MASTER COURSE OUTLINE Prepared By: Bryce Humpherys Date: September 14, 2018 COURSE TITLE Social Dance GENERAL COURSE INFORMATIO

Total Page：16

File Type：pdf, Size：1020Kb

MASTER COURSE OUTLINE Prepared By: Bryce Humpherys Date: September 14, 2018 COURSE TITLE Social Dance GENERAL COURSE INFORMATION Dept.: PEH Course Num: 128 (Formerly: ) CIP Code: 36.0114 Intent Code: 11 Program Code: Credits: 1 Total Contact Hrs Per Qtr.: 22 Lecture Hrs: 0 Lab Hrs: 22 Other Hrs: 0 Distribution Designation: PEH Activity Credit AC COURSE DESCRIPTION (as it will appear in the catalog) Social dance teaches students basic steps and techniques for partner dances such as swing, fox trot, waltz and cha cha. The course will cover fundamentals of footwork, music rhythms and dancing with a partner. Students do not need a dance partner to register for the class. May be repeated for up to three (3) credits. PREREQUISITES None TEXTBOOK GUIDELINES None COURSE LEARNING OUTCOMES Upon successful completion of the course, students should be able to demonstrate the following knowledge or skills: 1. Identify different music rhythms and state what types of dances are appropriate for different rhythms and tempos 2. Demonstrate basic steps for specific dances. 3. Demonstrate appropriate posture, hand and arm placement, and footwork for specific dances 4. Demonstrate teamwork as well as leading and following techniques by dancing with a partner in time with music. INSTITUTIONAL OUTCOMES IO3 Human Relations/Workplace Skills: Students will be able to demonstrate teamwork, ethics, appropriate safety awareness and/or workplace specific skills. COURSE CONTENT OUTLINE 1. Basic music rhythms and tempos including music in 3/4 and 4/4 time 2. Basic steps for at least four social dances such as waltz, swing, fox trot, cha cha, rumba, Viennese waltz, samba 3. Posture, hand and arm placement, and footwork appropriate for different dances 4. Techniques for leading and following while dancing 5. Round, non-partner, line, and/or folk dances DEPARTMENTAL GUIDELINES (optional) _______________________________ ________________ DIVISION CHAIR APPROVAL DATE .

Copy Link

Recommended publications

Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
[Show full text]
Physical Education Dance (PEDNC) 1
Physical Education Dance (PEDNC) 1 Zumba PHYSICAL EDUCATION DANCE PEDNC 140 1 Credit/Unit 2 hours of lab (PEDNC) A fusion of Latin and international music-dance themes, featuring aerobic/fitness interval training with a combination of fast and slow Ballet-Beginning rhythms that tone and sculpt the body. PEDNC 130 1 Credit/Unit Hula 2 hours of lab PEDNC 141 1 Credit/Unit Beginning ballet technique including barre and centre work. [PE, SE] 2 hours of lab Ballroom Dance: Mixed Focus on Hawaiian traditional dance forms. [PE,SE,GE] PEDNC 131 1-3 Credits/Units African Dance 6 hours of lab PEDNC 142 1 Credit/Unit Fundamentals, forms and pattern of ballroom dance. Develop confidence 2 hours of lab through practice with a variety of partners in both smooth and latin style Introduction to African dance, which focuses on drumming, rhythm, and dances to include: waltz, tango, fox trot, quick step and Viennese waltz, music predominantly of West Africa. [PE,SE,GE] mambo, cha cha, rhumba, samba, salsa. Bollywood Ballroom Dance: Smooth PEDNC 143 1 Credit/Unit PEDNC 132 1 Credit/Unit 2 hours of lab 2 hours of lab Introduction to dances of India, sometimes referred to as Indian Fusion. Fundamentals, forms and pattern of ballroom dance. Develop confidence Dance styles focus on semi-classical, regional, folk, bhangra, and through practice with a variety of partners. Smooth style dances include everything in between--up to westernized contemporary bollywood dance. waltz, tango, fox trot, quick step and Viennese waltz. [PE,SE,GE] [PE,SE,GE] Ballroom Dance: Latin Irish Dance PEDNC 133 1 Credit/Unit PEDNC 144 1 Credit/Unit 2 hours of lab 2 hours of lab Fundamentals, forms and pattern of ballroom dance.
[Show full text]
Bera Ballroom Dance Club Library
BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International
[Show full text]
International Dance Conservatory – Ballroom Program
INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level.
