New Dance Major Proposal: With this proposal, the dance program is asking for a new track in the Performing Arts major dance emphasis: Choreography and Performance and to rename the existing emphasis Dance Studies. Currently, we offer a dance major that falls short of national expectations and fails to meet all the needs for graduate studies in dance for choreography and performance.

Assessment Practice:The Dance program met over the 2010-11 school year to assess the course requirements for the dance major. We have compared our major to those at similar Liberal Arts (and Catholic Colleges) including Loyola Marymount University, Santa Clara University, Chapman University, and Marymount Manhattan College. We have also researched the dance major at some of the top dance programs in the nation including California State University Long Beach and New York University. These last two programs have a more conservatory approach; therefore we were only interested in the amount of classes and the focus of the major.

Proposal for new track in Performing Arts, Dance emphasis track: Choreography and Performance

This proposal also includes a new numbering system to make room for growth in the Performing Arts Department.

Required full credit courses: Perfa 001- Perceiving the Performing Arts, no change Perfa 80- Dance Science, change from Perfa 27, currently an experimental course, in this

proposal we are asking for to make it a permanent course. See additional materials in Appendix A.

Perfa 180, Laban Movement Analysis. A new course, that will be offered in fall 2014. Please see Appendix B for additional materials.

Perfa 181- Asian Dance, currently offered under the special topics option, Perfa 160 and required of the major. We are asking for this to be a permanent course. Please see Appendix C for additional materials.

Perfa 182- Dance History I, currently offered as Perfa 121, number change only. Perfa 183- Dance History II, currently offered as Perfa 123, number change only. Perfa 184- Dance in Performance, currently offered as Perfa 125, number change only. Perfa 185-Pedagogy/Teaching Dance, a new course. Please see Appendix D for

additional materials. Perfa 198, Senior Project, no change

Total = 9

Rationale for two new courses The current dance major requires 9 full credit courses. The number will not change, just the courses required. Students entering the professional dance world are often (out of necessity) also teachers. All other schools in our comparison require at least one course in the area of teaching dance. The model is to offer pedagogy for the K-12 curriculum. Students learn and practice the teaching of dance and study developmental levels appropriate for each age group. In an informal

study of our dance majors over the past 4 years, 14 of the 24 are teaching dance, 3 are in graduate school currently, and the others have a variety of jobs, including nursing and marketing.

Dance Science and Movement StudiesThe UEPC has recently approved our new Dance Science course. With this proposal we are asking for it to be included as a permanent course. Every school we researched requires at least one course in Anatomy and Kinesiology and some require a separate course in dance injury prevention. Our course is designed to do both. In the near future we will ask for another dance science course, Laban Movement Analysis. This course is a common prerequisite for graduate school.

Required partial credit courses:1) Choreography

Perfa 90- Choreography I, currently offered as Perfa 122 (.50) Perfa 90- Choreography I Lab, currently offered as Perfa 122 (.50) Perfa 190- Choreography II, currently offered as Perfa 122 (.50) Perfa 191- Advanced Choreography, currently offered as Perfa 122 (.25)

All choreography courses have come under Perfa 122 in the past, but we felt that the committee should see all course content, as they have never had separate catalog listings in the past. Please see Appendix D for sample syllabi and course rationale. Total =1.75

2) Performance Perfa 195- Dance Production, currently offered as Perfa 126, number change only.

Students are asked to enroll in this course 4 times, a change from 3 times. Each course is .50 credit.

Total =2.0

Total =11.75 courses that fall under the in the 9 course per year allotment.

The following courses are .25 activity courses that do not impact the 9 course per year allotment. Students do have the option of taking four full credit courses or combing partial credit courses to make a full load.

1) Technical Theatre Perfa 141 –Two sections required, Production Management for Dance and Design for

Dance. Each is .25. Total = .50

2) Dance Technique Perfa 75 and Perfa 175-Dance Company I, II, III, IV, are technique training in Modern

Dance - currently listed as Perfa 22 and 122, one additional course is required. Each course is .25 credits, 8 total. I and II are lower division, III and IV are upper division.

