikov Topic: Dance as Art Role of the Choreographer A few Famous Choreographers & Their Dance Works Bob Fosse Michael Kidd Twyla Tharp Topic: Dancing: The Individual and Tradition Early modern & ballet choreographers Isadora Duncan Martha Graham Katherine Dunham George Balanchine Mid-twentieth century choreographers Merce Cunningham Trisha Brown Post-modern dance (Terpsichore in sneakers) Twyla Tharp Pina Bausch & Tanztheater

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES

UNIT ONE

1. DANCING: THE POWER OF DANCE [Epidode 1] (1992) Produced by Rhoda Grauer. Narrated by Raoul Trujillo. 1. Jacques d’Amboise & The National Dance Institute (NDI). 2. Greg Burge, tap dancer. a. Demonstrates tap dance styles. He also dances jazz & ballet. b. Star of the movie, “Chorus Line.” 3. Jacques D’Amboise performing “Apollo.” 4. Children receiving a ballet lesson at NDI. 5. Rehearsal of “Manon.” a. Two dancers in rehearsal & performance of “Manon” a ballet by Kenneth MacMillan (English). Performed by Viviana Durante (Italian) and partner Irek Mukhamedov (Russian). (Music by Prokofieff). 6. Bharata Natyam. A classical dance form of India. 7. Indian guru teaching Bharata Natyam. 8. Indian folk dance. a. “Bangra.” – Punjab region. b. East Indian children immigrants in London.

2. DANCING: DANCE at COURT [Episode 4] (1992) 1. Dance in the World’s Royal Courts a. English court – Queen Elizabeth & Beefeaters b. Japanese court c. Ghana’s Ashanti court d. Javanese court 2. Ballet in European Courts a. Elizabeth Aldrich, Dance Historian b. Louis XIV, France, as “Sun King” in Ballet de la Nuit. c. Demonstrations & performances of Early Ballet d. Tale of a young man who faltered at court. – Court Life e. Dance manuals – Feuillet notation system f. Paintings of King’s family depicted as Greek gods. g. Reenactment of Ballet de la Nuit. Question: What was Louis wearing?

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

3. MAGIC of DANCE: Magnificent Beginning. (1980) Narrated by Margot Fonteyn, Prima Ballerina of England’s Royal Ballet. 1. King Louis XIV 2. Palace at Versailles Hall of Mirrors 3. Courante – a dance 4. Plays by Moliere 5. Ballets composed by Lully 6. Fête = feast; holiday. [pronounced FEHT] 7. Cathay (China) [Cathay is the old name for China.] 8. “The Little Match Girl” – danced by Beijing (Peking) Ballet Based on Hans Christian Andersen story.

4. GREAT PERFORMANCES – RUDOLPH NUREYEV (1966) Rudolph Nureyev in “Swan Lake.” Examples of entrechats.

5. MAGIC of DANCE: Magnificent Beginning. (1980) Paris Opera Ballet School: Boys’ class.

6. PAS DE DEUX Pas de deux from “Don Quixote,” (1869) Choreography by Marius Petipa.

L R L R L R L L

First Second Third Fourth Fifth R R

Five positions of the feet.

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

7. DANCING: DANCE at COURT [Episode 4] (1992) 1. Japan. Question: How many times is Bugaku danced at each occasion?

2. Ghana, West Africa . Question: Did the Head Chief wear jewelry? If so, what kind?

Question: Did the Queen Mother dance?

3. Java, Indonesia. Question: What kind of movements did The Bedoyo dancers use? Fast & jerky, or slow, stately movements.

Question: How many dancers usually perform the Bedoyo?

Question: What is the essence of Bedoyo?

8. MAGIC of DANCE: Magnificent Beginning (1980) 1. Court Theatre at Drottningholm 2. “Cupid Out of His Humor” Question: What made the sound of thunder?

Question: What made the sea move?

3. Capstan (winch) – machine with a cylinder that lifts heavy weights. The capstan was turned by 4 men to make the scene change. 4. Mask dance from “Dance Mania” (c. 1800) 5. Country dancers. 6. “La Fille Mal Gardée.” Question: Is there a clog dance in this ballet?

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

9. MAGIC of DANCE: Ebb & Flow (1980) 1. Charles Didelot 2. “Flore et Zephyre” 3. John Durang 4. “Hornpipe” as reenacted by Wayne Sleet. Question: What kind of a costume was the dancer wearing?

10. MAGIC of DANCE: The Romantic Ballet (1980) 1. Marie Taglioni 2. A scene from “La Sylphide.” Set in Scotland. Question: What did the sylph fly up?

3. Filippo Taglioni 4. Raked stage 5. Toe shoes. Niccolini shoes. {Back to the lecture} 6. August Bournonville 7. Royal Danish Ballet 8. “La Sylphide” Question: Why do they call this a “white” ballet?

9. Fanny Elssler, “Cachucha.”

11. MAGIC of DANCE: The Ebb and Flow (1980) 1. “The Dying Swan” performed by Anna Pavlova Question: Did Pavlova use her arms to imitate movements of the swan’s wings?

2. “Night” – music by Rubenstein 3. “Rondino”

12. LES BALLETS de TROCKADERO de MONTE CARLO “The Dying Swan” performed by the Trocks. Question: What is the gender of the dancer?

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

13. MAGIC of DANCE: The Ebb and Flow (1980) 1. Michel Fokine, choreographer. 2. Leon Bakst, scenic designer. Question: Did Bakst design costumes or sets? Or both?

3. Alexandre Benoir, scenic designer. 4. Serge Diaghilev, impresario. 5. Marie Romberg remembers of Diaghilev. 6. “Petrouchka,” performed by Mikhail Baryshnikov. Composer: Igor Stravinsky.

14. MAGIC of DANCE: What is New (1980) 1. Vaslav Nijinsky. 2. “Rite of Spring” 3. Kyra Nijinska, daughter of Vaslav Nijinsky. 4. “Le Spectre de la Rose.” [Spirit of the rose] Choreography by Fokine. Performed by Fonteyn & Baryshnikov Question: Who portrayed the rose? Fonteyn or Baryshnikov?

15.a. MAGIC of DANCE: The Ebb and Flow (1980) 1. George Balanchine 2. Pas de deux from “Apollo.” Igor Stravinsky, composer. Dancers: Vyvyan Lorrayne and Desmond Kelly.