[Show full text]
Introduction to Viennese Waltz
Viennese Waltz Introduction to Viennese Waltz General - Originally a continental fast waltz, the Viennese was standardized with only six basic figures for use in competition in 1953. Many other figures have been added since for social dancing which develop the use of open positions. It should have a definite lilt when danced correctly which gives it the stride for elegant look. Timing - As a fast waltz the Viennese is done in 3/4 time with three beats per measure using a fairly wide variance of tempo - 50 to 60 (b.p.m.) beats per minute. Changes are made on the conventional 4th and 8th measures but certain figures transcend this rule when the so-called picture configurations are used. Rhythm - The early continental version accented each beat but the modern dance utilized the down beat on 1 to the extent that time is usually taken from 3 to accomplish this. Therefore, timing would be a little longer on count 1, a normal length of time on 2, and a lesser one on 3. This, of course, does not apply to canter and broken rhythms. Body Mechanics - Dancers should consciously hold the arms a little higher and wider than in the International and American waltz. The skimming action which is characteristic for the standard figures on count 1 is accomplished by a slight downswing at its inception (the lilting action is not unlike the slow foxtrot). Since turns are made with more rotary action, the amount of sway approaches zero. It is characteristic for the Natural Turn to under turn the Reverse Turn, therefore, the body mechanics for the former more closely resemble the International version, including a slight sway.
[Show full text]
UNIVERSITY of CALIFORNIA, IRVINE Analysis of the Crossover
UNIVERSITY OF CALIFORNIA, IRVINE Analysis of the Crossover Between Ballroom and Ballet in Choreographic Works THESIS submitted in partial satisfaction of the requirements for the degree of MASTER FINE ARTS in Dance by Chanel Kostich Thesis Committee: Professor Alan Terricciano, Chair Associate Professor Tong Wang Assistant Professor Vitor Luiz 2020 © 2020 Chanel Kostich TABLE OF CONTENTS ACKNOWLEDGMENTS iii ABSTRACT OF THE THESIS iv INTRODUCTION 1 CHAPTER 1: Dance Autobiography 3 CHAPTER 2: Synopsis & Timeline of the Three Works 7 NYC Ballet: “Vienna Waltzes” 7 Grupo Corpo: “Grande Waltz” 11 Tango Pasión: “Argentine Tango Duet” 16 CHAPTER 3: Contextualizing the Interview with Rodrigo Pedernerias 20 CHAPTER 4: Heat of the Night: A Choreographic Thesis Film 22 Reflection of Thesis Project 30 Appendix 1: MethodoLogy Movement 32 American Smooth Tango Argentine Tango Ballet in Tango Pasión Bolero, Ballet, and Argentine Tango Viennese Waltz Appendix 2: Interview with Rodrigo Pederneiras 39 Appendix 3: Collaborative Design, Copyright Information, Contents of the Music 50 Works Cited 54 ii ACKNOWLEDGEMENTS I want to start by expressing immense gratitude for my thesis chair, Alan Terricciano. Thank you for your encouragement to experiment and be creative within this research process and for your continued patience as we worked through those choices together. Our discussions were always meaningful and impactful to this work, as weLL as to me as a graduate student. I appreciate your kindness, advice, and enthusiasm towards my creative work as we coLLaborated throughout this research process. I would like to thank my thesis committee members Professor Tong Wang and Professor Vitor Luiz for your encouragement and guidance.
[Show full text]
Syllabus Outline of Modern Ballroom Faculty Qualifications
SYLLABUS OUTLINE OF MODERN BALLROOM FACULTY QUALIFICATIONS April 2017 ISTD Dance Examinations Board Tel: +44 (0)20 7377 1577 Imperial House 22/26 Paul Street www.istd.org London EC2A 4QE Contents General Information 2 Amateur Medal Tests Introduction 3 Entry Conditions and General Information 4 Syllabus Content 6 Method of Assessment 10 Graded Examinations in Dance Introduction 12 Entry Conditions and General Information 13 Syllabus Content 14 Method of Assessment 20 Vocational Graded Examinations in Dance Introduction 22 Entry Conditions and General Information 23 Syllabus Content 24 Method of Assessment 26 Professional Teaching Examinations Student Teacher 29 Associate 30 Higher Professional Examinations Licentiate 32 Fellowship 33 Viennese Waltz 33 Professional Dancing Diplomas 34 Syllabus figures 36 Reasonable Adjustments 40 Results and Certification 41 Regulation 41 General Information Dancesport examinations cover Modern Ballroom, Latin American, Sequence, Disco Freestyle, Street Dance, Rock ‘n’ Roll, Country/Western and Authentic and Emerging Dance. These dance genres provide a wide diversity in both teaching and learning in dance education. On one level they form the basis of what may sometimes be referred to as ‘social’ dancing, and there are a range of examinations that provide those learning to dance as a recreational activity the scope to develop quality within performance. At other levels students may pursue their training further through the range of examinations in order to develop the higher artistic and technical skills necessary for competition dancing, stage performance and dance teaching. The examinations offered in the Dancesport genres enable teachers in differing situations to provide a safe and structured programme for pupils of all ages and abilities.