Perfa 76 – Intermediate Ballet- currently listed as Perfa 22 and Perfa 176- Advanced Ballet and Pointe – currently listed as Perfa 122. Each course is .25 credits, 8 total

The student is required to have two technique classes per semester. The number and level will be determined by audition. All technique classes came under either Perfa 22 or Perfa 122 in the past, but we felt the committee should see course content since courses never had their own catalog listing in the past. Please see Appendix F for sample syllabi. Total=4.0

New Dance Major Four Year Plan Language requirement completed in HS

Fall 20131. Perceiving2. Dance Science3. English #14. Core - Mathematical

.25 x 2 Technique

Spring 20141. Core - Scientific2. Seminar #13. English #24. Dance Production .50

.25 x 2 Technique

Fall 20141. Seminar 2 or TRS core 12. Choreography I and lab (.50 x 2)3. Laban Movement Analysis4. Core –American Diversity

.25 x 2 Technique

Spring 20151. Seminar 2 or TRS core 12. Chor. II (.50)/Dance Production (.50)3. Core – Common Good4. elective

. 25 x 2 Technique

Fall 20151. Seminar 3 or TRS core 22. Asian Dance 3. elective4. elective or combination of 4 .25

courses: .25 x 2 Technique, Advanced Choreography .25

Spring 20161. Seminar 3 or TRS core 22. Dance History I3. Pedagogy: Teaching Dance4. Dance Production (.50)

. 25 x 2 Technique

Fall 2016 1. Senior Project2. .25 Dance Production/.25 Lighting3. Dance History II4. Seminar 4 or elective

. 25 x 2 Technique

Spring 20151. Dance in Performance2. Dance Production (.50)5. Seminar 4 or elective3. Repertory .25 x2

. 25 x 2 Technique

Core courses covered by the Major:Artistic Understanding: Perceiving Creative Practice: severalSocial, Historical Cultural: Dance History I and IICommunity Engagement: Pedagogy: Teaching DanceGlobal Perspectives: Asian Dance

Appendix A:Perfa 80, Dance Science

Professor: Jennifer SmithOffice: LeFevre Theater 5Office Hours: by appointmentContact: 631-8216, jls12@stmarys-ca.edu

COURSE DESCRIPTION:

This course is an introduction to the principles of anatomy and kinesiology. Emphasis is placed on the structure and function of the muscular and skeletal systems. Movement analysis, conditioning principles, injury prevention and basic nutrition will also be covered.

Required texts: Clippinger, Karen. 2007. Dance Anatomy and Kinesiology. IL: Human Kinetics.

COURSE OBJECTIVES:

• To gain an understanding of the anatomy of the human body and the ability to identify parts of the human body using the language of anatomy.

• To be able to identify the bones of the skeletal system and the major muscle groups used for movement; their origin, insertion, and function.

• To provide study and activities that develop the student's ability to assess strengths, weaknesses and anatomical differences, enabling the student to safely enhance and adapt movement technique.

• To provide information that will enable the dancer lead a healthy lifestyle, make sound choices and avoid injury.

REQUIREMENTS:

• The format of the class will be lecture, class discussion, and laboratory experience.

• Reading assignments will be detailed in class.

• Students are expected to attend all classes.

• Students are expected to prepare for all lectures, quizzes, exams, and to turn in assignments on time.

• Late assignments will not be accepted.COURSE OUTLINE:

The Skeletal System

Primary tissues of the bodyBone composition, structure,and growthThe human skeletonJoint architectureBody orientation terminologyJoint movement terminologyComponents of a movement analysis

Common skeletal injuries and prevention

Principles of Conditioning

Overload, Specificity, Reversibility Aerobic vs. Anaerobic Frequency, Intensity, Time, Type

The Muscular System

Skeletal muscle structure and functionMuscle architectureTypes of muscle contractionMuscle names and actionsMuscle attachments to boneMuscular components of a movement analysis

Common muscular injuries and prevention

Nutrition

Establishing good nutritional habits Food requirements for dancers/athletes

EVALUATION:Students will complete individual and group assignments, quizzes, examinations and a final paper. Examinations and quizzes will contain questions regarding information presented in the textbook, handouts, lecture and laboratory materials. The following will be used to determine the midterm and final grade.

1.) Individual and group assignments

2.) 2 or 3 Quizzes

3.) Mid Term ExamExam Covers: Bones of Axial and Appendicular skeleton.Part One: May include - Multiple choice, matching, true/false, short answer.Part Two: Identification of body actions involving ankle, knee, hips, pelvis, spine, shoulder girdle, neck/head and arm.

4.) Exam #2Exam covers: Muscles of foot, leg, pelvis, spine, shoulder girdle, arm, and hand.Part one: May include - Multiple choice, matching, true/false, short answer.Part Two: Identification of muscles and analysis of movement involving ankle, knee, hips, pelvis, spine, shoulder girdle, neck/head and arm.

5.) Final Paper

Final paper will synthesize information learned throughout the course. In the paper students will assess their individual challenges regarding functional and structural musculoskeletal considerations, and will design of a personal fitness regime. Students will consider information included in all chapters, lectures and labs. The papers are to reflect considered application of course information to the student's own needs and future in dance or other movement activities.