15.b. AMERICAN MASTERS: Balanchine (year unknown) 1. Balanchine talks about Lincoln Kirstein. 2. “Serenade.” Question: How many dancers are in this piece?

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

16. MAGIC of DANCE: What is New (1980) 1. Ruth St. Denis, “Nautch Dance” (1932). Question: What is a nautch?

2. Ted Shawn. 3. Denishawn. 4. Martha Graham. 5. Robert Cohan interview about Martha Graham. 6. “Khamsin.” Question: Does the dancer make good use of the floor?

17. DANCE in AMERICA – Martha Graham (1984) “Errand into the Maze.” (1947) Question: Which emotion is the piece about?

18. DANCE in AMERICA: FREE to DANCE – Alvin Ailey 1. “To José Clemente Orozco” (1952). Choreography by Lester Horton. 2. “Blues Suite” (1958). Choreography by Alvin Ailey. 3. “Revelations” (1960). Choreography by Alvin Ailey. Question: Do the women wear large hats in this piece?

Grande Jeté (leap)

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued) UNIT TWO

19. DANCING: LORD of the DANCE [Episode 2] (1992) 1. Shiva Question: In India, who is the Lord of the Dance?

2. Dance as Devotion (Hindu) – India 3. Yoruba tribe, Africa 4. “Los Seises” – Seville, Spain 5. Christianity: Christian Dualism. 6. Africa a. Anglican Christian Church – singing b. Yoruba Church – drumming (tribal roots) 7. “Deity” [pronounced DEE-ity] Definition: God; supreme being; divinity; god-like. 8. Yoruba tradition has no problem with the body/mind (spirit) dichotomy. “The body is there to serve the mind.” 9. Yoruba saying: Question: The Yoruba say, “Without ______the gods would not exist.”

10. India: Pulovas’ – Serpent ritual. 11. Mandala. A geometric design enclosed in a circle, representing the entire universe. 12. Kalari Payat – a martial art 13. Otan Tullal – classical dance form in India. Dancer imitates a monkey. 14. Kathakali – a classical form. Question: In Kathakali, are all the performers male?

15. Bharata Natyam – a classical form. “Dance uses the body as expression.” 16. Master lesson in Bharata Natyam.

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

20. DANCING: SEX & SOCIAL DANCE [Episode 3] (1992) 1. Cook Islands Question: Where are the Cook Islands?

Question: How is the male’s dancing movements different from the female’s?

2. Morocco Question: Where is Morocco?

Question: Why were the male members of the family present during the filming of the women’s dancing?

21. GEORGIAN STATE ENSEMBLE Men’s Toe Dance Question: When the men dance on their toes, which part are they using? The tips, or the backs, of their toes?

22. NATIONAL DANCE CO. of the REPUBLIC of GUINEA – Les Ballets Africains (1990) Question: Where is the Republic of Guinea?

Question: Regarding west African costuming, do the women sometimes dance bare breasted? Why?

23. IGOR MOISEYEV RUSSIAN DANCE ENSEMBLE (1980) Gopak (Hopak) – Ukrainian dance Question: Do the women get to do much dancing during this piece? Why, or why not?

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

24. TOGETHER IN TIME (2000) – Contra dancing in New England 1. Rodney Miller, fiddler. His band is called Airdance. 2. Bob McQuillen, accordion player. Question: What is a dance card?

Question: What did the young lady mean when she said, “…. I am engaged?

3. Dudley Laufman, caller & musician 4. Henry Ford, industrialist Question: Did Henry Ford try to influence American folk dance?

5. Benjamin Lovett, dance teacher & caller 6. Ralph Page, caller & musician. The “Dean” of American square & contra dance.

25. DANCING: SEX & SOCIAL DANCE [Episode 3] (1992) 1. Dance lesson in New York City 2. Ballroom dancing in U.S.A. 3. Fred Astaire & Ginger Rogers 4. Grace & Jeff preparing for their wedding – Fox-trot lesson 5. Movie, “Pride & Prejudice” – Waltz 6. Cotillion class – Waltz 7. Grace & Jeff dancing at their wedding reception. Question: Is Jeff as stiff as a board?

26. CHAMPIONSHIP BALLROOM DANCING (1990) 1. Modern Division competition. 2. Swing dance exhibition. Question: Did the dancers do some “aerials?”

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

27. CHILDREN of THEATRE STREET (1977) Narrated by Grace Kelly Ranier. Vaganova Choreographic Institute in St. Petersburg (Formerly the Imperial Ballet School) Training school for the Kirov Ballet Company. Graduates include Vaslav Nijinsky, Anna Pavlova, George Balanchine, Rudolph Nureyev, and Mikhail Baryshnikov. Question: Do they use computer analyses to select perfect body types?

28. THE USE of CHARACTER DANCE in BALLET

29. DANCING: DANCE CENTER STAGE [Episode 6] (1992) The Classics & Classical Theater 1. Classical Dance: “Sleeping Beauty” Ballet 2. Classical Theatre: Kabuki in Japan Questions: From what part of society, in Japan, did Kabuki originate? The royal court or the common populace? And, how was this different from the development of ballet?

Question: Who can perform longer by age?

30. MAGIC of DANCE: What is New (1980) 1. “Troy Game” (1974). Choreographed by Robert North. Performed by the men of the Dance Theatre of Harlem. Question: Is this a jumping dance?

2. “Green Table” (1932). Choreographed by Kurt Jooss. Question: Does it tell a story? About what? What are the pistols all about?

31. MAGIC of DANCE: The Scene Changes (1980) 1. Interview with Rudolph Nureyev. 2. “Pierrot Lunaire,” [pronounced peer-OH loon-air] Choreographed by Glen Tetley. (c.1962). Performed by Rudolph Nureyev. Question: Pierrot was getting intoxicated (drunk) on what?

Question: What device did Nureyev dance atop?

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

32. DANCING: NEW WORLDS, NEW FORMS [Episode 5] (1992) The African Diaspora. The brutal journey of enslaved Africans to the New World: Twelve million slaves were shipped to the New World. Most went to Brazil. 1. Stepping – An African-American Fraternity rite, U.S.A. Question: What is “stepping?”

2. Samba in Rio de Janiero, Brazil 3. Condomblé (con-dom-BLAY) – Brazil 4. “Juba” (Hamboning – clapping hands & slapping thighs in a rhythmic pattern.) 5. Catholicism vis-à-vis Protestantism 6. Ring Shout – U.S.A. Question: What is a “ring shout?”