[Show full text]
New Mexico Senior Olympics Dance Rules Revised 3-2017
New Mexico Senior Olympics Dance Rules Revised 3-2017 Playing Format 1. The following dance competition rules are adopted by the New Mexico Senior Olympic Board of Directors. Sports Coordinator will have additional theater procedures known as “house rules.” 2. Dance categories are limited to the following 6 categories: Ballroom (Ballroom Waltz, Foxtrot), Tango (American, Argentine), Latin (Cumbia, Salsa/Mambo, Cha Cha Cha, Rumba, Corrido), Swing (Jitterbug, West Coast Swing), Western (Two-Step, Country Waltz), and Miscellaneous (Night Club Two-Step, Polka). Dance consists of 15 Dances and one Line Dance event. In the Latin category, all dances will be rotated every 2 years. Dances not listed above (e.g., Bolero, Charleston, Flamenco, Hustle, Merengue, Paso Doble, Quickstep, Samba, Viennese Waltz and the like) may be competed as Group Dances in the Talent Production. The prospective dance order for competition will be given in writing to each competitor by the Sports Coordinator. However, the dance order is subject to change during the competition. Any changes will be announced by the announcer. 3. Age categories for all Dance are 50+ and 70+. Age of the youngest dance member as of December 31st of the current year will determine age division for couples/group. 4. A registration/entry form is required from each individual dance member and name of dance partner is required on form. 5 In case a partner becomes ill after registration, with a documented medical reason, a substitute may be made. See Partner/Team/Groups in Item H in General Rules 6. Practice and Sport Competition schedule times may be obtained: • on the website: www.nmseniorolympics.org • in the registration athlete booklet • at the Sports Table Info at Athlete Check In • by calling the Sports Coordinator or NMSO Practice time for Line dance groups will be by appointment only.
[Show full text]
Towards a Waltz Aesthetic
ABSTRACT Title of Document: HOW THE WALTZ HAS WON: TOWARDS A WALTZ AESTHETIC Christopher Tremewan Martin, Ph.D., 2010 Directed By: Dr. Faedra Carpenter, Department of Theatre and Performance Studies This dissertation examines the development of ballroom dancing aesthetics between 1860 and 1915, focusing on the appropriation, neutralization, and commodification of African American somatic performance by various European American agents/actors. The study suggests that the waltz, a dance form that was in decline at the beginning of the twentieth century, became a vital component of European American strategies to safely encapsulate certain elements of African American aesthetics while eliminating others. This negotiation of African American aesthetics into European American performance is presented as a part of a broader discourse concerned with the maintenance of white hegemony during this period. The work is grounded in the field theory best articulated by Pierre Bourdieu, and the critical race theories of Michal Omi and Howard Winant. From Bourdieu the work draws upon three key terms: habitus, codes of perception, and hexis. Taken together these terms provide the structure for contextualizing the choices made by dancers, dancing teachers, and social reformers who were concerned with modifying ballroom dance forms that had been influenced by African American aesthetics. Omi and Winant‘s work provide a matrix for understanding the choices of these diverse individuals and organizations as a racial project embedded in a discourse of white hegemony that, even at its most progressive, sought to maintain the hegemony of white, European American culture. HOW THE WALTZ HAS WON: TOWARDS A WALTZ AESTHETIC By Christopher Tremewan Martin Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2010 Advisory Committee: Professor Faedra Carpenter, Chair Professor Heather Nathans Professor J.
[Show full text]
Wdsf Competition Rules 2
WDSF COMPETITION RULES STATUS: WDSF AGM SHANGHAI, JUNE 2013 Status AGM Shangahi, June 2013 WDSF COMPETITION RULES 2 LIST OF CONTENTS Preamble A. General Rule A.1 (Controlling Organization) Rule A.2 (Application) Rule A.3 (Control of the Regulations) Rule A.4 Authority of the Presidium Rule A.5 (Application of these Rules) Rule A.6 (Fees for WDSF Competitions) B. Rules for Competition Production - in general Rule B.1 (Competition Types) Rule B.2 (Activity and Participation in Competitions) Rule B.3 (Amateur and Professional Competitions) Rule B.4 (Granting of Competitions) Rule B.5 (Invitations) Rule B.6 (Reimbursement of Expenses) Rule B.7 (Production) C. Rules for Chairmen and Adjudicators Rule C.1 (WDSF Chairmen and Adjudicators) Rule C.2 (WDSF Chairmen) Rule C.3 (Duties of WDSF Chairmen) Rule C.4 (WDSF Adjudicators) Rule C.5 (Duties of WDSF Adjudicators, Conflict of Interest) Rule C.6 (Dress Regulations for Chairman and Adjudicators) D. Rules for Couples Rule D.1 (Membership) Rule D.2 (Couples) Rule D.3 (Doping Control and Doping Infringements) Rule D.4 (Advertising and Competition Numbers) E. Rules for Competitions - Couples Rule E.1 (Partner) Rule E.2 (Age Restriction) Rule E.3 Music) Rule E.4 (Grades of Competitions) Rule E.5 (Choreography and Syllabus) Rule E.6 (Lifts) Rule E.7 (Prize Money) Rule E.8 (Rules for Adjudication) Rule E.9 (Health and Welfare of Athletes) Rule E.10 (Competition Dress) Status AGM Shanghai, June 2013 2 WDSF COMPETITION RULES 3 F. Rules for Competitions - Formations Rule F.1 (Number of Couples) Rule F.2 (Music, Dances) Rule F.3 (Rehearsals) Rule F.4 (Draws) Rule F.5 (International Formation Competitions) Rule F.6 (Grades of Competition) Rule F.7 (Rules for Adjudication) Rule F.8 (Lifts) Rule F.9 (Competition Dress) G.