GRADING SCALE:

A 95 - 100% C+ 77 - 79% D- 60 - 62%A- 90 - 94% C 73 - 76% F 00 - 59%B+ 87 - 89% C- 70 - 72%B 83 - 86% D+ 67 - 69%B- 80 - 82% D 63 - 66%

. Course Learning Outcomes:

• Identify anatomical planes and axes associated with human motion.

• Define functions of the skeletal system.

• Identify bones of the Axial and Appendicular skeleton .

• Describe the types of joints and the general structure of a Synovial joint.

• Describe common joint actions.

• Describe the general anatomy and function of skeletal muscle tissue.

• List the different types of skeletal muscle actions/contractions associated with various types

of movement.

• Identify the major skeletal muscles of the body and their actions.

• Identify exercises that strengthen and/or stretch specific muscles or muscle groups.

• Describe the basic components of a movement analysis.

• Describe concepts of fitness conditioning.

• Understand aspects of injury prevention.

Additional resources Clark, Nancy. 2008. Sports Nutrition Guidebook. 4th Ed. IL: Human Kinetics.

Fitt, Sally Sevey. 1996. Dance Kinesiology. 2nd Ed. New York: Schrimer Books.

Calais-Germain, Blandine. 1991. Anatomy of Movement. Seattle: Eastland Press.

Kapit, Wynn, Elson, Lawrence M. 2001. The Anatomy Coloring Book. 3rd Ed. Benjamin

Cummings.

APPENDIX BPerfa 180, LABAN MOVEMENT ANALYSIS

COURSE DESCRIPTION: This course is an introduction to the theoretical and experiential movement system of Laban Movement Analysis that provides a framework for observing, describing and analyzing human movement patterns and understanding non-verbal actions and communication, as developed by movement pioneer Rudolph Laban. The prerequisite for this course is Perfa 80, Dance Science.

Laban Movement Analysis (LMA) is a comprehensive and holistic system that examines the fundamental elements and layers embedded in all patterns of human movement, providing a language for movement description and inquiry. The study of LMA, including physical study of the Bartenieff Fundamentals exercises, not only increases awareness of the basic principles of human movement, but can also provide a connective framework for how we as embodied beings create and communicate knowledge.

In this class we will approach inquiry as a creative process through which our cognitive and kinesthetic abilities continually and integrally evolve. This course will provide an overview of the theory, vocabulary, movement practices, and basic notation symbols of Laban Movement Analysis within the categories of Body, Effort, Shape, and Space. Through lectures, readings, observations, experiential explorations, class discussions, group projects/presentations, individual movement practice, written assignments, and a final synthesis project students will be immersed in the perspective on human movement that the LMA system provides, and the inquiries towards which it can be applied.

Learning Outcomes:The student will

demonstrate understanding in oral, written, symbolic (motif), and kinesthetic form of basic Laban Movement Analysis (LMA) analytic theory and terminology for the main categories of Body, Effort, Shape and Space.

differentiate and integrate varied perceptions of human movement. develop awareness of and an ability to consciously interact with their own personal

movement signature, which includes preferences and predilections in terms of body level organization, spatial organization, and the qualitativecomponents of Effort and Shape.

synthesize the theoretical and experiential aspects of LMA in creative inquiry.

BASIC INSTRUCTIONAL PLAN AND METHODS:The approach to this class will include movement experiences, hands-on body contact, readings, discussion, written assignments, lecture, live and video observations, and group projects, with an emphasis on active participation and body/mind synthesis. Students are encouraged to keep a

notebook with lecture, reading, video, discussion, observation and movement notes as well as process reflections including visual images, poems, quotes or other responses.

REQUIRED TEXT:Hackney, Peggy (2002). Making connections: Total body integration through Bartenieff fundamentals. New York: Routledge.

ASSESSMENT: COURSE REQUIREMENTS AND EVALUATION

20% Attendance and Active Participation

10% Effort Observation Journal Students will create a journal of Effort qualities seen in real world experience of both pedestrian and dance movement. This journal should have a minimum of 3 examples for each effort element, and three additional examples that put 2 or more elements together. In any one moment 2 or 3 elements are usually present. In your examples seek out what you think is most important to the movement you observe. Be ready to perform 3 of your examples for the class.

20% Patterns of Total Body Connectivity Group Project In small groups students will present a chapter from Hackney’s Making Connections on a pattern of total body connectivity to the class. The presentation will not only facilitate knowledge of and about the pattern itself, but will also provide impetus to draw connections to the implications of the pattern in relationship to other patterns.

20% Personal Movement Practice Over the semester the student will develop a personal movement practice built upon LMA and the BF integrating the materials with one’s personal practice. This will be demonstrated through a written paper and class presentation.

