Dance Imagery for Technique and Performance - 2Nd Edition 2Nd Edition Free

Total Page:16

File Type:pdf, Size:1020Kb

Dance Imagery for Technique and Performance - 2Nd Edition 2Nd Edition Free DANCE IMAGERY FOR TECHNIQUE AND PERFORMANCE - 2ND EDITION 2ND EDITION FREE Author: Franklin ISBN: 9780736067881 Download Link: CLICK HERE Dance Imagery for Technique and Performance-2nd Edition Imagery in dance was something that I used throughout my performing career and continue to incorporate in my teaching today. Dance Imagery for Technique and Performance - 2nd Edition 2nd edition Editions 2. Advanced Labanotation. Ebook Table of Contents Author Excerpts Reviews Ebook Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performanceproviding dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. The use of floorwork is one of the major differences between modern dance and previous Western concert dance genres. For credit card security, do not include credit card information in email. Rachel Swenson rated it it was amazing Jun 12, Christine Sonder rated it it was amazing Oct 10, Excerpts Enhance your partnering experience using imagery Improve imagery improvisations with these exercises. In a solo adaptive dance. Accessing our ebooks is as easy as 1. Table of Contents Part I. Franklin lives near Zurich, Switzerland. Dance Imagery for Technique and Performance Book By Eric Franklin - 2nd Edition Ana Sanchez rated it it was amazing Oct 18, In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. Shopping Cart. Coaching and Officiating. We are dancers too To ask other readers questions about Dance Imagery for Technique and Performanceplease sign up. Theo St rated it liked it Dec 24, Fitness for Life Online Store. Community Reviews. Michelle Colucci Dance Imagery for Technique and Performance - 2nd Edition 2nd edition rated it really liked it Apr 20, Hidden categories: All stub articles. Learning how to use mental imagery and functional anatomy for dance augments our training program beautifully because it is clear, precise, and useful in every way for any dancer. Dance Imagery for Technique and Performance 2nd Edition PDF Laura rated it liked it Sep 04, The book also provides guidelines for applying imagery within the dance class repertoire: - Floorwork movements - Standing, walking, running - Ballet barre exercises - Swings, arches, spirals - Upper-body gestures - Dance Imagery for Technique and Performance - 2nd Edition 2nd edition and pirouettes - Jumping - Partnering Part III provides imagery tools to enhance or prepare for a performance. Namespaces Article Talk. Retrieved 23 July About Eric N. Eric Franklin is the founder and director of the Franklin Method. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. A must for all dance educators who wish to bring this art into the 21st century. Masha Archeras part of an effort to change what she saw as the over-sexualized and exploitative features of belly dance, rejected floorwork because she did not want audiences to look down on her dancers. Active Aging. The illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. Physical Education. Floorwork is used extensively in modern dance, particularly Graham technique and Hawkins techniqueas well as in vernacular breakdancing. Andre Davcev rated it really liked it Jan 21, Dance Imagery for Technique and Performance Please note: Due to the dimensions of this product it will be delivered by an alternative courier service to Royal Mail and may take from 3 to 5 working days to be delivered in the UK. Dance Imagery for Technique and Performance uses improvisation exercises Dance Imagery for Technique and Performance - 2nd Edition 2nd edition help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines Dance Imagery for Technique and Performance - 2nd Edition 2nd edition applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This versatile text and reference provides imagery exercises designed to improve dance technique, artistic expression, and performance. Dance Heritage Coalition. Deniz rated it it was amazing May 05, Retrieved 23 July Download as PDF Printable version. Dance Books. The "low" or floorwork level is one of three principal spatial levels dancers may occupy, along with the middle or bipedestrian upright and the high or aerial jumping levels. He has provided training to Olympic and world-champion athletes and professional dance troupes such as Cirque du Soleil and the Forum de Dance in Monte Carlo. Fitness for Life Online Store. Advanced Labanotation. Floorwork is used extensively in modern dance, particularly Graham technique and Hawkins techniqueas well as in vernacular breakdancing. I just finished this book for my wife. https://site-1032491.mozfiles.com/files/1032491/the-particular-sadness-of-lemon-cake-631.pdf https://cdn.shopify.com/s/files/1/0267/0575/6351/files/transport-modelling-for-a-complete-beginner-727.pdf https://site-1032381.mozfiles.com/files/1032381/headhunter-hiring-secrets-application-workbook-534.pdf https://cdn.shopify.com/s/files/1/0498/3930/8963/files/ellyse-perry-2-magic-feet-43.pdf https://cdn.shopify.com/s/files/1/0494/5716/8550/files/the-design-of-sites-patterns-for-creating-winning-websites-529.pdf https://site-1032493.mozfiles.com/files/1032493/practical-procedures-in-orthopaedic-trauma-surgery-393.pdf https://cdn.shopify.com/s/files/1/0267/2417/1949/files/flute-basics-pupils-book-881.pdf https://cdn.shopify.com/s/files/1/0498/3114/9731/files/william-abc-838.pdf https://cdn.shopify.com/s/files/1/0267/0310/2127/files/a-woman-in-berlin-207.pdf https://uploads.strikinglycdn.com/files/f37a45e3-6a7a-4ad8-b219-574d3f92d88f/filmmaking-in-action-1st-edition-492.pdf.