7. Juke Joint & Fish Fry – U.S.A. 8. Lindy-hop at Savoy Ballroom in Harlem, New York City, U.S.A. a. Frank(ie) Manning & Norma Miller b. Ernie Smith c. Savoy Ballroom d. Arthur Murray lectures on popular dance. e. “Hells-a-poppin’” [aka, “Hellz-a-poppin’”] 9. Little girls give their opinions on dance & music. 10. Rock & Roll – U.S.A. a. Buddy Deane Show Question: Why was the show cancelled in 1964?

11. 1960s & the search for roots. 12. Brazil a. Carnival in Rio Questions: Where is Carnival* celebrated? What is its connection to Mardi Gras?**

b. Samba bands. c. Samba dancers.

33. GREAT PERFORMANCES: Gregory Hines’ Tap Dance in America (1989) Gregory Hines presents such great hoofers as Bunny Briggs, Buster Brown, Sandman Sims, Jimmy Slyde, Tommy Tune, and the young Savion Glover. Question: How old is Savion Glover today?

* Carne (Latin): Flesh; meat.

** Mardi Gras (French): Fat Tuesday.

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

UNIT THREE

34. DANCE in AMERICA: From Broadway – Bob Fosse (1999) A musical retrospective celebrating the brilliant choreographer Bob Fosse. 1. “Baseball Players” from Damn Yankees. (1955) 2. Ben Vereen & dancers show Fosse style. 3. “Steam Heat” from The Pajama Game. (1953) Question: Why couldn’t the two men do knee slides across the stage?

35. IT’S ALWAYS FAIR WEATHER (1955 movie) Three recently discharged soldiers who have served in World War II together and become best friends. Upon returning home at the end of the war, they spend their last night together drinking in a favorite New York bar. Cast: Gene Kelly as Ted Riley Dan Dailey as Doug Hallerton Michael Kidd as Angie Valentine Question: What do the three of them have attached to their feet while dancing?

36. SEVEN BRIDES for SEVEN BROTHERS (1954 movie) 1. Milly Pontipee (leading lady) instructs the six, younger brothers in etiquette for an upcoming dance, and teaches them some dance steps. 2. At the barn raising the simple “square dance” turns into a big competition! Cast: Howard Keel (as Adam Pontipee, husband) Jane Powell (as Milly Pontipee, bride of Adam) Russ Tamblyn (as Gideon) Tommy Rall (as Frank) Marc Platt (as Dan) Matt Mattox (as Caleb) Jacques D’Amboise (as Ephraim) Jeff Richards (as Benjamin)

37. THE VERNON & IRENE CASTLE STORY (1939) “Castle Walk” performed by Fred Astaire & Gnger Rogers. Question: How many pivot turns do Fred and Ginger execute? (Hint: Each pivot turn is a half turn of 180-degrees.)

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

38. FOLLOW the FLEET (1936) “Tap Dance” performed by Fred Astaire & Ginger Rogers.

39. THE BARKLEYS of BROADWAY (1949) “Finale” performed by Ginger Rogers and Fred Astaire with his top hat & tails.

40. ROYAL WEDDING (1951) “Solo Dance” performed by Fred Astaire. Question: Does Fred Astaire dance on the walls & ceiling in this movie?

41. ANCHORS AWEIGH (1945) Gene Kelly dances with Jerry the mouse.

42. DANCING: THE INDIVIDUAL & TRADITION [Episode 7] (1992) This film focuses on the world of modern dance, whose choreographers have made up a dance language of their own. “Modern dance is not less,” choreographer Twyla Tharp explains. “Modern dance is more; it’s everything that has been done before, plus.” 1. Twyla Tharp in rehearsal. 2. Brief segments from: a. Ballet b. Bugaku c. Mary Wigman d. Katherine Dunham e. Martha Graham f. Trisha Brown g. Merce Cunningham h. Garth Fagan i. Pina Bausch j. Sardano Kusumo k. Eiko & Koma

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (continued)

42. DANCING: THE INDIVIDUAL & TRADITION (continued) 3. Twyla Tharp expresses her views. 4. Elizabeth Kendall, dance critic, explains Twyla Tharp. 5. Isadora Duncan 6. Dance Critic Elizabeth Kendall explains Isadora Duncan. 7. Serge Diaghilev 8. Michel Fokine 9. Leon Bakst 10. Ruth St. Denis (Ruthie Denis) a. “Nautch Dance” b. “Intolerance” 11. Martha Graham a. “Lamentation” b. Jane Dudley and Eliz. Kendall explains M. Graham. c. “Night Journey” d. “Appalachian Spring” 12. Brenda Dixon-Gottchild explains modern dance & Katherine Dunham. 13. Katherine Dunham a. “Tropics” b. “L’Ay’a” [Also, known as L’Ag’Ya] c. “Shango” d. “Cuban Episode” e. “Carnival of Rhythm” 14. George Balanchine a. Tharp discusses Balanchine. b. “Agon.” Danced by Suzanne Farrell & Arthur Mitchell. c. Francia Russell explains Balanchine. d. “Apollo.” Danced by Suzanne Farrell & Peter Martins. e. Eliz. Kendall explains Balanchine f. “Western Symphony.” Danced by Tanaquil LeClercq & Jacques D’Amboise. g. “Meditation.” Danced by Suzanne Farrell & Jacques D’Amboise.

DANCE 181: Introduction to Dance – Hempel

VIDEO NOTES (concluded)

42. DANCING: THE INDIVIDUAL & TRADITION (concluded) 15. Twyla Tharp rehearses “Sextet.” (Tharp’s views on Balanchine.) Question: What kind of piece is “Sextet?”

16. Tharp reminisces about her childhood. 17. The 1960s anarchy in modern dance: a. Robert Rauschenburg’s “Pelican.” b. Merce Cunningham’s “Rain Forest” “Story” “Crises” c. Trisha Brown’s “Walking on Walls.” d. Twyla Tharp’s “History of Up & Down” “Dancing in the Streets” 18. Twyla Tharp explains her transitional period. a. “Removes,” with one shoe and one glove. b. “Eight Jelly Rolls” c. “Push Comes to Shove.” Danced by Mikhail Baryshnikov. 19. Post-modernism. Tharp explains why ballet uses turnout. 20. Mark Morris. 21. Doug Elkins’ “The Patrooka Variations.” 22. Pina Bausch’s “Bandoneon.” 23. Eiko & Koma’s “Land Rehearsal.” 24. Garth Fagan’s “Time After/Before Place.” 25. Sardono Kusumo conducts a rehearsal. 26. Twyla Tharp rehearses “Men’s Piece.”