30% Partner Observation/Coaching Students will work with partners to identify signature patterns in their own and each other’s movement, including preferences and predilections in body level organization, spatial organization and the qualitative components of Effort and Shape. In a final project that is both creative and analytic, students will provide movement challenges for their partners, along with appropriate coaching, to both fulfill and oppose signature patterns. A written and video component is required.

WEBSITES:Laban/Barteneiff Institute of Movement Studies www.limsonline.orgLanguage of Dance/Anne Hutchinson Guest www.lodc.orgMotus Humanus (movement analysis professional organization) www.motushumanus.orgDance Notation Bureau www.dancenotation.orgMoving On Center www.movingoncenter.orgIntegrated Movement Studies www.imsmovement.com

APPENDIX CPerfa 181, Asian Dance

Saint Mary’s College School of Liberal Arts

Department of Performing Arts

Asian Dance Performing Arts

PROFESSORS: Jia WuOFFICE: LeFevre Theatre 5OFFICE HOURS: by appointment only (T.TH 11:20 -12:50 pm)PHONE: (925) 631-4299CLASS HOURS: 1:10-2:40 T TH

COURSE DESCRIPTION: Classical dance is a significant symbol for the contemporary Asian nations-state and its diasporas. In this class, we will explore how the category of “classical dance” was defined in 20th and 21st century in Asia and investigate the performative value of the concept—that is, we will look into what the idea of “classical dance” does, how it is deployed, and examine the circumstances of its production and reception.  Out of the many established classical and contemporary forms, our focus will be on,wayang wong and shadow puppet in Bali and Java, Kathak and Bharatanatyam in India, Peking Opera,Yangge and Ethnic Dances in China and GAGA in Israel. We will explore the key sources upon which the dances are based; survey the histories of the forms that comprise the classical canon; and situate the revival, reconstruction, and institutionalization of classical dance as a symbol of national identity and heritage in these four nations. We will also look at “folk,” “social,” “popular,” “Bollywood,” “modern,” and “contemporary” dance as categories distinguished from—and which interrogate—classical strictures and structures.  Throughout, we will critically consider the relationship between dance, colonialism, nationalism, religion, and social history.

COURSE LEARNING OUTCOMES:

1. Dance in Bali and Java: students will be able to Identify the basic characteristics and vocabulary in classical dance Understand the key concepts and discourses involved in the study of these forms Develop an awareness of the context and politics of performing as well as viewing these

dances. Develop writing a dance paper with a critical eye, an historical context, and a feminist

perspective

Understand the connection between the various forms and how they lead to the development of a new style of dance

Recognize the relationship between the movement and music

2. Dance in India: students will be able to Identify the basic characteristics and vocabulary in Bharatanatyam and other classical

Indian dance Understand the key concepts and discourses involved in the study of these forms Develop an awareness of the context and politics of performing as well as viewing these

dances. Develop writing a dance paper with a critical eye, an historical context, and a feminist

perspective Understand the connection between the various forms and how they lead to the

development of a new style of dance Distinguish “classical”, Bollywood,” “modern,” and “contemporary” dance Recognize the relationship between the movement and music

3. Dance in China: students will be able to Identify the basic characteristics and vocabulary in Peking Opera, Yangge and other

ethnic China dances Understand the key concepts and discourses involved in the study of these forms Develop an awareness of the context and politics of performing as well as viewing these

dances. Develop writing a dance paper with a critical eye, an historical context, and a feminist

perspective Understand the connection between the various forms and how they lead to the

development of a new style of dance Distinguish “classical”, “folklore”, “modern,” and “contemporary” dance Recognize the relationship between the movement and music Distinguish major contemporary choreographers Understand the dance education system

4. Dance in Israel: students will be able to Identify the basic characteristics and vocabulary in GAGA technique Understand the key concepts and discourses involved in the study of these forms Develop an awareness of the context and politics of performing as well as viewing these

dances. Develop writing a dance paper with a critical eye, an historical context, and a feminist

perspective Understand the connection between the various forms and how they lead to the

development of a new style of dance Distinguish major contemporary choreographers Recognize the relationship between the movement and music

COURSE REQUIREMENTS:

Attendance and participation One in-class presentation Three quizzes – on Sep 22, Oct 25 and Nov 17 Essay proposal – due Week 6 One 15-page essay – due Week 14 Final paper presentation –due Week 14 and Week 15

ATTENDANCE / PARTICIPATION: 15 % You will be graded on faithful attendance and the depth of your involvement in class discussions. You have 2 free absences before your grade is lowered. If you arrive 5 minutes later than the attendance has been taken, you will be marked as lateness. 2 tardies will be marked as one absent. If you come class without a copy of the reading, you will be marked as absent. No cell phone in the class.

