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Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

Department of Kinesiology and Health Science DAN 140.001 Appreciation Spring 2014

Instructor: Stan Bobo Course Time & Location: MWF 9:00-9:50 a.m., HPE 223 Office: HPE 220 Office Hours: MW 10-11 a.m.; TR 9:15 a.m.-12:15 p.m. Office Phone: 936.468.1812 Credits: 3 hours Other Contact Information: (Dept.) 936.468.3503 Email: [email protected] (DAN 140 in the “subject” space)

Prerequisite: None

I. Course Description: An introduction to dance as a theatrical art and as a valued component in diversified cultures and societies.

II. Intended Learning Outcomes/Goals/Objectives: These goals support and reflect the College of Education’s Vision, Mission, and Core Values in that they equip those candidates seeking “to achieve professional excellence” with the knowledge, skills and dispositions that “prepare competent, successful, caring and enthusiastic professionals dedicated to responsible service, leadership, and continued professional and intellectual development”.

This course is an introductory survey course designed to increase one’s understanding and appreciation of dance as an art form and valued cultural component. This course partially satisfies the Humanities & Visual and Performing Arts requirement of the University’s Core Curriculum requirement. It supports SFASU’s core curriculum mission “to equip students with the broad intellectual foundations needed to live satisfying lives, to ready themselves for advanced study, to contribute significantly to society, and to succeed in a diverse global community”.

Program Learning Outcomes: 1. The student will be able to demonstrate awareness of the scope and variety of works in the arts and humanities. 2. The student will be able to understand those works as expressions of individual and human values within an historical and social context. 3. The student will be able to respond critically to works in the arts and humanities. 4. The student will be able to engage in the creative process or interpretive performance and comprehend the physical and intellectual demands required of the author or visual or performing artist. 5. The student will be able to articulate an informed personal reaction to works in the arts and humanities. 6. The student will be able to develop an appreciation for the aesthetic principles that guide or govern the humanities and arts. 7. The student will be able to demonstrate knowledge of the influence of literature, philosophy, and/or the arts on intercultural experiences.

Student Learning Outcomes: • To understand dance as a form of human expression and as a means of communication (PLO 2) • To think critically and creatively about the nature of dance and its relation to the other arts (PLO 3) • To investigate the similarities and differences of dance throughout history and across cultural lines (PLO 2) • To explore the various genres of dance and selected seminal works within those genres (PLO 1) • To have practical experiences which support the understanding of dance (PLO 4) lll. Course Assignments, Activities, Instructional Strategies, use of Technology: Methods of instruction will include: lecture, class discussion, movement labs, observations, and multimedia. Methods of evaluation will include participation, written exams, quizzes, essays, and a critique of a live dance performance.

Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

IV. Evaluation and Assessments (Grading): • Participation ………………………………………………………………………………………….10% 1. Class: attendance, punctuality, contribution, and cooperation 2. Required: attend a professionally produced dance concert

Danceworks Thursday, April 10 and Friday, April 11,7 p.m. Saturday, April 12, 3 p.m. Dance Studio Theatre, Room 201, HPE Complex

• Projects/Essays (typed)……………………………………………………………………………….10% 1. Research Assignment – See attached. 2. Danceworks Critique – See attached. • Quizzes (can not be made up) ……………………………….……………..…….…………………10% (Format of quizzes can include multiple choice, true/false, matching and fill in the blank.) • Written Exams (3 Exams/45% and Comprehensive Final/25%)....……..……...…………………70% (Format of exams can include multiple choice, true/false, matching, fill in the blank and essays.) • Grading Scale: A 90-100% B 80-89% C 70-79% D 60-69% F 0-59%

V. Tentative Course Outline: • Week 1 Chapter 1: The Art of Dance – The meaning of dance will be explored with emphasis placed on the importance one’s aesthetics with regard to their appreciation of dance as a fine art. • Weeks 2 - 4 The Participants: Chapter 4: The Audience – Understanding dance is a learned process which includes active engagement as an audience member. Concert etiquette will be highlighted. Chapter 2: The Choreographer – The choreographer is an artist that communicates their ideas, thoughts, and feelings through movement. The creative process choreographic elements of dance including space, time, and energy/force. Chapter 3: The Dancer – The dancer is an artist that combines technical proficiency with the ability to engage the audience with their performance. Through extensive training, dancers can more clearly communicate the choreographer’s intention. Chapter 11: Dance Production – Steps taken to produce a dance concert and the people involved in key roles will be the focus as we analyze the theatrical setting of a dance concert. Exam #1 Week of February 17-21 (Review attached.) • Weeks 5 – 16 Dance Genres: Chapter 5: – From its inception in the Renaissance courts of Europe, ballet has been a mainstay in the development of dance as a profession and fine art. Exam #2 Week of March 17-21 (Review attached.) Chapter 6: – Responding to the seemingly staid, arbitrary and formality of ballet, modern dance explored more “natural” ways of expression. Chapter 9: Jazz Dance, Musical Theatre and – Based in African movements and rhythms, jazz dance, musical theatre and tap dance encompass a more syncopated approach to dance. Like other genres of dance, there is variety and stylistic differences in each. Exam #3 Week of April 21-25 (Review attached.) Dead Week – Review for Final Exam Final Exam – Wednesday, May 7, 8-10 a.m.