43. DANCE in AMERICA: WOLF TRAP’S FACE of AMERICA Project Bandaloop, directed by Amelia Rudolph, combines dance and rock climbing and performs “Luminescent Flights” in Yosemite.

44. ADDITIONAL VIDEOS AS TIME PERMITS

APPENDIX

Introduction to Higher Education

Academic Structure of San Diego State University. SDSU is divided into seven colleges. • College: The College of Professional Studies & Fine Arts (PSFA) is one of those seven. The college is further subdivided into about nine schools and departments. • School: The School of Music & Dance is one of those and is made up of two divisions: Music and Dance. • Division: The Dance Division offers two degree-programs to those wanting to make a career in modern dance – the Bachelor of Fine Arts (BFA) and the Bachelor of Arts (BA).

We’re called Professors, not Teachers. Throughout elementary, middle, and high school students become accustomed to referring to their teachers as “teacher.” But in higher education we use a different nomenclature. • Community College. In community colleges (also known as grades 13 & 14) the person teaching is called an “Instructor.” • Colleges and Universities. At a university such as SDSU the person lecturing is referred to as “Professor” (unless they’re part-time in which case they’re called “Instructor” or “Lecturer”). • They’re called professor, because they “profess the truth.” • Academic Ranks in Higher Education are as follows: o Professor o Associate Professor o Assistant Professor o Lecturer o Instructor • Doctor or Professor? Not all professors have doctorates, so it’s best to address your instructor as “professor.” However, no one is ever offended by being addressed as “doctor.”

What to do when your professor is late. Sometimes a professor may be unavoidably late due to being held up in a committee meeting somewhere on campus. The age-old courtesy practiced in academia for many years is as follows:

How long to wait: Academic Rank 1 hour Class 1-1/2 hour Class

Assistant Professor 10 min. per hour 15 min. Associate Professor 20 min. per hour 30 min. Professor 30 min. per hour 45 min.

Question: Prof. Hempel’s academic rank is Associate Professor. How long should students wait for him if he is late?

Introduction to Higher Education (concluded)

Asking Questions. There is no such thing as a “dumb” or stupid question. It is good to ask questions, because otherwise we make assumptions that may be false and get us into trouble. When in doubt – ask. Don’t be intimidated by those around you; it’s your grade, not theirs.

How Many Hours to Devote to Studying

Course Study Hours Total Hours per Number Course Units Hours in Class (2 hrs. per class hour) Week for each Class 1 3 3 6 9 2 3 3 6 9 3 2 2 4 6 4 3 3 6 9 5 4 4 8 12 Total 15 15 30 45

Where to go for more information and assistance. Student Health Services: http://shs.sdsu.edu Counseling & Psychological Services: http://www.sa.sdsu.edu/cps/cps_home Mentoring Program: http://dus.sdsu.edu/fsmp/ Student Disability Services: http://www.sa.sdsu.edu/sds/index.html Ombudsman: http://www.sa.sdsu.edu/ombuds/index.html Center for Student Rights & Responsibilities: http://www.sa.sdsu.edu/srr/index.html School of Music & Dance: http://www.musicdance.sdsu.edu/ Randi McKenzie, Dean of Students: 619-549-5124 in PSFA-212. [email protected]

DANCE 181: Introduction to Dance – Hempel

Glossary of Dance Terms

Term Definition aesthetic (adj.) (from Greek aisthetikos of sense perception) 1. Pertaining to pure emotion and sensation as opposed to pure intellectuality. 2. Relating to the beautiful, or artistic. 3. Pertaining to a sense of the beautiful. accent The stress that is placed on a beat that makes it stronger or louder than the others. The primary accent is usually on the first beat of the measure. adagio Slow music (Italian). allegro Fast music (Italian). amateur (From Latin amator – lover; French amare – to love.) One who engages in a pursuit as a pastime rather than as a profession. assemble Starting in fifth position with the right foot behind: From a demi-plié the [as-sahm-BLAY] dancer brushes the right foot outward to the side while springing into the air off of the left foot, assembles both legs together (with right leg in front) while in the air and lands on both feet in fifth position with the right foot now in front. From one foot to two. authentic Genuine; unadulterated; legitimate; real; valid; bona fide. balance Refers to the balance of weight of the dancer. ballet From ballare (Italian). ballet de cour Dance of court. (French) ballon Soft landing (in a jump). (French) basic pulse A regular, recurring beat. battement Beating (of the legs). (French) [pronounced: baht-MA] bow A slight turn to face partner while shifting the weight to the outside foot and pointing (slightly) the inside foot toward partner followed by a head bow. Today, a head bow (lowering of the head) is sufficient, but in times past the man would bow from the waist while his partner did a curtsy. bravura (Italian) Bravery; spirit. Display of brilliancy, or dash. Display of great technical skill and brilliance. brio (Italian) Liveliness. Vigor or vivacity of performance. call; The basic command, or commands, that a caller, teacher, or group leader calling calls out to direct the dancers from one figure to the next. These basics must complement each other and fit in a logical movement sequence so that each call puts the dancers in position to execute the next call. Used extensively in square & contra dance. (See Command.) call - The instruction to the company as to which time to arrive at the theater for a “The Call” rehearsal or performance. Given by the stage manager. caper A playful skipping or leaping movement. center The point of stability within the body where movement is often initiated. Also, the space in the middle of the room, circle, square, or set. chainé Continuous turns across stage. (French) [pr: shan-NAY] chat A jump or caper. (French) [pronounced: SHA]