[Show full text]
Irish Dance and Lore of Folk & Square Dancing • March 1955
m& THE MAGAZINE OF FOLK & SQUARE DA• ANCINN G I J IMARCH • \955 • 25c IRISH DANCE AND LORE OF FOLK & SQUARE DANCING • MARCH 1955 Vol. 12 Official Publication of The Folk Dance Federation of PAGE TABLE OF CONTENTS Calif., Inc. PAGE TABLE OF CONTENTS 2 Calendar of Events 10 San Francisco Festival 3 President's Message Program CHARLES E. ALEXANDER 3 Host Cities 12 Tell It to Danny 4 Irish Dance and Song 12 Fresnotes 6 The Lepruchans I 3 Siamsa Beirte ANNE ALEXANDER 6 Why Folk Dance of Ireland 14 Beginners' Party are Different—and Difficult 15 The Record Finder AM? The Mr. and Mrs. of Irish 16 In Other States HILDA SACHS Dancing 16 Let's Dance Squares 17 The Promenade The Tara Brooch I 8 Report from Southern REN BACULO Recipes of the Month California Statewide Festival 19 Sacramento Area They'll Do It Every Time I 9 Puget Soundings PEG ALLMOND HENRY L. BLOOM ROBERT H. CHEVALIER PHIL EN6 ED FERRARiO LEE KENNEDY MIRIAM LiDSTER DANNY MCDONALD ELMA McFARLAND PAUL PRITCHARD CARMEN SCHWEERS MARY SPRING DOROTHY TAMBURIN1 President, North-Wm. F. Sorensen, 94 Cas- tro St., San Francisco, UNderhill 1-5402. Recording Secretary, North— Bea Whittier, LEE KENNEDY, 146 Dolores Street, San Francisco 3435 T Street, Sacramento, Calif. President, South-Minne Anstine, 242T/2 ELMA McFARLAND, I 77'A N. Hil! Aye., Pasadena 4 Castillo, Santa Barbara, Calif. Recording Secretary, South— Dorothy Lauters, Toro Canyon road, Federation Festivals Hosts: Silverado Folk Dancers. Carpinteria, Calif. APRIL 23, SATURDAY N1SHT. Westwood Town Auditorium MARCH 12, SATURDAY 8 p.m.-12 .midnight.
[Show full text]
Polkas with Rising Cadence Gestures
NINETEENTH-CENTURY EUROPEAN AND AMERICAN POLKAS WITH RISING LINES AND CADENCE GESTURES David Neumeyer The University of Texas at AusFn (reFred) [email protected] December 2015 With the excep*on of the opening paragraphs in the introduc*on, which were drawn from earlier online essays of mine, none of the material here has been published previously. File created 27 December 2015. All original material and the compilaon copyright David Neumeyer 2004-2012. All rights reserved. Distribu*on, in whole or in part, for non-commercial purposes only. Here is a list of my other ﬁles/online essays that have been posted to Texas Scholar Works, part of TDR (Texas Digital Repository). Polkas and Polka-mazurkas, p. 2 INTRODUCTION Until the middle of the nineteenth century in Europe, music and dance were closely linked, both stylistically and socially. The ability to dance skilfully signi<ied both health and education, and the leadership of heads of state, from Elizabeth I of England to Louis XIV of France, insured that dance and its musics were well embedded in the highest levels of culture and politics. Lully gathered a variety of French regional dances and adapted them for use in opera and ballet, in the process generating the genres of dance musics that would remain stable until the late eighteenth century and that were widely adopted in other European countries. Following the model established by Louis XIV, a ball would have two parts: an opening section of couple dances (usually menuets) meant to demonstrate skill and grace, and a second section of group dances (contredanse; gavottes and gigues) in which everyone participated.
[Show full text]