IN-CLASS PRESENTATION: 20%You will be responsible for making one 20-minute presentation in class on a theme related to the readings. Presentations will take place every class, starting from 2nd week.Please contextualize the reading, highlight key concepts and arguments illuminated in the text, and raise pertinent questions and/or issues for discussion. You are free to illustrate your presentation with performance materials (live or recorded), artistic exercises, visual materials (artwork, photos, video/film, performance clips), even a site visit (during section hours only)--but only if it helps to flesh out a particular concept. That is, these supplemental materials and strategies should not take up a large portion of your allotted time. You should concentrate on the reading itself and will be evaluated on how well you are able to summarize, analyze, and communicate the material in the text.

You may use the same text as a source for your final paper only if you receive approval from the instructor. Sign-up for presentations will be completed in the first week. If you decide to switch at any point, it is up to you to make the necessary arrangements and inform the instructor a week in advance.

THREE QUIZZES ON Sep 22, Oct 25 and Nov 17: 30%cannot be made-up without prior arrangements

ONE 12-15-PAGE ESSAY: 25%Asian Dance is a vast subject that can only be touched on lightly in a class such as this, therefore, each student will be asked to write a 12-15 page research essay. This essay will be graded for demonstration of critical thinking. Each essay should have a particular argument and focus on a dance style, issue, or performance discussed in class. You could also choose to write a comparative paper where you analyze a theme or concept of Asian Dance in relation to your own dance practice, or another dance style. A proposal which includes an abstract, references, and initial outline of your essay is worth an additional 5%. The proposal will be reviewed for scope and feasibility but can change as your work progresses throughout the quarter.

SYMPOSIUM PAPER PRESENTATION: 10%

The act of writing becomes less solitary when you bring your work into a public forum—and so in Week 15, we will organize a symposium where you share your work with the class. You will transform your 15-page essay into an 8-page paper suitable for a 20-minute talk (maximum time limit), and decide if/how you want to complement it with audiovisual elements, performance practices, or workshop-style audience participation. We will also include a short Q&A session after each presentation.

This culminating exercise is designed to enhance your presentation skills. It will also give you the opportunity to receive valuable feedback from classmates, discuss your research process, and give you an idea of how to refine your methods and arguments, should you wish to develop your project further. You will also get a sense of the varying approaches used by your peers and have a chance to exchange ideas with them.

Mandatory Concert dates:Sep 4th 12:00pm, Asian Art Museum, Puppet Making Demonstrations with Bapak I Made SijaSep 9th 8:00 pm, CounterPULSE Artists in Residence FACT/SF & Lenora LeeOct 2nd 3:00pm, Zellarbach, Dance Sunday Cambodia's Khmer Arts Ensemble

3 master Mandatory Workshop dates (all workshops meet in the dance studio):Sep 20th 1:10-2:40, Indonesian Mask Dance with Dr. Laurie Margot Ross Bollywood DanceLenora Lee Nov 15th1:10-2:40, Chinese Dance with Professor Jia Wu Dec 2nd 10; 30-12:00, Gaga influenced technique and improvisation with Guest Artist: Kara Davis

Mandatory viewing:October 26 –viewing an international awarded film: Farewell My Concubine 霸王别姬 in the community time at classroom or in the library by appointed

Reading: Books on reserve in the Library and all readings can be found at Gaelearn. All readings must be printed and brought to the class for discussion.

CLASS HINTS: Keep a notebook/journal of only your work in this class. Include the syllabus, all handouts,

concert and video notes/discussions, lectures, etc. Read your syllabus everyday for reading assignments, quizzes, papers, etc. Read your syllabus before class to be familiar with daily objectives. The syllabus will note a reading assignment for a particular day; read it before you come to

class. Tests and quizzes will include all class notes and reading assignments. Some material will

overlap both. Be aware that some information covered in the text may not be covered in class.