DANCE 181: Introduction to Dance – Hempel

choreocentrism from choreo + centric Regarding one’s own dance form as the center of all dance. Hempel choreography (literally, dance writing) The creation and composition of dances. circle A type of formation. As it pertains to dance, a formation in which the dancers are arranged in a circle. They can either dance in place, or may dance moving around the circle. classic/classical classic: from Latin, classique Relating to the classes of the Roman people, and esp. to the first class; hence, of the first rank. A work, esp. in literature or art, or the highest class and of acknowledged excellence. classical: in music, Appealing to critical interest or developed taste; conforming to an established form, as the sonata. Webster classical dance Broadly speaking, in dance, the term “classical” may be used to characterize any form or period of dance distinguished by qualities that are mainly suggestive of, or derived from, classical times and associated with the upper, or ruling, class. clockwise Refers to the movement of dancers moving in the same direction as the hands of an analog clock. With a circle of dancers, in directional terms, clockwise is to the left (e.g., "circle to the left"). With an individual dancer, or dance couple, rotating in place clockwise is rotating in the same direction as the hands of a clock. closed position Partners stand facing each other. Man's right arm is around the woman and his right hand is placed on the center of her back. Woman's left hand rests on man's upper, right arm or shoulder. Man's left arm is raised sideward to the left, and he holds her right hand in his left palm. (Sometimes referred to as closed ballroom position, or social dance position.) contact A form of dance improvisation in which points of physical contact (with improvisation another person) provide the starting point for exploration through movement. A phenomenon of postmodern dance. counter A rotation that is opposite of clockwise. clockwise cue A verbal description or direction that is given to the dancer by an instructor or caller to indicate which movement is to be made on which count (beat). Cues are always given with, or on, the count. Cues can describe weighted foot (right or left), action, musical counts, etc. curtsy An act of civility or respect made by a woman in which she places one foot slightly behind the other and bends her knees. dance ethnology The ethnological study of dance. The anthropology of dance. Studying dance as a behavioral trait & phenomenon of humans. diaspora (from the Greek diaspora, meaning “dispersion”) The dispersion or spread of any people from their original homeland. The community formed by such a people. A people far from their ancestral homelands. directions A term indicating relative lines of movement. It can be from the perspective of an individual dancer's body or from the perspective of a traditional stage.

DANCE 181: Introduction to Dance – Hempel

double threat Said of a performer who has two talents: S/he can dance & sing, or dance & act. Also, one who can sing and act, but not dance. duration Used to refer to the amount of time something takes; frequently refers to the perceived amount of time, not clock time, based on the mood and other psychological dimensions of the work. dynamics The energy of movement(s) expressed in varying intensity, accent, and quality. energy The amount of force, and perhaps quality of force, used in any movement. One of the three elements of dance. en pointe On toe. (French) [pr: on-PWAH] entrance The place at which a dancer enters the performing space. ethnic (adj.) from Greek ethnos, nation; ethno, race, peoples. Pertaining to races or groups of races discriminated on the basis of common traits, customs, etc. A group with a more or less distinctive culture. exit The place at which a dancer leaves the performing space. facing The direction in which the front of the body is facing, or focused. figure A figure is usually a basic sequence of one or more step-patterns. Figures can be identified and named such as Box-step figure, Wrap figure, or Corte figure (in ballroom dance). Each dance has a repertoire of figures from which the leader chooses. file A type of formation in which the dancers are arranged in a line one standing behind the other, all facing in the same direction. (As in rank & file.) first position One of five basic positions of the feet used in classical ballet. The heels remain touching as the feet are rotated 180 degrees to form one line. focus The direction that the dancer is facing, looking at, or traveling toward. folk (noun) from Anglo-Saxon, folc; people. A group of kindred people, forming a tribe or nation. In a people bound together by ties of race, language, religion, etc.; that great proportion of its number which determines the group character and tends to preserve its civilization, customs, etc., unchanged. Peasant type of traditions. form of dance A form of dance is one that is technically and stylistically different enough from another to be considered a form. The major forms are traditional dance, ballet, ballroom dance, jazz dance, and modern dance. Sometimes called a genre. (Erroneously referred to as “style” by some ballet and modern dance teachers who then pass this misnomer on to others.) formation The manner or pattern in which the dancers are arranged on the floor. Typical formations in the various social dance forms are circles, broken circles, squares (quadrilles), sets, and lines. fouetté en Literally, to whip while turning. (French) [pr: foo-ETAY-on-tour-non] tournant hamboning; The hambone, or the Juba dance, originally known as Pattin’ Juba, is a style to hambone of dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks. Pattin’ Juba would be used to keep time for other dances as well. Also referred to as knee slap or knee slapping.

DANCE 181: Introduction to Dance – Hempel

heterogeneous dissimilar; mixed homogeneous of the same composition; alike; similar hop Springing off the floor from one foot and landing on the same foot. The springing action occurs on the upbeat and the landing on the downbeat of the music. jump Springing off the floor from both feet and landing on both feet; variations include springing off both feet and landing on one foot (sissone), and springing off one foot and landing on both feet (assemble). As with the hop, the springing action occurs on the upbeat and the landing on the downbeat of the music. lead To guide one's partner, or line of dancers, into the next (and subsequent) movement or movements. In couple dancing, usually involves some degree of physical transference of energy; while in line dancing usually involves only leading by example. leader One who leads. In couple dancing it has traditionally been the man because of his greater size and strength, while in line dancing either gender may lead if social conventions allow. leap An even transference of weight from one foot to the other with both feet off the floor for a longer period of time than in a run. line A type of formation. Dancers stand side by side, all facing in the same direction; they may, or may not, be connected via a hand hold or in some other manner. line of direction Refers to the direction of movement of dancers around the circle, or dance floor. Culturally prescribed as counterclockwise. In some places referred to as line of dance. mirror To copy or imitate another person’s movements as if viewing them in a mirror. open position The couple is side by side with the man on the left, the woman on the right, and both are facing in the same direction; she is resting her left hand on his right shoulder and her right hand is hanging down at her side, the man's right hand is on his partner's back, and his left hand is hanging down at his side. partner; To dance with another person. In traditional dance always involves dancing partnering with one’s mate or a person of the other gender. In ballroom dance usually involves dancing with a person of the other gender. In contact improvisation involves dancing with any other person. piece A choreographic work. A term used mostly in modern dance. position The manner in which the dancer is standing, or arranged, on the floor; their shape. Usually, the way they are arranged with other dancers; their deportment, carriage. Dance positions vary from one dance form to another with some forms being highly prescriptive and others quite plastic. In a form such as modern dance the positions are infinite while in forms like ballroom dance they are quite finite. primitive (adj.) from primus, first.; prim; prima; premiere. 1. Beginning or origin; earliest age or period; original.

