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Dance Course Number and Title: D 110 Understanding Dance Division: Lower Faculty Name: Dr SEMESTER AT SEA COURSE SYLLABUS Colorado State University, Academic Partner Voyage: Spring 2020 Discipline: Dance Course Number and Title: D 110 Understanding Dance Division: Lower Faculty Name: Dr. Artemis Preeshl Semester Credit Hours: 3 Prerequisites: None COURSE DESCRIPTION Broad examination of dance involving limited student participation in basic dance movements. Students will engage in lectures, discussions, video study, and in-studio exploration to gain deeper understanding of dance as a medium. In this non-major course, we may explore dance as cultural ritual and performing art. To understand context, we read essays on dance, view “dance on screen,” engage in lecture-demonstrations by interport guest lecturers, students, and faculty, learn diverse cultural dance steps in class, and view Asian and African dance styles on field excursions such as Japanese Noh, Kabuki, and Butoh; Beijing and Shanghai Opera, Vietnamese and Myanmar/Burma puppetry, Indian Kathakali, West and South African dance and ritual, Sufi (Sema) whirling, and belly dance in Morocco. We examine how contemporary trends of technology, different abilities, and gender affect participation in and performance of dance. We frame how we see dance by reflecting on how cultural, sociopolitical, and historical contexts impact creativity in dance. LEARNING OBJECTIVES Upon completion of the course, students will uncover potential learning and personal growth in dance experiences through knowledge & appreciation of: Understanding how dance styles represent cultural contexts and values Recognizing the role of dance and movement in rituals and behaviors of people and their communities Becoming aware of how society influences personal movement choices Developing the ability to speak and write about dance and movement REQUIRED TEXTBOOKS Author: Beaman, Patricia Leigh Title: World Dance Cultures: From Ritual to Spectacle Publisher: Routledge ISBN: 978-1138907737 DATE: 2017 TOPICAL OUTLINE OF COURSE Day B from 15:40 to 17:00 in Lido Terrace Depart Ensenada, Mexico — January 4 B1—January 7: Ch. 8. Native American, Caribbean, and South America Overview, Lakota Ghost Dance, “Killing Custer” Into the Circle: An Introduction to the Powwow (2007) by Swearingen, Scott, Rhoades, Sandy, Herrmann, Rick, and Mathews, J. R. B2—January 9: Haitian Vodou, “Afro-Caribbean Spirituality”, Tango Legacy of the Spirits (2007) by Karen Kramer Subtango: The Spirit of Tango (2014) by Sofia Vaccaro B3—January 11: Ch. 5 Hawaii/Aotearoa, and Papua New Guinea Overview, Hula Kahiko, Maoir haka, Ko Mitimiti Ahau Kumu Hula: Keepers of a Culture by Robert Mugge Honolulu, Hawaii, USA — January 12 Reflection & Study Day — January 13 (No Class) B4—January 15: Gisalo of Papua New Guinea, “Sorrow of the Lonely, Burning Dancers” Introduction to Butoh Dance Style of Koh Mitsubushi International Date Line Crossing — January 16 (Lost Day) B5—January 18: Ch. 4 Japanese Noh, Kabuki, and Butoh: Overview, Noh theatre Butoh: Piercing the Mask (1991) by Richard Moore Butoh Dance Style of Koh Mitsubushi Study Day — January 19 (No Class) B6—January 21: “Import/Export”, Kabuki Butoh Dance Style of Koh Mitsubushi B7—January 23: Butoh, Selections from Kazuo Ohno Butoh Dance Style of Koh Mitsubushi Kobe, Japan — January 24-28 B8—January 30: QUIZ 1 on all readings and videos from January 6th to January 29th Chinese Beijing Opera, Mao’s Red Detachment of Women, Dai Ailain Shanghai, China — January 31 – February 5 B9—February 7: Ch. 3 Cambodia/China Overview, Cambodian royal dancers, Mediating Cambodian History B10—February 9: The Three Worlds of Bali (2015) by Michael Ambrosino & Ira Abrams Ho Chi Minh City — February 10-15 Community Programming — February 17 (No Class) B11—February 18: QUIZ 2 on all readings and videos from January 30th to February 16th Ch. 2 Bali and Java; Balinese Clown Dance by Ida Bagus Alit Javanese Bedhaya, “The Dance that Makes You Vanish”, Bangsawan Port Klang/Kuala Lumpur, Malaysia — February 19-24 B12—February 26: Overview, Baris, Sanghyang, Legong, Calonarang, Clowns Balinese Clown Dance by Ida Bagus Alit B13—February 28: Field Notes from Japan Due Ch. 1 India: Kathakali, “Who wears the skirts? Phillip Zarrilli’s Kathakali Dance-Drama: Part i: 1-65; Progeny of Krishna (Santanagopalam) by Manadavappalli Ittiraricha Menon, Pt. ii. pp. 135-58. (Additional reading) Balinese Clown Dance by Ida Bagus Alit Cochin, India — February 29 – March 5 Community Programming — March 7 (No Class) B14—March 8: Overview, Bharatanatyam, Unfinished Gestures, Kathak Classical Indian Dance: Two Bharatanatyam Dances (1998) B15—March 10: QUIZ 3 on all readings and videos from February 17th to March 9th Rehearse Collaborative Choreography Project in class Port Louis, Mauritius — March 11 B16—March 13: Iindawo Zikathixo (God's Places) on Khoisan Bushman by Frans Prins. Rehearse Collaborative Choreography Project in class B17—March 15: Song of Africa directed by Emil Nofal Rehearse Collaborative Choreography Project in class B18—March 17: COLLABORATIVE CHOREOGRAPHY