Recommended publications
  • Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
    Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change.
    [Show full text]
  • Chiarts Dance Overview and Audition Guide
    CHIARTS DANCE OVERVIEW AND AUDITION GUIDE This guide is designed to help you prepare for the Dance conservatory audions and for considering ChiArts as an opon for your high school. ChiArts is a wonderfully creave and educaonal environment, and we take our work seriously. DECIDING IF CHIARTS DANCE IS RIGHT FOR YOU What can I expect from ChiArts Dance? Our programs are modeled on college-level Conservatory programs and tailored for high school students. It is a rigorous training program that is taught by professionals in their fields who have high standards of excellence and a commitment to training the next generaon of arsts. Classroom instrucon is supplemented by a variety of performance opportunies in which training is put into pracce. Whether or not a student chooses to ulmately pursue a career in the arts, the curriculum will provide a wide variety of learning opportunies and experiences that can benefit them throughout their lives and in whatever field they choose to pursue. What does ChiArts Dance expect from me? The school day at ChiArts is from 8 am to 5 pm and includes some evening rehearsals and events. Students must have stamina and focus throughout the enre day and must be commied to both academic and arts educaon. Students are expected to arrive to each Dance class on me, fully prepared to work with all of their materials and dedicated to their cra and community. Students should be open to praccing sustained focus, taking risks, and providing a safe learning environment for others. Your aendance affects the work of your peers as well as yourself.
    [Show full text]
  • Abstract in Our Society, Priority Does Not Lie in Arts Education the Arts Are
    Abstract In our society, priority does not lie in arts education the arts are rarely noticed, as kids growing up don't reallydo not acquire have any background knowledge dealing with anything about the history and practice of the arts. Funding cuts in education affect the arts in a negative fashion precluding the possibility of exposure and flourishing of future artists. In my childhood, I was introduced to dance only through my church. As school may soon take arts classes away from schools, that will not only decrease some knowledge that kids need but also allow kids to not see what their passion could be. Growing up I wasn't introduced to dance until my church introduced it to me. My liturgical dance practice remained my connection to the arts. Later, After I only sawI was exposed to ballet dance in the community through television where a ballet class was being broadcasted which most dance companies teach students infrom a local their studio. I believe that students should be introduced to dance, both western concert and other cultural dance forms, as part of their education. s other than the basics.In my presentation, I argue that kids should be able to learn modern dance at a young age. My thesis focus particularly one in particularon Graham technique conceived and teveloped by modern dance pioneer, Martha Graham. What Martha Graham teaches dancers to question the norm. Her technique differs starkly from ballet and it is one way of acknowledging difference of personality, emotionality, and soulful movement. introduces is how to be different and kids at a young age should understand that it's alright to go a different route and it's alright to not look like what you see in Ballet.