Vl. Readings/Text (Required): Learning About Dance: Dance as an Art Form and Entertainment, 6th edition (2010), Nora Ambrosio

VIl. Course Evaluations: Near the conclusion of each semester, students in the College of Education electronically evaluate courses taken within the COE. Evaluation data is used for a variety of important purposes including: 1. Course and program improvement, planning, and accreditation; 2. Instruction evaluation purposes; and 3. Making decisions on faculty tenure, promotion, pay, and retention. As you evaluate this course, please be thoughtful, thorough, and accurate in completing the evaluation. Please know that the COE faculty is committed to excellence in teaching and continued improvement. Therefore, your response is critical! In the College of Education, the course evaluation process has been simplified and is completed electronically through MySFA. Although the instructor will be able to view the names of students who complete the survey, all ratings and comments are confidential and anonymous, and will not be available to the instructor until after final grades are posted. Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

Vlll. Student Ethics and Other Course Policy Information: • Attendance: Attendance is expected. Attendance will affect final grade. A student with “perfect” attendance will earn 2 points that will be added to the final grade. After 3 absences, the final grade will be lowered 1/2 letter grade (5 points) for each additional absence. After 9 absences, the student cannot receive a passing grade. In order to receive credit for “perfect” attendance, all “excused” absences must be “made up”. (Note: An “excused” absence is considered an absence.) Absences must be excused upon the student’s return to class or they will be deemed unexcused. Written documentation is required. Only excused absences can be made-up. An excused absence may be “made-up” by taking or observing a “Master Class” taught by a guest artist; attending a dance concert and writing a critique; or completing a research assignment. The instructor must approve each “make-up”. The student is tardy if they are not present when the roll is called. Two tardies equal 1 “excused absence”. The student will be counted absent after a 5-minute grace period or if they leave class before being dismissed. Students who are not present when the roll is called are responsible for informing the instructor regarding their attendance after class on the same day or they will be counted absent. • Classroom – Non-compliance with these policies will result in an unexcused absence. Protocol: Students are to be respectful, courteous, and refrain from talking unless they are asking a question, responding to a question from the instructor, participating in a group activity, or have been invited to give their opinion. Please raise your hand if you have a question or comment. Dress - No caps/hats/hoods are to be worn in class. Cell Phone – Cell phones must be turned off and out of sight before entering the classroom and must remain off until exited. Food, Beverages, and Tobacco – “Eating, drinking of beverages, and the use of all tobacco products is prohibited…in all classrooms and laboratories.” • Students with Disabilities— To obtain disability related accommodations, alternate formats and/or auxiliary aids, students with disabilities must contact the Office of Disability Services (ODS), Human Services Building, and Room 325, 468-3004/468-1004 (TDD) as early as possible in the semester. Once verified, ODS will notify the course instructor and outline the accommodation and/or auxiliary aids to be provided. Failure to request services in a timely manner may delay your accommodations. For additional information, go to http://www.sfasu.edu/disabilityservices/ . Location: Human Services Building, room 325. Phone: (936) 468-3004. • Academic Integrity— Academic integrity is a responsibility of all university faculty and students. Faculty members promote academic integrity in multiple ways including instruction on the components of academic honesty, as well as abiding by university policy on penalties for cheating and plagiarism.

