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 (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 , “The Dance that Makes You Vanish”,

Port Klang/Kuala Lumpur, Malaysia — February 19-24

B12—February 26: Overview, Baris, Sanghyang, , 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, , 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. Oral Presentation are due on B22—April 6 and B23—April 8.

METHODS OF EVALUATION

Independent Field Entries (10%/2 points for each of the 5 entries) – as outlined above under ‘FIELD WORK’

Oral Presentation on Independent Field Assignments (20%) – as outlined above under ‘FIELD WORK’

Collaborative Choreography Project (20%)

The Collaborative Choreography Project will rehearse during half of the class periods on March 9, 12, and 14. Students will be assigned to groups of 3-4 students. Students will create a dance based on experiences and interpretations of three dance of the following dance styles from Hawai’i, Japan, China, Vietnam, Malaysia, and/or India. At least 3 additional hours are expected outside of class.

1. Select three cultures with diverse themes and practices. 2. Interpret and distinguish dance styles from these cultures. 3. Create a dance that reflects at least one of the dance styles of these three cultures.

The Collaborative Choreography Project will be evaluated according to individual participation in the choreographic process and performance of a set group choreography project. The detail and accuracy of movement styles, distinct examples of action, spatial design, and cultural content inform these performances. The Collaborative Choreography Project is due on B18—March 17th.

Final Exam (20%)

Four quizzes include multiple choice questions that covers selected dance styles and readings in World Dance Cultures: From Ritual to Spectacle, additional readings listed, lectures, and class discussions. On the final exam, a 250-word (1-page) handwritten essay and multiple-choice questions will be evaluated on detailed descriptions of literature, synthesis of themes and concepts, and correct grammar, spelling, style, and punctuation. Final Exam: B25—April 17.

Attendance and Participation (10%) Students are expected to complete all of the readings scheduled for that day before class to participate fully in the discussion and/or activity for the day.  If a student has not completed the readings or does not participate in discussions with partners, or small and large groups, the participation grade will be decreased.  A student has three late arrivals or early departures of 10 minutes or less that will not affect the grade. After 10 minutes, the student will be marked absent. If a student has more than three late arrivals or early departures, each set of two late arrivals or early departures will decrease the grade by 1/3 of a letter grade.  All assignments are due at the beginning of class. If a student arrives late to class, the late assignment will not be accepted.

GRADING SCALE

The following Grading Scale is utilized for student evaluation. Pass/Fail is not an option for Semester at Sea® coursework. Note that C-, D+ and D- grades are also not assigned on Semester at Sea® in accordance with the grading system at Colorado State University (the SAS partner institution).

Pluses and minuses are awarded as follows on a 100% scale:

Excellent Good Satisfactory/Poor Failing 97-100%: A+ 87-89%: B+ 77-79%: C+ Less than 60%: F 93-96%: A 83-86%: B 70-76%: C 90-92%: A- 80-82%: B- 60-69%: D

ATTENDANCE/ENGAGEMENT IN THE ACADEMIC PROGRAM Attendance in all Semester at Sea® classes, including the Field Class, is mandatory. Students must inform their instructors prior to any unanticipated absence and take the initiative to make up missed work in a timely fashion. Instructors must make reasonable efforts to enable students to make up work which must be accomplished under the instructor’s supervision (e.g., examinations, laboratories). In the event of a conflict in regard to this policy, individuals may appeal using established CSU procedures.

LEARNING ACCOMMODATIONS

Semester at Sea® provides academic accommodations for students with diagnosed learning disabilities, in accordance with ADA guidelines. Students who will need accommodations in a class, should contact ISE to discuss their individual needs. Any accommodation must be discussed in a timely manner prior to implementation.

A letter from students’ home institutions verifying the accommodations received on their home campuses (dated within the last three years) is required before any accommodation is provided on the ship. Students must submit verification of accommodations to [email protected] as soon as possible, but no later than two months prior to the voyage. More details can be found within the Course Registration Packet, as posted to the Courses and Field Classes page no later than one month prior to registration.

STUDENT CONDUCT CODE

The foundation of a university is truth and knowledge, each of which relies in a fundamental manner upon academic integrity and is diminished significantly by academic misconduct. Academic integrity is conceptualized as doing and taking credit for one’s own work. A pervasive attitude promoting academic integrity enhances the sense of community and adds value to the educational process. All within the University are affected by the cooperative commitment to academic integrity. All Semester at Sea® courses adhere to this Academic Integrity Policy and Student Conduct Code. Depending on the nature of the assignment or exam, the faculty member may require a written declaration of the following honor pledge: “I have not given, received, or used any unauthorized assistance on this exam/assignment.”

RESERVE BOOKS FOR THE LIBRARY

None

FILMS

TITLE OF FILM: Into the Circle: An Introduction to the Powwow” (2004) DISTRIBUTOR: Full Circle Communications

TITLE OF FILM: Subtango: The Spirit of Tango (2014) DISTRIBUTOR: Vaccaro, Sofia, producer/author

TITLE OF FILM: Legacy of the Spirits (2007) DISTRIBUTOR: Erzulie Films

TITLE OF FILM: Kumu Hula: Keepers of a Culture DISTRIBUTOR: Winstar Entertainment

TITLE OF FILM: Butoh: Piercing the Mask (1991) DISTRIBUTOR: Insight Media

TITLE OF FILM: The Three Worlds of Bali (2015) DISTRIBUTOR: Public Broadcasting Associates, Boston, MA

TITLE OF FILM: Iindawo Zikathixo (In God's Places) (2015) DISTRIBUTOR: Kanopy Streaming

TITLE OF FILM: Movement (R)evolution Africa (2015) DISTRIBUTOR: Kanopy Streaming

TITLE OF FILM: Classical Indian Dance: Two Bharatanatyam Dances (1998) DISTRIBUTOR: Kanopy Streaming

TITLE OF FILM: Song of Africa (2014) DISTRIBUTOR: Kanopy Streaming

TITLE OF FILM: The Shape of Darkness (1949) DISTRIBUTOR: Kanopy Streaming

TITLE OF FILM: Ecstatic Circle (1925) DISTRIBUTOR: Lyrichord Discs, Inc.; Multicultural Media

TITLE OF FILM: Flamenco, Flamenco (2015) directed by Carlos Saura DISTRIBUTOR: Jesus Caballero

TITLE OF FILM: Yasmina Ramzy (2015) DISTRIBUTOR: Kanopy Streaming

ELECTRONIC COURSE MATERIALS

None

ADDITIONAL RESOURCES

None