    [Show full text]
  • Student Hanbook
    MARTHA GRAHAM SCHOOL OF CONTEMPORARY DANCE STUDENT HANBOOK Founder: Martha Graham Director of School: Virginie Mécène Director of Education: Tami Alesson International Student Advisor: Angela Wiele School Administrator: Karin Weidner-Mubanda 316 East 63rd Street New York, NY 10065 (212) 838 6886 marthagraham.org 1 TABLE OF CONTENTS Page 4 School History and Mission General Open classes Levels – Elementary, Intermediate, Advance, and Open Mixed, Ballet, and Pilates 5 Full Time Programs 5 Independent Program 6 Professional Training Program 7 Third Year Post Certificate 8 Teacher Training Program 9 Graham II 9 Work Study 9 The Intensives Winter Intensive Summer Intensive 10 Course Description Repertory I & II Composition I & II Music I & II Dance History Pedagogy Others Lectures and Q&A 11 Fee Schedule Tuition breakdown per program payment plans etc. 12 Credit Assignment 13 Performance opportunities Graham II Student Concert Outside performance Credit assignments 13 Policies and Procedures 16 General Information and Facilities 17 EFSD 18 Readings 19 Graham School Library Information 2 21 Sample of Leave of Absence Form 22 Sample of Additional Semester Credit Registration Form 23 Sample of Full-Time Program In-Class Evaluation Form 24 Sample of Change of Level In-Class Evaluation Form 3 History and Mission of the Martha Graham School Of Contemporary Dance History Recognized as one of the greatest artists of the 20th century Martha Graham created a movement language based upon the expressive capacity of the human body. It all begun in 1926 when Martha Graham began teaching a group of dancers who had been drawn to her creative work. Thus began the Martha Graham Studio, to remain under her personal guidance for the next 66 yeas.
    [Show full text]
  • Transmissions and Traces: Rendering Dance
    INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations.
    [Show full text]
  • Miki Orihara Solo Concert
    LaGuardia Performing Arts Center Steven Hitt...Artistic Producing Director Handan Ozbilgin...Associate Director/Artistic Director Rough Draft Festival Carmen Griffin...Theatre Operations Manager/Technical Director Toni Foy...Education Outreach Coordinator Isabelle Marsico...Events Coordinator Caryn Campo...Finance Officer LaGuardia Performing Arts Center Mariah Sanchez...House Manager Scott Davis...Line Producer Juan Zapata...Graphic Designer Luisa Fer Alarcon...Video Editor/Designer Dayana Sanchez...Marketing Coordinator MIKI ORIHARA SOLO CONCERT Production Staff Patrick Anthony Surillo...Resident Stage Manager Cassandra Lynch...Props Master Hollis Duggans…Production Staff Works of American and Japanese Modern Dance Pioneers Winter Muniz…Production Staff Piano by Nora Izumi Bartosik Technical Staff Glenn Wilson...Stage Manager/Assistant Technical Director Melody Beal...Lighting Designer Alex Desir...Master Electrician Ronn Thomas...Sound Engineer Miki Orihara Marland Harrison...Technician Denton Bailey...Technician Giovanni Perez...Technician House Staff Marissa Bacchus Jason Berrera Julio Chabla Rachel Faria Anne Husmann Emily Johnson Martha Graham Doris Humphrey Rebecca Shrestha LaGuardia Community College Dr. Gail O. Mellow...President Dr. Paul Arcario...Provost and Senior Vice President 31-10 Thomson Avenue Long Island City, 11101 Seiko Takata Konami Ishii Yuriko Upper left: Martha Graham in Lamentation(1930) Photo by Soichi Sunami, courtesy of The Sunami Family. Upper middle: Miki Orihara, Photo by Tokio Kuniyoshi. Upper right: Doris Humphrey photo by Soichi Sunami , courtesy of the Sunami Family. Lower left: Seiko Takata(1938) in Mother Photo courtesy of Nanako Yamada. Lower middle: Konami Ishii in Koushou (1938) Photo courtesy of Noriko Sato. Lower right: Yuriko in The Cry (1963) Photo courtesy of the Kikuchi Family. WWW.LPAC.NYC RESONANCE III “Onko chishin” – is a Japanese expression describing an attempt to discover new things by studying the past.