PROJECT DUE Overview, Geerewol of Wodaabe, “Nomads who Cultivate Beauty” Movement (R)evolution Africa (2015) by Joan Frosch and Alla Kovgan Cape Town, South Africa — March 18-23 Field Class: Day 1 on Wednesday, March 18 in Cape Town, South Africa B19—March 25: “Land of the Flying Masks”, Egunggan of Yorubaland The Shape of Darkness (1949) directed by Max-Pol Fouchet Study Day — March 26 (No Class) B20—March 28: FIELD CLASS ESSAY DUE Ch. 7 North Africa, Turkey, and Spain Overview, Zar ritual, “Wombs and Alien Spirits” Flamenco, Flamenco (2010) directed by Carlos Saura Tema, Ghana — March 30-31 Takoradi, Ghana — April 1-3 B21—April 4: Sema, “The City of the Sultan”, Whirling Lesson Ecstatic Circle (1925) by Deben Bhattacharya and Richard Baker Yasmina Ramzy (2015): Belly Dance B22—April 6: ORAL PRESENTATIONS B23—April 8: ORAL PRESENTATIONS B24—April 10: FIELD NOTE ENTRIES DUE Review for Final Exam Casablanca, Morocco — April 11-14 Study Day — April 15 (No Class) B25—April 17: FINAL EXAM: Reading and videos from March 10th to April 9th Arrive Amsterdam, The Netherlands — April 20 FIELD WORK Semester at Sea® field experiences allow for an unparalleled opportunity to compare, contrast, and synthesize the different cultures and countries encountered over the course of the voyage. In addition to the one field class, students will complete independent field assignments that span multiple countries. Field Class & Assignment Field Class attendance is mandatory for all students enrolled in this course. Do not book individual travel plans or a Semester at Sea sponsored trip on the day of your field class. Field Classes constitute at least 20% of the contact hours for each course, and are developed and led by the instructor. If a student misses the field class participation, the student loses 20% of the total points for the course. The field class for this course is on Wednesday, 18 March in Cape Town, South Africa. Title: Voice & Movement Class & Womb of Fire screening with Sara Matchett Description: Participate in a Voice and Movement Class, view a screening of Sara Matchett’s production, Womb of Fire, and discuss the show. Objectives: To understand developing socially-aware theatre in South Africa. To understand developing socially-aware performance, students will experience class, and view and discuss a Womb of Fire with director Sara Matchett in Cape Town. Field Class Assignment and Due Date: Field Class Essay due on B20—March 28: Field Class Essay (20%) 1. Take a class, view a screening of a performance, and discuss theory and practice of devising in a social context with a director. 2. Write a 500-word essay on movement in light of the class, work, and discussion. The quality will be evaluated based on detailed descriptions of stylistic action in the film or script, accuracy of content, grammar, spelling, punctuation, format, style, and citations. If a student misses the field class participation, the student would lose 20% of the total points for the presentation. However, the student could make up the presentation by gathering observations on a dedicated day in another port. Field Class Essay due on B20—March 28. Independent Field Assignments: Independent Field Entries (10%/2 points for each of the 5 entries) Students will type 100-150-word field entries on performance, choreography, or directing in dance, music, or theatre productions seen in 5 out of 6 ports: Hawai’I, Japan, China, Vietnam, Malaysia, and/or India Entries will be graded on the quality of 3 detailed descriptions of interpersonal interactions in each selected port using correct grammar, spelling, and punctuation. Independent Field Entries are due on B24—April 10. Oral Presentation on Independent Field Assignments (20%) 1. Observe and write about how themes and actions in ritual behavior off-stage in connection with productions in 5 out of eight countries such as: . Hula and ki‘i (puppets), Hawai’i . Noh, Kabuki, or Butoh in Kobe, Japan . Cantonese opera or acrobatics in Shanghai, China . Vietnamese water puppets in Ho Chi Minh City, Vietnam . Bangsawan, Mak Yong, or shadow puppetry in Port Klang, Malaysia . Indian Kathakali, Thiruyattam, Koodityattam, Kalaripuyattu, Chavittu Nadakam . Gumboot, Khoisan, and Street dance in Capetown, South Africa, and/or . Busking in the street 2. Review readings and discussion notes about performances in that culture 3. Reflect on observations and performances in port. For each production, include: a. Dance company and/or producer b. Choreographer and/or director c. Venue, city, date, time, and cultural context of the production d. Action on stage such as role, blocking on stage, movement, and speech e. Color, shape, and texture of the set, costume, lighting, sound, and props 4. Present a 5-minute Oral Presentation that compares and contrasts human interactions outside of performance venues and performance styles onstage The quality of Oral Presentations will be evaluated based on detailed action descriptions, accuracy of content, synthesis of stylistic action, grammar, spelling, punctuation, format and style with citations of visual and written sources.
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