Definition of Academic Dishonesty Academic dishonesty includes both cheating and plagiarism. Cheating includes but is not limited to (1) using or attempting to use unauthorized materials to aid in achieving a better grade on a component of a class; (2) the falsification or invention of any information, including citations, on an assigned exercise; and/or (3) helping or attempting to help another in an act of cheating or plagiarism. Plagiarism is presenting the words or ideas of another person as if they were your own. Examples of plagiarism are (1) submitting an assignment as if it were one’s own work that has been purchased or otherwise obtained from an Internet source or another source; and (2) incorporating the words or ideas of an author into one’s paper without giving the author due credit. Please read the complete policy at http://www.sfasu.edu/policies/academic_integrity.asp

• Withheld Grades Semester Grades Policy (A-54) - Ordinarily, at the discretion of the instructor of record and with the approval of the academic chair/director, a grade of WH will be assigned only if the student cannot complete the course work because of unavoidable circumstances. Students must complete the work within one calendar year from the end of the semester in which they receive a WH, or the grade automatically becomes and F. If students register for the same course in future terms the WH will automatically become an F and will be counted as a repeated course for the purpose of computing the grade point average. • Acceptable Student Behavior Classroom behavior should not interfere with the instructor’s ability to conduct the class or the ability of other students to learn from the instructional program (see the Student Conduct Code, policy D-34.1). Unacceptable or disruptive behavior will not be tolerated. Students who disrupt the learning environment may be asked to leave class and may be subject to judicial, academic or other penalties. This prohibition applies to all instructional forums, including electronic, classroom, labs, discussion groups, field trips, etc. The instructor shall have full discretion over what behavior is appropriate/inappropriate in the classroom. Students who do not attend class regularly or who perform poorly on class projects/exams may be referred to the Early Alert Program. This program provides students with recommendations for resources or other assistance that is available to help SFA students succeed.

Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

RESEARCH ASSIGNMENT DAN 140.001

Find 3 definitions of “dance” in 3 different sources (ex. one dictionary, one encyclopedia, one book (other than your textbook), one magazine, one website, etc.). Use these definitions in constructing your personal definition of “dance”. Assignment is to be typed (font – 12: either Arial or Times New Roman) and is due Friday, January 17, in class. No late papers accepted without penalty. Be prepared to discuss your findings. Adhere to the following format:

RESEARCH ASSIGNMENT DAN 140.001 SPRING 2014 Name:

• Definition of “dance” #1:

Reference Information:

• Definition of “dance” #2:

Reference: Information:

• Definition of “dance” #3:

Reference Information:

• Personal definition of “dance”:

Example: • Definition of “aesthetics” #1: the study or theory of beauty and of the psychological response to it; specifically, the branch of philosophy dealing with art, its creative sources, its forms, and its affects

Reference Information: Michael Agnes, ed., Webster’s New World College Dictionary, 4th Edition (Foster City, California: IDG Books Worldwide, Inc.), 2001, p. 22.

Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

DANCEWORKS CRITIQUE Dance Appreciation DAN 140 Due: Wednesday, April 23, 2014

Preparation: Attend the entire DANCEWORKS concert: Sign In/Out. Thursday, 4/10 and Friday, 4/11, 7:00 p.m., Saturday, 4/12, 3 p.m. Room 201, HPE Complex Students $5 Faculty, Staff, Seniors $8 General Admission $10 Save ticket and program.

Apply your knowledge from this course in describing, analyzing, interpreting and evaluating the concert. Chapter 2 in your text will aid in your movement analysis. In order to receive credit, you must attend the entire concert; you will sign in and out. No papers will be accepted late without penalty.

Content: Write about the event in a formal format: 1. In the introductory paragraph address the who, what, when and where questions. Also, concentrate on a general description of the dancing itself. Include the titles of each dance in the concert and their choreographers. 2. Choose 1 dance to analyze “in depth”. Include what music was used, the composer, a description of costumes, and a description of the dance. Use vocabulary that will give your reader an impression of the dancers’ use of time, space and energy. Remember that “energy” refers to qualities of movement. Discuss theme and choreographic intention as supported by the dance movement. Mention production elements such as lighting, sets, costumes and music if particularly noteworthy. You may also comment on the dancers themselves in terms of technique and performance skills. Finally, you may comment on how the piece made you feel by providing an informed personal reaction. Were you transformed or transported in some way? (2-3 paragraphs) 3. In the final paragraph summerize the entire program. Address issues such as variety and creativity of , technical proficiency of dancers. You might further demonstrate your command of material presented in this course with correct use of stage directions, description of the performing space, audience behavior, etc. It will not be possible to comment on all aspects of performance and theatre, be selective and write about that which is significant.

Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

2 The following questions may help focus your thoughts: - Who did you see onstage? What characters did you see? - Were there solos? Duets? A large chorus? - How prepared were the dancers (technique, strength, flexibility, alignment, dynamic range of motion, performance skills)? - What kinds of movements did they use (fast, slow, fluid, jagged, high, low, gestures)? - How did the choreographer use the space (shape, direction, floor pattern, groupings, lines of direction, levels, focus, formations, entrances, exits)? - How did the choreographer use the time (rhythm, tempo, accent, duration)? - How did the choreographer use the energy (dynamics, qualities of movement, interaction of time and space)? - What genres/styles of music were used (classical, jazz, popular)? Was there an orchestra or was the music taped/on CD? - What dance forms were represented (modern, ballet, tap, jazz, hip hop, freestyle, ethnic)? - How were the costumes, scenery, lighting, special effects and props used? -What did you like or dislike about the performance?

Format and Style: • Titles of are underlined or italicized as you would treat the title of a book. Do so with each mention, and be consistent. • Refer to a choreographer by using complete name, then last name only for subsequent mentions. • Style should be fairly formal. Avoid the use of “you.” Write for a general audience. Avoid the use of “in my opinion.” It is understood that you, the author, are expressing your opinion. Use of first person may be appropriate, for example, to relate an observation to a personal experience. • Minimum length is 500 words, word-processed, double spaced, 10 or 12 pt standard font such as Times New Roman or Arial. • Number and staple pages. Paper will be accepted when stapled. • Title page is not necessary. • Proofread. Excessive grammatical, spelling, or other technical errors will lower grade significantly. • Attach concert ticket and program to paper. • Your paper must be your original work.

Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

Stephen F. Austin State University Department of Kinesiology and Health Science Dance Program

DANCE APPRECIATION DAN 140.001 Exam #1 Review Chapters 1-4

PERSONALITIES: • leg • • wing • Enrico Cecchetti • marley • Mikhail Barysnikov • sprung floor • Alexander Pushkin • technique class • Fred Astaire • parallel/turnout • Tap Dogs • barre • Stomp • exercises au milieu DANCES: • reverance • Don Quixote – Marius Petipa • warm-up • Rite of Spring – Vaslav Nijinsky • stretch • Aureole – Paul Taylor • across the floor • 3 Epitaphs – Paul Taylor • isolations • Company B – Paul Taylor • combination • Dresses – Ezralow, Parsons, Pendleton • axial/nonlocomotor movement • Sleep Study – David Parsons • bend • Aviary – Alwin Nikolais • stretch • Aquatica - Pilobolus • • Brothers – Daniel Ezralow, David Parsons • twist • Momix – Moses Pendleton • locomotor movement • Le Corsaire – Marius Petipa • walk • Vestris – Leonid Jacobson • run • Nine Sinatra Songs – Twyla Tharp • leap • Push Comes to Shove – Twyla Tharp • hop • White Nights – Twyla Tharp • jump VOCABULARY: • skip • dance • gallop • genre • slide • style • kinesthetic awareness • Ballet • alignment/placement • Modern Dance • strength • Jazz Dance • endurance • Tap Dance • flexibility • • cardiovascular • • aerobic/anaerobic • Liturgical Dance • • aesthetics • body therapies/somatics • audience • Alexander Technique • ethnocentrism • Feldenkrais Method • xenophobism • Bartenieff Fundamentals • concert etiquette • Rolfing • choreographer • Pilates • design process • yoga • choreographic elements • anorexia • abstract • bulimia • narrative • improvisation • sagittal plane • vertical plane • horizontal plane • space • time • force • flow • stage directions • Cecchetti stage numbering • Russian stage numbering Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

Stephen F. Austin State University Department of Kinesiology and Health Science Dance Program DANCE APPRECIATION DAN 140 Exam #2 Review Chapters 1 and 5