    [Show full text]
  • Dance and Politics: Moving Beyond Boundaries
    i Dance and politics ii iii Dance and politics Moving beyond boundaries Dana Mills Manchester University Press iv Copyright © Dana Mills 2017 The right of Dana Mills to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing- in- Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging- in- Publication Data applied for ISBN 978 1 5261 0514 1 hardback ISBN 978 1 5261 0515 8 paperback First published 2017 The publisher has no responsibility for the persistence or accuracy of URLs for any external or third- party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset in Minion by Out of House Publishing v In song and dance man expresses himself as a member of a higher commu- nity: he has forgotten how to walk and speak and is on the way forward flying into the air, dancing. Friedrich Nietzsche You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive. Merce Cunningham vi For my father, Harold Mills, who taught me how to love dance, books and the world.
    [Show full text]
  • Exploring the Modern Dance Technique Class As a Somatic Practice
    EXPLORING THE MODERN DANCE TECHNIQUE CLASS AS A SOMATIC PRACTICE by MELANIE J. MEENAN A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2013 THESIS APPROVAL PAGE Student: Melanie J. Meenan Title: Exploring the Modern Dance Technique Class as a Somatic Practice This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Dr. Steven J. Chatfield Chairperson Mary Seereiter Member Shannon Mockli Member Dr. Jenifer Craig Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2013 ii © 2013 Melanie J. Meenan iii THESIS ABSTRACT Melanie J. Meenan Master of Fine Arts Department of Dance June 2013 Title: Exploring the Modern Dance Technique Class as a Somatic Practice This movement project investigates principles of modern dance technique and pedagogical practices which emphasize the inherently somatic nature of dance. Through designing, implementing, and evaluating an experimental modern dance technique course, my research considers: how dance can be inherently somatic, how teaching dance as a somatic practice differs from authoritarian dance pedagogy, and how implementing a somatic teaching philosophy affected my teaching strategies and practices. The catalyst for this project emanates from the personal belief that dance is somatic. The overarching aim of the experimental course was to promote deeper embodiment and ownership of modern dance experiences.
    [Show full text]
  • Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'allegro, Il Penseroso Ed Il Moderato Mireille Radwan Dana University of Wisconsin - Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations 5-2017 Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, Il Penseroso ed Il Moderato Mireille Radwan Dana University of Wisconsin - Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Dance Commons Recommended Citation Radwan Dana, Mireille, "Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, Il Penseroso ed Il Moderato" (2017). Theses and Dissertations. 1433. https://dc.uwm.edu/etd/1433 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TECHNICAL, ARTISTIC, AND PEDAGOGICAL ANALYSIS OF MARK MORRIS’ L’ALLEGRO, IL PENSEROSO ED IL MODERATO by Mireille Radwan Dana A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Fine Arts in Dance at The University of Wisconsin-Milwaukee May 2017 ABSTRACT TECHNICAL, ARTISTIC, AND PEDAGOGICAL ANALYSIS OF MARK MORRIS’ L’ALLEGRO, IL PENSEROSO ED IL MODERATO by Mireille Radwan Dana The University of Wisconsin Milwaukee, 2017 Under the Supervision of Professor Marcia R. Parsons Abstract This thesis analyzes Mark Morris' choreography for pedagogical purposes. It explores Morris' technique and style by investigating one of his most acclaimed works: L'Allegro, il Penseroso ed il Moderato. Because this evening length piece offers a large selection of sections, a total of thirty-two, it provides many possibilities to investigate Morris' musicality, creative process, and style.
    [Show full text]
  • Towards the Concept of “Digital Dance and Music Instrument”
    Towards the Concept of “Digital Dance and Music Instrument” João Tragtenberg Filipe Calegario Instituto SENAI de Inovação Instituto SENAI de Inovação para TICs para TICs Rua Frei Cassimiro, 88 Rua Frei Cassimiro, 88 Recife, Brazil Recife, Brazil [email protected][email protected] Giordano Cabral Geber Ramalho CIn-UFPE CIn-UFPE Av. Jornalista Anibal Av. Jornalista Anibal Fernandes, s/n Fernandes, s/n Recife, Brazil Recife, Brazil [email protected] [email protected] ABSTRACT that allow the conversion of human movement into informa- This paper discusses the creation of instruments in which tion, it is possible that a wide variety of gesture can control music is intentionally generated by dance. We introduce the any sound, visuals, light or robotic media [5]. conceptual framework of Digital Dance and Music Instru- The field of artistic creation with digital technology is at ments (DDMI). Several DDMI have already been created, least 56 years old [24] and presented considerable advances but they have been developed isolatedly, and there is still a [17]. The area of Digital Musical Instruments (DMI) has lack of common design guidelines. Knowledge about Digital been well delimited for a long time[26]. Unlike acoustic in- Musical Instruments (DMIs) and Interactive Dance Systems struments, in which the equivalent energy of the gestural (IDSs) can contribute to the design of DDMI, but the for- control is responsible for the sound production, the DMIs mer brings few contributions to the body's expressiveness, have open possibilities. The production of sound is inde- and the latter brings few references to an instrumental re- pendent of gesture control, being only connected by digital lationship with music.