DANCE 181: Introduction to Dance – Hempel

professional One that engages in a pursuit professionally; participating for gain or livelihood in an activity often engaged in by amateurs. In dance: One who can maintain all of their financial sustenance through dance activities is a professional; one who cannot, but receives some pay is considered to be semi-professional. Being semi-professional indicates nothing about the quality of the dancer or their training. rank A formation in which the dancers are arranged in a line standing side by side, next to one another, facing in the same direction. (As in rank & file.) révérence [French: curtsy] The formal bow or curtsy, performed by dancers at the end of a class or performance. [pr: re-ver-ANCE] run An even transference of weight from one foot to the other with both feet off the floor momentarily. sissone Starting in fifth position with the right foot front: From a demi-plié the dancer springs straight upward into the air off of both feet with both legs together, and lands only on the right foot with the left leg thrust outward to the side. From two feet to one. [pr: see-SONE] space A boundless three-dimensional extent in which objects and events occur and have relative position and direction. In dance, usually involves a dance floor or a stage area. One of the three elements of dance. square A square dance formation. A square is composed of four couples, each standing on the imaginary sides of a square, facing the center. Each couple stands with their backs to one wall of the room. (Also known as quadrille.) step A single transference of weight from one foot to the other. In a series of steps or walk, one foot always remains in contact with the floor. step-pattern Any combination of two or more steps or movements that can be identified and repeated. Example are: two-step, waltz step, pas de basque, contraction & release, jeté en tournant, schottische, and de calage. style The particular manner by which something is done by the dancer. The dynamics of movement. [Some dance teachers mistakenly use “style” when referring to a form of dance.] technique The manner in which basic physical movements are used by a dancer. The mechanics of movement. time A continuum which lacks spatial dimensions and in which events or actions succeed one another from past through present to future. One of the three elements of dance. traditional (adj.) pertaining to, or conforming to, tradition. tradition (noun) from tradere, to give up; transmit. 1. Oral transmission of information, beliefs, customs, etc., from ancestors to posterity. triple threat Said of a performer who can act, sing, and dance. vernacular The everyday language of the people in a particular country or region, as opposed to the official or formal language. Vernacular dance = street dance. work A choreographic piece. A term used mostly in modern dance.

DANCE 181: Introduction to Dance – Hempel

Attendance at Dance Concerts and the Term Paper

You are required to attend two dance concerts of contrasting forms (genres) and write a critique on one of them. These must be professional or college level concerts. No high school concerts. It is important that you attend these concerts early enough in the semester to leave time for the writing of your paper. It is highly recommended that you write notes on the program that the usher gives you. This way you will more easily recall what it was that you observed. If you cannot write your notes at the theater you should write them down as soon as you arrive home before your impressions fade from your memory. On the following pages are guidelines for attending the concerts and writing your paper.

Guide to Attending and Enjoying a Dance Concert

Buying a Concert Ticket It’s important to buy your ticket in advance from the box office so that you don’t have to worry about them being sold out. They also sell all remaining tickets at the door the night of the concert, but again buy in advance.

Seating Arrangements There are two kinds of seating: Reserved and open. With reserved seating the theater guarantees your seat as indicated by the row & seat number on the ticket. With open seating they simple guarantee you a space inside and it’s first-come first-served.

What to Wear One should dress up a little bit. Something dressier than you would wear when going to the movies. Anyone showing up to a dance concert wearing a T-shirt and shorts would undeniably feel uncomfortable and out of place. Remember to wear nice shoes; not flip- flops.

Arriving at the Theater It is essential to arrive early, as latecomers will only be seated at an appropriate break after the concert has begun. Sometimes that break is well into the concert. After arriving, look around and notice what the theater is like. Is it an old, elaborately decorated theater or a more modern style of architecture?

It’s fun to people watch so notice who is in attendance in the audience. Notice if the management is playing pre-concert music. Many times this music is coordinated with the theme of the dance concert. Sit down and look at the concert program. Look at its layout and graphic design. Many artistic directors consider the printed program to be an extension of the concert’s aesthetic experience, or a part of its dramatic intent.

DANCE 181: Introduction to Dance – Hempel

Guide to Attending and Enjoying a Dance Concert (concluded)

Viewing and Appreciating a Dance Concert Viewing a dance concert is an aesthetic experience. One “observes” the concert with all of their senses. One must watch and watch very closely. We also use many of our other senses, particularly hearing. What is your visceral reaction to what you are seeing and hearing? While you are observing the various dances being performed try to make note of the costuming, set designs and the stage lighting. These technical aspects are also extensions of the dramatic intent.

Enjoying the Technique of the Dancers What form (genre) of dance are they performing: Ballet, modern, jazz, ethnic, or other? What do you notice about the quality of the technique of the dancers? Are the dancers technically strong and pleasing to watch, or do they falter and you feel embarrassed for them?

Enjoying the Artistry of the Choreographer Is there an apparent completeness to the choreography of each piece: Does it have a beginning, middle, and end? Can you determine the artistic intent or style of the choreographer? Is he or she trying to communicate something, or is the dance a display of bravura showing the technical prowess of the dancers?

Some Dos and Don’ts of Concert Going 1. Do buy your ticket in advance. 2. Do arrive early. It’s the courteous thing to do. 3. Do enter the theater to claim your seat well before the concert begins. Remember, this is not a movie and they will not be showing “trailers” first. 4. Do turn off your cell phone/pager before concert begins. 5. Do keep an open mind for what you are about to view. 6. Do enjoy the concert.

1. Do not drink alcoholic beverages before the concert, nor take food inside. 2. Do not talk, read, or text during the concert. 3. Do not take photographs or videos during the concert. 4. Do not put your feet up on the backs of chairs. 5. And, by all means, do not leave early.

Enjoy the concert!

DANCE 181: Introduction to Dance – Hempel

Guide to Writing Your Concert Critique (term paper)

The concert critique you are required to write should be considered to be a term paper, only slightly briefer. So, give it the respect of a term paper and it will receive a good grade. All of the guidelines below are requirements for your paper. Optional choices that may be suggested will be clearly labeled as options.

Printing Your critique must be completed on a word-processor. Print it out using only black ink on white paper.

Margins & Spacing One-and-a-quarter-inch margins are required all around (not larger). Double-space all lines.

Font Size Use a font size of 12-point type.

Type Style You must use the Times, or Times New Roman, font style.

Pagination Number each page starting with first page of the text. Do not include the cover page in the pagination (see Sections of Critique below).

Style of Writing You must write the critique in the third person. Remember the critique is a report on the dance concert; it is not about you. Avoid statements like: “I chose this concert because I like this kind of dancing,” or “I think they were really great.” Just describe what this dance company presented on stage and how well they presented it.

