SMC Core Curriculum Course Proposal Form Fall 2013

Electronically submit this course form and attachments to the Chair of the CCC by October 1. Please submit a separate proposal for each desired learning goal.

1. Name of Proposer: Jia Wu 2. Email address: [email protected] 3. Department/Program of Proposer: Performing Arts/Dance

4. Name of Department/Program housing the course: Performing Arts 5. Name(s) of Program Director/Department Chair (if not the proposer): Cathy Davolos

6. Course Acronym, Number and Title: PERFA 181-01 Asian Dance 7. Proposal is for All Sections of the course: _____ Proposal is for instructor’s section(s) (Pathways to Knowledge only): _____ 8. Course Prerequisites (if any): English 5 9. Unit Value of Course: 1

10. Mark with an X the Learning Goal for which the course is being proposed. (Please submit a separate proposal for each desired goal.)

Pathways to Knowledge (at most one) Artistic Understanding – Artistic Analysis only: _X___ Artistic Understanding – Creative Practice only: ____ Artistic Understanding – Both Artistic Analysis and Creative Practice: ____ Mathematical Understanding: ____ Scientific Understanding: ____ Social, Historical, Cultural Understanding: ____ Christian Foundations: ____ Theological Explorations: ____

Engaging the World (as appropriate, generally zero to two) American Diversity: ____ Common Good: ____ Community Engagement: ____ Global Perspectives: __X__

Classical dance is a significant symbol for the contemporary Asian nations-state and its diasporas. In this class, we will explore how the category of “classical dance” was defined in 20th and 21st century in Asia and investigate the performative value of the concept. Our focus will be on classical dance forms in Indonesia, Cambodia, India and China. We will explore the key sources upon which the dances are based; survey the histories of the forms that comprise the classical canon; and situate the revival, reconstruction, and institutionalization of classical dance as a symbol of national identity and heritage in these four nations. We will also look at “folk,” “social,” “popular,”

CCC Course Proposal Form 2013-2014 September 4th, 2013 “Bollywood,” “modern,” and “contemporary” dance as categories distinguished from— and which interrogate—classical structures. Throughout, we will critically consider the relationship between dance, transformation, cultural exchange, colonialism, nationalism, religion, and social history. Readings, presentation, video-viewings, and in- class activities will cover all of the learning outcomes designated for Global Perspective and Artistic Understanding. Each week we focus on one or two Asian dance forms. We explore their meaning. What is it to dance? What does dancing mean to an Asian choreographer, dancer, and audience member? How can we use different tools to view, understand and discuss a dance work in a global perspective? This class also helps my students find vocabulary to talk and write about the non-verbal art form of dance.

LC#1: Students will be asked to present interpretations of historical and global causation and change by studying classical forms such as ayang wong and shadow puppet in Bali and Java, Kathak and Bharatanatyam in India, Peking Opera, Yangge and ethnic dances in China in order to understand the changes, exchanged and cultural transformation of Asian Dance. Throughout, we will critically consider the relationship between dance, transformation, cultural exchange, gender, colonialism, nationalism, religion, social history and other issues relevant to globalization.

Asian Dance has 1 writing assignments (12-15 pages), 3 quizzes and 2 class presentations.

AA #1: By student presentation, video viewing, in-class discussion, quizzes and exams (including writing as they watch dance videos). The dance research paper asks students to address the one Asian dance form they chose. The students are required to examine the historical context of the form, and go into much greater detail about the historical and cultural contexts and how they unfolded during this time period. This exploration would then explain how the dance form shaped and transformed into the style we witness in the 21st Century.

Two in-class READING presentation: The student is responsible for making TWO 20-minute presentations in class on a theme related to the readings. Contextualize the reading, highlight key concepts and arguments illuminated in the text, and raise pertinent questions and/or issues for discussion. The student is free to illustrate your presentation with performance materials (live or recorded), artistic exercises, visual materials (artwork, photos, video/film, performance clips), even a site visit (during section hours only)--but only if it helps to flesh out a particular concept. That is, these supplemental materials and strategies should not take up a large portion of your allotted time.

Response to the Global Perspective Working Group:

[Type text] [Type text] [Type text] I am proposing that Perfa 181 addresses Option 2 of the learning goal: “Students will demonstrate an understanding of the world from a specific non-U.S. and non-Western European viewpoint.” Key topics of the course will include the following: 1. General information (Genres, aesthetics, and definition) about classical and folklore dance in Indonesia, India, Cambodia, China and Taiwan 2. Asian traditional and modern/contemporary choreographers/companies 3. Asian traditional movements and music 4. Asian dance and dance bodies, training, and education 5. Asian dance and gender issues 6. Asian dance and post-colonial identity, democracy, and ethnicity 7. Asian dance and globalization, multicultural situation, and diasporas 8. Asian dance and new media

For example: After reading the article: “Crossing-dressing across cultures genre ad gender in the dances of Didid Nini Thowo (An Indonesian crossing-dress performer), following questions have been raised by the students: “How does Didik reconstruct performing gender? How does this differ from a Western perspective? How can we use his techniques/ideas/terminology to eradicate negative implications (especially from the west) of gender performance and also form newfound awareness and an equal dynamic between genders? In many Asian cultural practices such as these performances, we see a direct divide between sexual orientation and the performance. Just because a male performer impersonates a female role, does not label him homosexual, but rather a diverse artist. However, In our society this is not the case, for we often assume that a man in drag is of same sex orientation. What about our structure of society makes us feel this way? How does this differ to the structure of these Asian societies (in particular Javanese)?”

After reading “Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary Chinese Dance: Sixty Year of Creation and Controversy”, following questions have been discussed in the class. “What are the pros and cons of having a centralized concept in dance? Does the idea of "Chinese- ness" further promote tradition, or generalize it? Why does there have to be only one "truly" Chinese identity dance when so much has happened in the culture, multiple styles could be the epitome of Chinese culture and what they have endured? ”

CCC Course Proposal Form 2013-2014 September 4th, 2013