    [Show full text]
  • Young Artists Program
    CLASS SCHEDULE 2019 Fall Semester 5:00 - 6:30pm Ballet I MON 6:30 - 8:00pm Graham I/II 5:30 - 7:00pm Contemporary TUES 7:00 - 8:30pm Repertory 5:00 - 6:30pm Graham II/III WED YOUNG ARTISTS PROGRAM 6:30 - 8:00pm Repertory 9:00 – 10:30am Ballet II 10:35am – 12:05pm Graham I SAT Teen Pre-Professional Division 10:35am – 12:05pm Graham II The Teen Pre-Professional Division is designed for technically advanced students 12:20 – 1:50pm Creative Workshop interested in post-secondary study or careers in dance. Classes include Graham Technique®, Ballet, Contemporary, Creative Workshop, and Repertory studies. Students learn and perform one of Graham's masterworks and have a new work created for them by one of NYC's established choreographers. Teens will attend Martha Graham Dance PRICING CHART Teen Pre-Professional Division Company open rehearsals and performances, and will participate in a year-end Teens@Graham Showcase. Other performance opportunities arise throughout the year. Pre-Professional IV Rep/New Choreo + Creative Wkshp + $1850 1 Graham Technique + 4 Technique Classes Teen Artists Division Pre-Professional III Rep/New Choreo + Creative Wkshp + $1675 The mission of the Teen Artists Division is to further teens’ development as individuals and 1 Graham Technique + 3 Technique Classes as artists. The core of the program is the Creative Workshop, in which teens learn the craft of choreography, develop their individual artistic voices, and create their personal Pre-Professional II movement signature. Using the Graham Technique® and Repertory as a foundation for Rep/New Choreo + Creative Wkshp + $1500 1 Graham Technique + 2 Technique Classes study, the program serves as a platform for personal and creative exploration.
    [Show full text]
  • Dance (DANC) 1
    Dance (DANC) 1 Dance (DANC) Courses DANC 0806. The Jazz Century in America. 3 Credit Hours. What is jazz? Students will explore its roots and reinventions in Ragtime, Hot Jazz, Blues, Swing, Bebop, Free Jazz, Rhythm & Blues, and Hip Hop throughout the 20th century in America. We'll experience its manifestations across media, screening dance films, listening to music, viewing visual art works, and reading poetry. Then we'll move into the studio to experience first-hand its rhythms, moods, dynamics, creative expression and improvisation. A key theme will be how the individual and the collective nurture each other in jazz. Intellectually, we'll examine the historical and social backdrop and analyze the essential components of jazz. NOTE: This course fulfills the Arts (GA) requirement for students under GenEd and Arts (AR) for students under Core. Department Restrictions: May not be enrolled in one of the following Departments: Music:Dance. Field of Study Restrictions: May not be enrolled in one of the following Fields of study: Dance. Course Attributes: GA Repeatability: This course may not be repeated for additional credits. DANC 0827. Philadelphia Dance Experience. 3 Credit Hours. Open your eyes to the wealth of culture right at your doorstep. Deepen your appreciation of dance as you become an educated audience member about the various styles and layers of meaning present in any one dance. We will look at dance primarily from a cultural studies perspective, focusing specifically on European, African, Asian, and Latin influences in the Philadelphia experience. We will attend performances in the city, interact with guest artists and lecturers, observe performances on video, and engage in guided viewing exercises to enhance your knowledge and understanding of dance.
    [Show full text]