COURSE OUTLINE:

DANCE IN INDONESIA Week 1 – Week 4

Week 1 Aug. 30 - Objective: to provide a comprehensive overview of the course, review course materials, dates, expenses, guidelines on essay, and to overview of region.Discussion: What is dance? What is Classical Dance? The dance observer, what do you see? What is dance to you? What is Classical Dance to you? What is important to the performer and audience of each nation? Videos: various styles of dance we will see this semester

Reading: Robert Dayley and Clark D. Neher, Southeast Asia in the New International Era pg 99-129 I Wayan Dibbia, Balinese Dance,Drama and Music pg 1-19

Sept. 1 - Objective: to begin the study of classical dance in BaliLecture: Dance of BaliVideo: Master Piece of Bali JVC Indonesia 1

Reading Jukka O.Miettinen-Bali– Catherine Diamond, “Fire in the Banana's Belly: Bali's Female Performers Essay the Masculine Arts”, Asian Theatre Journal, Volume 25, Number 2, Fall 2008, pg. 231-271

*Sign-up for weekly presentations

Sep 4th 12:00-4:00pm Asian Art Museum in Downtown SF. Puppet Making Demonstrations with Bapak I Made Sija http://www.asianart.org/

Week 2 Sep. 6 - Objective: to continue the study of Classical Dance in Bali Videos: JVC Indonesia 1

Lecture: Dance of Bali Reading: Andrew N. Weintraub, “Contest-Ing Culture Sundanese Wayang Golek Purwa Competitions in New Order Indonesia”, Asian Theatre Journal, Vol. 18, No. 1, Special Issue on Puppetry (Spring, 2001), pg. 87-104 Sep. 8 - Objective: to continue the study of Classical Dance in Bali

Lecture: Dance of Bali Videos: JVC Indonesia 1 Reading: – Jukka O. Miettinen, Classical Dance and Theatre, pg.75- 108

*Sep 9th 8:00 pm, CounterPULSE Artists in Residence FACT/SF & Lenora Lee

Week 3 Sep 13: to start the study of Classical Dance in Java Lecture: Dance of Java

Reading: – Jukka O. Miettinen, “Cross-Dressing Across Cultures Genre and Gender in the Dances of Didik Nini Thowok”, Asia Research Institute, Working Paper Series No.108 Sep. 15 - Objective: to continue the study of Classical Dance in Java Lecture: Didik Nini Thowok Videos: various videos by Didik Nini Thowok

Week 4 Sep 20 Workshop: Mask Dance with guest scholar: Dr. Dr. Laurie Margot Ross CLASS WILL BE AT THE DANCE STUDIO Sep 22 QUIZ #1 – Dance in Indonesia Reading: Neher, Clark D, Democracy and Development in Southeast Asia, pg171- 187 (too political) Add: Phim, Tonu Samantha & Ashley Thompson. “A note on Music”, “Introduction”, “Court/classical Dance and Dance- Drama” Dance in Cambodia, pp. vii-xii, 1-14, and 33-53, New York: Oxford University Press, 1999. Judith Hamera, “An Answerability of Memory -"Saving" Khmer Classical Dance,” TDR (1988- ), Vol. 46, No. 4 (Winter, 2002), pp. 65-85 Frontline interview of Sophiline Cheam Shapiro DANCE IN CAMBODIA Week 5

Week 5 Sep 27 - Objective: overview culture, geography, history, and politics about Cambodia

Lecture: Cambodian Classical Dance Video: ROYAL BALLET OF CAMBODIA Reading: Paul Cravath , “The Ritual Origins of the Classical Dance Drama of

Cambodia”, Asian Theatre Journal, Vol. 3, No. 2 (Autumn, 1986), pp. 179-203

Sep 29 - Objective: to continue the study of Classical Dance in Cambodia Video: Reading: Indian Aesthetics: The Natyashastra Kapila Vatsyayan, “The Theory and Technique of Classical Indian Dancing,” Artibus Asiae vol. 29 no. 2/3 (1967): 229-238. Kapila Vatsyayan, Indian Classical Dance, 3rd ed. Chapter on History of Dance 　　　　 *Oct 2nd, 3:00pm Zallarbach Theater, Cambodia's Khmer Arts Ensemble

DANCE IN INDIA Week 6- Week 8

Week 6 Oct 4 - Objective: overview culture, geography, politics and eight classical dances in India

Video: JVC India 1

Odissi dance by Sujata Mohapatra Mallika Sarabhai in Heritage Dances 3 (Kuchipudi Solo) Reading: Kapila Vatsyayan, Indian Classical Dance, 3rd ed. Chapter on Kathak Pallabi Chakravorty, “Dancing into Modernity: Multiple Narratives of India’s

Kathak Dance” Dance Research Journal 38 / 1 & 2 summer / winter 2006 135 pg, 115- 136

Oct 6 – Objective: to start the study of Kathak in India Lecture: Kathak Videos: Kathak by Akram Khan JVC India 1 Kathak – Classical dance: ‘Panchavati-varrnam’ (Rama and Sita in the forest – from the Ramayana) Kathak – Classical dance: ‘Tarana’ Reading: Kapila Vatsyayan, Indian Classical Dance, 3rd ed. Chapter on

Bharatanatyam Avanthi Meduri, “Bharatanatyam: What Are You?” Asian Theatre Journal, Vol. 5, No. 1 (Spring, 1988), pp. 1-22.