Format (Writing Style) The paper must be written in an approved, standard format such as American Psychological Association (APA), Modern Language Association (MLA), or Chicago. (See the reference librarians if you need assistance on these formats. Or, Google “”Style Guides for Writing.”)

Use of italics Only foreign words (including ballet terms) should be italicized such as pas de deux, port de bras, der tanz, or un bollo. You do not need to add emphasize to a word by italicizing or underlining it. Titles of dance works may be italicized.

Plagiarism This must be your own, original work. Do not copy another student’s critique. Be aware of the differences between plagiarizing, citing, and paraphrasing. Your professor can search and check the originality of your work by using “word strings.”

DANCE 181: Introduction to Dance – Hempel

Guide to Writing Your Concert Critique (continued)

Citations Since this is not a research paper you do not have to cite reference works. You may include citations and a bibliography if you wish. (Optional)

Sections of Critique The paper must contain the following: • Cover page with Title of Dance Concert or Name of Dance Company, Your Name, Course No. & Name, Professor’s Name, and Date. Notice the vertical spacing in the Sample Cover Page.

[See SAMPLE COVER PAGE on page 39]

• Text (contents). A five-page paper. [At least four-and-a-half (4-1/2) pages of text.] More pages are allowed. (The cover-page is considered to be an additional page. It does not count.) • Introduction: A brief paragraph is usually enough. • Main part: This is the main discussion of your critique. Discuss what they danced, how well they danced it, and any of your other impressions and observations. While you may make observations about the lighting and costumes, your paper must be at least fifty percent about the dancing. You will be graded on good English usage. If you do not know anything about the particular technique of the dance form you observed then write about it in general terms such as the following: o It was obvious that the dancers were well (or not well) rehearsed… o The dancers made good (or no) use of the floor…making use of fall and recovery with ease… o The ballerina balanced very well on (or fell off) point… o The danseur partnered his ballerina very well (or showed a lack of strength and coordination)… • Summary (conclusion): A paragraph summarizing the main part.

Helpful Hints Write “two dancers,” not “2 dancers.” Do not use “in sync.” Instead spell it out – synchronized or synchronization. Quotations. Do not put quote marks around a word to emphasize it.

Binding Do not bind the paper; simply staple it with one staple in the upper, left hand corner.

DEADLINE for submission: The paper is due Thursday, May 7, 2015 at 9:30 AM. NOTE: Do not staple your paper to the concert program.

Useful Writing Guides • Craine, Debra. Oxford Dictionary of Dance. • Chujoy, Anatol. Encyclopedia of Dance. • Clarke, Mary and David Vaughan. The Encyclopedia of Dance & Ballet. • Fowler, H. W. Modern English Usage. • Perrin, Porter G. Writer’s Guide and Index to English.

• Strunk, William and E. B. White. The Elements of Style.

(SAMPLE COVER PAGE)

San Diego Dance Company in Concert “Spinning & Turning”

Your name here

D181 – Introduction to Dance Professor Hempel May 3, 2015 (Or, whatever the date is that you finished the paper.)

DANCE 181: Introduction to Dance – Hempel

Sample Exam Questions

From lecture & video: 1. The oldest ballet school in the world is the , which dates back to 1713.

A. Berlin Ballet B. Hamburg Opera Ballet C. London Ballet D. Moscow Ballet E. Paris Opera Ballet

From text (see the text’s index) & video: 2. Twyla Tharp is known as a .

A. ballroom dance competitor B. ballet choreographer C. dance notator D. folk dance choreographer E. modern dance choreographer

From lecture: 3. Ballet Comique de la Reine is just one example of a greater phenomenon known as .

A. Ballet Coupé B. Ballet de Côte C. Ballet de Cour D. Cuisine de Ballet E. Ballet de Jour

From text (see the text’s index) & video: 4. Bedoyo is an elegant court dance tradition from .

A. France B. Ghana C. Ireland D. Japan E. Java

From text (see the text’s index): 5. Bharata natyam is a classical dance tradition from the country of .

A. Ghana B. India C. Japan D. Indonesia E. Philippines

DANCE 181: Introduction to Dance – Hempel

Frequently Asked Questions

• How do I get a good grade in this course? As with any college course it is best to do the following five things. 1. Buy the text. 2. Read the assignments and read them with good comprehension. 3. Attend every class and stay alert. 4. Take good notes. Be sure to also take notes on what is being said, not just copy the PowerPoint presentation on the screen. Take notes on the videos. Ask for clarification of material if further explanation is needed. 5. Study, study, and study some more!

• Which days do you show videos and do I have to stay and watch them? Video examples of dance will be shown virtually every day. Dance is a visual and moving art; the videos are very important to the understanding of dance and are shown to illustrate the text and lectures. There will be questions on the exams that pertain to the videos that are shown in that unit. Remember, this is a college course.

• How much do the dance concerts cost? The San Diego area offers a wide selection of dance concerts at varying prices. The concerts range in price from as little as $8 for those on campus to around $15 for local dance companies that perform off campus. Of course, there are usually more expensive concerts in the area for touring dance companies and these performances can range in cost from $28 to $45. Sometimes, there will be student discounts.

• If I miss a class can I get the lecture notes from you? See page 3, Course Policy 5.c.

• Can I get your lecture notes from another student? It’s not advisable since many other students don’t take notes as good as yours. It’s best to not miss any classes. Also, don’t ever loan your notes to another student – you may never get them back in time for you to study for the exam.

• Are your lecture notes available on Blackboard? No, not this semester.

• I read in RateMyProfessors.com that your class is really boring. Is it? For the people who are truly interested in dance it is not boring. Many previous students have said that the course is “very informative.” Remember, this is a college course. “Only the apathetic mind is easily bored.” – Albert Einstein

• I’ve heard that I shouldn’t waste my money on the text. True? This is not true. The text is very important and reinforces the lectures and videos. Additionally, there will be many text questions on the exams that will not be covered in class. Remember, this is a college course.