PERSONALITIES 7. La Cachucha 15. mystery play • Thoinot Arbeau 8. La Sylphide 16. miracle play • Capriol 9. Giselle 17. morality play • Catherine de Medici 10. Pas de Quatre 18. Dance of Death • Bathazar de Beaujoyleux 11. Coppelia 19. • King Louis XIV 12. Don Quixote 20. branle • Pierre Beauchamp 13. Le Cosaire/The Pirate 21. suite • Jean Baptiste Lully 14. The Sleeping Beauty 22. pavane • Raoul Feuillet 15. Act III The Sleeping Beauty 23. galliard • John Weaver (Aurora’s Wedding) 24. canari • Marie Camargo 16. Puss ‘n Boots 25. volta • Marie Salle 17. Bluebird Pas de Deux 26. ballet de cour • Jean-George Noverre 18. Little Red Riding Hood 27. proscenium stage • Gaetano Vestris 19. Swan Lake 28. ballet d’action • Auguste Vestris 20. Cygnets/Baby Swans 29. noble • Carlo Blasis 21. The Black Swan Pas de 30. demi-character • Marie Taglioni Deux 31. comique • Fanny Elssler 22. The Nutcracker 32. attitude • Jules Perrot 23. The Dying Swan 33. arabesque • August Bournonville 24. Le Spectre de la Rose/The 34. Mercury by Giovanni of • Enrico Cecchetti Spirit of the Rose Bologna • Marius Petipa 25. Petrouska 35. romantic tutu • Lev Ivanov 26. L’Apre-Midi D’Uh 36. classical tutu • Sergai Diaghilev Faune/Afternoon of a Faun 37. pointe shoes • Michel Fokine 27. Le Sacre du Printemps/Rite 38. sylph • Vaslav Nijinsky of Spring 39. wili • Bronislava Nijinska 28. Les Noces/The Wedding 40. pas de deux • George Balanchine 29. Apollon Musagete/Apollo 41. pas de trios • Anna Pavlova 30. Agon/Contest 42. pas de quatre • Agrippina Vaganova 31. Bolero 43. en travesti • Margot Fonteyn 32. Push Comes to Shove 44. character dance • Rudolf Nureyev 33. Company B 45. star system • Mikhail Baryshnikov 34. Petite Mort/Small Death 46. prima ballerina • Peter Martins 35. Billboards 47. premier danseur • Arthur Mitchell 36. Non Troppo 48. principal • Maurice Bejart 49. soloist • Twyla Tharp VOCABULARY 50. corps de ballet • Paul Taylor 1. primary source 51. grand pas de deux • Jiri Kylian 2. secondary source 52. adage • Margo Sappington 3. artistic convention 53. variation/solo • Mathew Bourne 4. Shaman 54. coda • Mark Morris 5. aboriginal 55. neo-classical 6. lineage-based society 56. abstract 7. Yanomamo 57. narrative 1. Comique de la Reine 8. Hula 2. Ballet de la Nuit 9. Pele 3. Washerwoman’s Branle 10. Powwow 4. La Bouree d’Achille 11. Bharata Natyam 5. Le Triomphe de l’Amour 12. Shiva 6. The Loves of Mars and 13. Apollo Venus 14. Terpsichore Dance Appreciation DAN 140.001 Stan Bobo Spring 2014

Gillian Lynne West Side Story DANCE APPRECIATION Susan Strohman Chorus Line DAN 140 Busby Berkeley Exam #3 Review Sammy Davis, Jr The Lion King Chapters 6 and 9 Fred Astaire Contact Ginger Rogers Moving Out PERSONALITY: Bill “Bojangles” Robinson The Black Crook Michel Fokine Shirley Temple Shuffle Along Anna Pavlova Eleanor Powell Peggy Ann Loie Fuller Nicholas Brothers Gold Diggers of 1935 Isadora Duncan The Little Colonel Maud Allan Stanley Donen The Littlest Rebel Ruth St. Denis Gus Giordano Rebecca of Sunnybrook Farm Ted Shawn Gregory Hines Stormy Weather Denishawn Tommy Tune Top Hat Savion Glover Singin’ in the Rain Tap Dogs Tap White Nights Rudolf von Laban BALLET/MUSICAL/FILM Bring in ‘Da Noise, Soaring Bring in ‘Da Funk Air for the G String Bootmen Kurt Jooss Lamentation Martha Hill The Green Table VOCABULARY Helen Tamaris Witch Dance music visualization Trend craftsman John Cage Points in Space artist Alwin Nikolais Tensile Involvement Labanotation Paul Taylor Aviary contraction and release Robert Ellis Dunn Aureole fall and recovery Yvonne Rainer Big Bertha pedestrian movement Trisha Brown Trio A scribbles Man Walking Down Side post-modern Judith Jamison of Building abstract Garth Fagan Revelations event Push Comes to Shove chance Twyla Tharp Dido and Aeneas indeterminacy Eiko and Komo Non Troppo de-centralization Sankai Juku Griot New York Judson Church Project Bandaloop Still/Here Grand Union Mark Morris D-Man in the Waters Butoh Bill T. Jones Sleep Study minstrels David Parsons Brothers cakewalk Axis Dance Company Reflections for Four vaudeville John Durang Caught Harlem Renaissance William Henry Lane Satin Doll Jacob’s Pillow Seymour Felix The Stack Up jazz music Carol Haney Sweet Charity syncopation Talley Beatty Pippin improvisation Bob Fosse Cabaret class act Chicago flash act Jack Cole All That Jazz soft shoe Oklahoma challenge Michael Bennett Kismet