*Research proposal due – To include: title; subject/thesis (basic research questions, hypothesis, topic, etc), outline of sections; bibliographic resourses.3pages

Week 7 Oct 11 - Objective: to start the study of Bharatanatyam in India Lecture: Bharatanatyam - Invention of Tradition Videos: JVC 1 Bharata Natyam – Classical dance:’A devotional dance to Shiva’ Smt. T. Balasaraswati – “Krishna Nee Begane” Srimati Radha in Jean Renoir, the River (1951) Mallika Sarabhai in Heritage Dances 4 Reading: Shakuntala Rao, “The Globalization of Bollywood: An Ethnography of Non- Elite Audiences in India” The Communication Review, 10: 57–76, 2007 Drid Williams, “In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing”, Visual Anthropology, 17: 1, pg 69 — 98 Oct 13 – Mid-term Break No Class Week 8 Oct 18 - Objective: to study Bollywood dance in India Lecture: Bollywood Dance Videos: "Dola Re Dola" in the film Devdas (2002) "EkD o Teen" in the film Tezaab (I988) Performed by Sridevi in the film Chaalbaaz (1989) Song : Ishq Kamina in movie Shakti: The Power Reading: Pallabi Chakravorty, “From Interculturalism to Historicism: Reflections on Classical Indian Dance,” Dance Research Journal, Vol. 32, No. 2 (Winter, 2000-2001), pg. 108-119

Jane Desmond, “Dancing out the Difference: Cultural Imperialism and Ruth St. Denis’s Radha of 1906,” Moving History/Dancing Cultures, eds. Ann Dils and Ann Cooper Albright. Middletown: Wesleyan University Press, 2001, pg. 256-270. Website: Akram Kham Company http://www.akramkhancompany.net

Oct 20 - Bollywood Dance Workshop with Guest Artist: Joti Singh

DANCE IN CHINA Week 9- Week 12

Week 9 Oct- 25 -Objective: to study Modern and Contemporary dance choreographed by Indian/Indian influenced choreographers: Akram Khan and Chandralekha Lecture: Contemporary/Diasporic Challenges to the Classical Videos: Ruth St Denis in the 'East Indian Nautch Dance' (1932) Ted Shawn's Cosmic Dance of Siva Chandralekha (Interview and excepts touring in UK) Akran Kham ‘IN I collaborating /performing with Academy Award- Winning actor Juliette Binoche (The English Patient) In-I Interview with Juliette Binoche and Akram Khan zero degrees - Akram Khan and Sidi Larbi Excerpt: Sheetal Gandhi's Bahu-Beti-Biwi Reading: Jenny Kwok Wah Lau, “Farewell My Concubine - History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema”, Film Quarterly, Vol. 49, No. 1 (Autumn, 1995), pp. 16-27 Min Tian, “Alienation-Effect for Whom Brecht's (Mis)interpretation of the Classical Chinese Theatre”, Asian Theater Journal, Vol. 14, No. 2 (Autumn, 1997), pp. 220-222 Oct 27 - Objective: to study Peking Opera in China Lecture: Peking Opera Video: Peking Opera Presentation by: Agy Socha Reading: Emily Wilcox, Han-Tang Zhongguo Gudianwu and the Problem of Cheesiness in Contemporary Chinese Dance: Sixty Years of Creation and Controversy

* Oct 26 Wednesday: film viewing: Farewell My Concubine 1993 霸王别姬 at the community time

Week 10 Nov 1st – - Quiz #2: Dance in Cambodia and India Objective: to study Classical Dance in China Presentation by: Sofia Milunovich Videos: Ta Ge Classical Dance Technique by Liu Yan

Bamboo Dream by Sun Yue Shan Wu Dan Qing Qian Shou Guan Yin

Nov 3rd – Mater Workshop with Contemporary Chinese- American Choreographer: Lenora Lee Reading: Ellen V. P. Gerdes, “Contemporary Yangge: The Moving History of a Chinese Folk Dance Form,” Asian Theatre Journal, Volume 25, Number 1, Spring 2008, pg.138-147* CLASS WILL BE AT THE DANCE STUDIO Week 11 Nov 8th - Objective: Chinese Folk Dance -Yangge Lecture: Chinese Folk Dance- Yangge. Presentation by: Erin Riley Reading: Colin Mackerras, “Folksongs and Dances of China's Minority Nationalities: Policy, Tradition, and Professionalization” pg 9, 17-41, Modern China, Vol. 10, No. 2 (Apr., 1984), pg. 187-226 Video: Chinese Dance Nov 10th – Objective: Ethnic Dances in China Lecture: Ethnic Dances – Tibetan dance, Mongolian dance, Korean dance, Xinxiang Dance and so on. Presentation by: Cyle Swanstrom Video: Zhongwan Wu Mini workshop: Tibetan Dance Reading: Kin-Yan Szeto, “Calligraphic Kinesthesia in the Dancescape: Lin Hwai-min's Cosmopolitical Consciousness in the Cursive Trilogy,” Dance Chronicle, 06 November 2010,pg 414-441 Andrew Kimbrough, “Jin Xing in the New China – Redefining the Mainstream: an interview,” TDR (1988- ), Vol. 48, No. 1 (Spring, 2004), pg. 106-123