DANCE 181: Introduction to Dance – Hempel

Resources

Dance Videos Theatres that frequently present dance Kensington Video Balboa Theatre 4067 Adams Avenue, San Diego, CA 92116 868 Fourth Ave. (at E Street) (Next to the Ken Cinema) San Diego, CA http://www.kenvideo.net/ Tickets: 619-570-1100 Web: http://www.sdcivic.org/

Where to find dance in San Diego California Center for the Arts http://www.utsandiego.com/ 340 North Escondido Blvd. Escondido, CA 92025 Ticket Office: 800-988-4253 Web: http://www.artcenter.org/

Dance shoes San Diego Civic Theatre Carmen’s Dance Shoes & Supplies 1100 Third Ave. (at B Street) 6506 El Cajon Blvd. #D, San Diego, CA San Diego, CA 92115 Tickets: 619-570-1100 http://www.carmensdanceshoes.com/ Web: http://www.sdcivic.org/

San Diego Symphony 1245 7th Avenue San Diego, CA 92101 Tickets: 619-235-0804 Web:http://www.sandiegosymphony.org/

DANCE 181: Introduction to Dance – Hempel

Prof. Graham Hempel was a professional dancer with the Don Cossack Chorus & Dancers of New York, and the Aman Folk Ensemble of Los Angeles. He danced the solo-role of the Trepak in the Nutcracker Ballet with Alan Howard’s Pacific Ballet Company of San Francisco for three seasons. Additionally, he founded and directed two traditional dance & music ensembles in San Francisco and San Diego. Mr. Hempel is one of a very few American men who developed the art of dancing on his toes in the tradition of the men of the Georgian Republic. He has performed solo on the stages of Los Angeles’ Dorothy Chandler Pavilion, San Francisco’s Opera House, New York’s Brooklyn Academy of Music, and San Diego’s East County Performing Arts Center. He has also appeared on television in San Francisco, Oakland, and the Republic of Georgia, and additionally has been interviewed on radio. Prof. Hempel has conducted dance research in Croatia, the Republic of Georgia, Serbia, and the United States. He has created over forty-five choreographies, four of which have been accepted by juries for major festivals. He has choreographed for dance ensembles in San Francisco, Los Angeles, Anaheim, Eugene, Spokane, Denver, and San Diego. His scholarly work in dance ethnology has been presented in Ohio, Georgia, and California. He has had seven research articles published in dance journals, and is currently working on a book. Prof. Hempel has written book reviews and analyses for several publishers. Prof. Hempel received his Master of Arts degree from San Francisco State University in Creative Arts – Interdisciplinary, and also his BA in dance. Before coming to San Diego State University, he taught at San José State, San Francisco State, Dominican College, and Cerritos College. Prof. Hempel has been recognized as an outstanding faculty member by both the Mortar Board Honor Society and the School of Music & Dance. Among dance students and dancers alike, he is known for his concise and helpful teaching and for making dance accessible to dancers of all ages at all levels. In addition to his traditional (folk/ethnic) dance specialization, he has training in many other dance forms such as ballet and ballroom dance. He has taught a diverse array of both technique and theory in over 23 separate dance courses. Mr. Hempel remains active as a master teacher and has taught in excess of one hundred master classes and workshops in New York, Tampa, Indianapolis, Detroit, Urbana, Kansas City, Oklahoma City, Denver, Boulder, Albuquerque, Los Alamos, Missoula, Spokane, Phoenix, Seattle, Eugene, Corvallis, San Francisco, Berkeley, Oakland, San José, San Luis Obispo, Santa Barbara, Los Angeles, Anaheim, Santa Ana, Riverside, San Diego, and also Monterrey, Mexico. Hempel is repeatedly sought after as a consultant by performing arts organizations, dance groups, and folk dance ensembles. He was on the Board of Directors of San Diego Folk Heritage and was the Chair of its Dance Committee for fifteen years. Prof. Hempel has been a regularly scheduled contra dance caller for over fifteen years and is known for his clear, concise, and confident calling. While he mostly calls dances in San Diego, he has accepted invitations to call in Berkeley, Sacramento, San Luis Obispo, Long Beach, Anaheim, and in Prescott and Flagstaff, Arizona. Bands that he has worked with include Au Contraire, Cobblestone, Continental Drifters, Flight Path, Gray Beard, Growling Old Geezers, Jump Fingers, Kitchen Junket, Lime in the Harp, More the Merrier, New Lost Melody Boys, Old Twine String Band, Paddy O’Furniture, Ranting Banshee, String Theory, Swamp Mamas, Syncopaths, The Usual Suspects, and Whitetop Mountaineers. Due to his lifetime of dancing, Professor Hempel developed severe osteoarthritis and had surgery to have both his knees and both hips replaced. His surgeons don’t want him “leaping and frisking about” anymore. Alas!

DANCE 181: Introduction to Dance – Hempel

DANCE HUMOR

My friend is addicted to Line Dancing. Poor guy, to recover he had to enter a Two-step program.

Did you hear about the new dance? It’s called the “Elevator.” It’s easy; there are no steps.

How many ballerinas does it take to screw in a light bulb? Only one, but you have to give her a warm up at the barre first.

I took my friend to the ballet the other night. He saw the ballerinas on their toes and asked, “Why don’t they just get taller girls?”

What do you call a belly dancer with a sword? A veiled threat.

Two women are seated on a park bench. One’s a dancer and the other one doesn’t have any money either.

And a few about musicians…

Why do bagpipe players march when they play? To get away from the noise.

Musicologists have found the missing link between noise and music: It’s called rock ‘n roll.

Do you know what perfect pitch is? It’s when you can throw the banjo fifty yards and have it land in the dumpster atop the accordion.

What do you get when you drop a piano down a mineshaft? A flat minor.

Why couldn’t Mozart find his teacher? Because he was Haydn.

Do you know why hummingbirds hum? Because they don’t know the words.

What is the similarity between an accordion and a murder? Everyone is happy when the case is closed.

DANCE 181: Introduction to Dance – Hempel

ODE to the HOKEY POKEY

O proud left foot, that ventures quick within Then soon upon a backward journey lithe. Anon, once more the gesture, then begin; Command sinistral pedestal to writhe. Commence thou then the fervid Hokey-Poke. A mad gyration, hips in wanton swirl. To spin! A wilde release from heaven’s yoke. Blessed dervish! Surely canst go, girl. The Hoke, the poke - - banish now thy doubt Verily, I say, ‘tis what it is all about.

With apologies to William Shakespeare

DANCE 181: Introduction to Dance – Hempel

Course Completion CHECK LIST

__ Submitted Program & Ticket-stub of Dance Concert #1.

__ Submitted Program & Ticket-stub of Dance Concert #2.

__ Submitted Concert Critique (term paper).

__ Completed Mid-term Exam #1.

__ Completed Mid-term Exam #2.

__ Completed Final Exam.