DANCE IN ISRAEL Week 12- Week 13Week 12 Nov 15th - Objective: to study Chinese influenced contemporary dance in Mainland China, Taiwan and New York City Lecture: Contemporary Choreographers: Jin Xing, Lin-Hwai Min and Shen Wei Presentation by: Diamond Lewis Videos: Interview with Lin Hwai Min Cursive II by Cloud Gate Dance Company Bamboo Dream by Cloud Gate Dance Company Water Moon by Cloud Gate Dance Company Interview with Jin Xing Jin Xing Shang Hai Tango http://www.youtube.com/watch?v=xgWtC_Ytaxw Shen Wei Dance Arts

Folding Brush the Pattern Connect Transfer Re- II (Angkor Wat) Re- (Part III) new Map Websites: Cloud Gate Dance Company http://www.cloudgate.org.tw/eng/ Shen Wei Dance Arts http://www.shenweidancearts.org/ Nov 17th – Quiz # 3 Dance of China Objective to start the study of dance in Israel Lecture: Brief history of Israel Dance Reading: Dina Roginsky, “Folklore, Folklorism, and Synchronization Preserved-Created Folklore in Israel,” Journal of Folklore Research, Vol. 44, No. 1 (Jan. - Apr., 2007), pp. 41-66 Dina Roginsky, “Nationalism and ambivalence -ethnicity, gender and folklore as categories of otherness,” Patterns of Prejudice, Vol. 40, No. 3, 2006

Week 13 Nov 22th - Objective to start the study of Batsheva Dance Company and GAGA technique created by Ohad Naharin Presentation by: Tashanay Spain on article “Folklore, Folklorism, and Synchronization Preserved-Created Folklore in Israel,” Presentation by: Harmony Negrin on article “Nationalism and ambivalence -ethnicity, gender and folklore as categories of otherness,” Videos: GAGA technique and Ohad Naharin’s works

Nov. 24 - Thanksgiving

Week 14 Nov 29th Presentation Workshop Draft of final paper due. Please bring copies to exchange with your review partner. Dec 1st Class Symposium #1 - Presentation of final papers group 1

*Dec 2nd GAGA technique influenced Workshop with guest artist: Kara Davis Meeting at Arts 105 @ 10: 30-12:00pm

Week 15 TBA: Class Symposium #2 - Presentation of final papers group 2 FINAL PAPER DUE, turn in your paper in the class.

APPENDIX DPerfa 185, Pedagogy: Teaching Dance

Course ObjectiveDance Pedagogy is the study of the art and instructional methods of teaching dance. The classwill focus on teaching dance in three areas: public K - 12 education, private danceschools/studios, and higher education. We will approach this study by looking at fundamentalsof movement and how they function in teaching dance across these areas. We will look atteaching dance through the study of the structure of dance classes, aesthetics in teaching dance asan art, principles of sound physiology, and expectations for dance students of varying ages andbackgrounds. We will develop a basis for teaching dance in several forms and styles.

TextTeaching Dance as Art in Education by Brenda Pugh McCutchen.

Assignments and GradingThe course is made up of movement exercises, observation and critique, lecture/discussions, andmini-teaching experiences. You will observe and critique 5 dance classes in varying styles atvarious levels at differing locations and submit a critique, based on specific objectives, withinone week of the observation.

You will have a final project to prepare a lesson plan complete with all exercises and anexplanation of your goals and methods, including any musical accompaniment, and youwill teach a portion of this class to your peers who, along with your instructor, willcritique you.

Learning outcomes:The student will:

practice application of principles, skills and methods related tocentral concepts, tools of inquiry and structure of dance education.

recognize professional and pedagogical knowledge and skills delineated inprofessional, state and institutional standards, as shown in their development ofmeaningful learning experiences to facilitate learning for all students.

indentify ethical practices expected of professional educators, including those delineated in professional, state and institutional standards.

Create dance classes appropriate for various age levels and abilities.