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 Studies
The 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 2013
1. Perceiving
2. Dance Science
3. English #1
4. Core - Mathematical
.25 x 2 Technique
Spring 2014
1. Core - Scientific
2. Seminar #1
3. English #2
4. Dance Production .50
.25 x 2 Technique
Fall 2014
1. Seminar 2 or TRS core 1
2. Choreography I and lab (.50 x 2)
3. Laban Movement Analysis
4. Core –American Diversity
.25 x 2 Technique
Spring 2015
1. Seminar 2 or TRS core 1
2. Chor. II (.50)/Dance Production (.50)
3. Core – Common Good
4. elective
. 25 x 2 Technique
Fall 2015
1. Seminar 3 or TRS core 2
2. Asian Dance
3. elective
4. elective or combination of 4 .25 courses:
.25 x 2 Technique, Advanced
Choreography .25
Spring 2016
1. Seminar 3 or TRS core 2
2. Dance History I
3. Pedagogy: Teaching Dance
4. Dance Production (.50)
. 25 x 2 Technique
Fall 2016
1. Senior Project
2. .25 Dance Production/.25 Lighting
3. Dance History II
4. Seminar 4 or elective
. 25 x 2 Technique
Spring 2015
1. Dance in Performance
2. Dance Production (.50)
5. Seminar 4 or elective
3. Repertory .25 x2
. 25 x 2 Technique
Core courses covered by the Major:
Artistic Understanding: Perceiving
Creative Practice: several
Social, Historical Cultural: Dance History I and II
Community Engagement: Pedagogy: Teaching Dance
Global Perspectives: Asian Dance
Appendix A:
Perfa 80, Dance Science
Professor: Jennifer Smith
Office: LeFevre Theater 5
Office Hours: by appointment
Contact: 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
The Muscular System
Primary tissues of the body
Bone composition, structure,and growth
The human skeleton
Joint architecture
Body orientation terminology
Joint movement terminology
Components of a movement analysis
Common skeletal injuries and prevention
Skeletal muscle structure and function
Muscle architecture
Types of muscle contraction
Muscle names and actions
Muscle attachments to bone
Muscular components of a movement analysis
Common muscular injuries and prevention
Principles of Conditioning
Nutrition
Overload, Specificity, Reversibility
Aerobic vs. Anaerobic
Frequency, Intensity, Time, Type
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 Exam
Exam 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 #2
Exam 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
AB+
B
B.
95
90
87
83
80
-
100%
94%
89%
86%
82%
C+
C
CD+
D
77
73
70
67
63
-
79%
76%
72%
69%
66%
DF
60 - 62%
00 - 59%
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 B
Perfa 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 qualitative
components 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.org
Language of Dance/Anne Hutchinson Guest www.lodc.org
Motus Humanus (movement analysis professional organization) www.motushumanus.org
Dance Notation Bureau www.dancenotation.org
Moving On Center www.movingoncenter.org
Integrated Movement Studies www.imsmovement.com
APPENDIX C
Perfa 181, Asian Dance
Saint Mary’s College
School of Liberal Arts
Department of Performing Arts
Asian Dance
Performing Arts
PROFESSORS:
OFFICE:
OFFICE HOURS:
PHONE:
CLASS HOURS:
Jia Wu
LeFevre Theatre 5
by appointment only (T.TH 11:20 -12:50 pm)
(925) 631-4299
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
Sija
Sep 9th 8:00 pm, CounterPULSE Artists in Residence FACT/SF & Lenora Lee
Oct 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 Dance
Lenora 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 Bali
Lecture: Dance of Bali
Video: 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 AwardWinning 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
Week 12
DANCE IN ISRAEL Week 12- Week 13
Nov 15 - 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
th
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 D
Perfa 185, Pedagogy: Teaching Dance
Course Objective
Dance Pedagogy is the study of the art and instructional methods of teaching dance. The class
will focus on teaching dance in three areas: public K - 12 education, private dance
schools/studios, and higher education. We will approach this study by looking at fundamentals
of movement and how they function in teaching dance across these areas. We will look at
teaching dance through the study of the structure of dance classes, aesthetics in teaching dance as
an art, principles of sound physiology, and expectations for dance students of varying ages and
backgrounds. We will develop a basis for teaching dance in several forms and styles.
Text
Teaching Dance as Art in Education by Brenda Pugh McCutchen.
Assignments and Grading
The course is made up of movement exercises, observation and critique, lecture/discussions, and
mini-teaching experiences. You will observe and critique 5 dance classes in varying styles at
various levels at differing locations and submit a critique, based on specific objectives, within
one week of the observation.
You will have a final project to prepare a lesson plan complete with all exercises and an
explanation of your goals and methods, including any musical accompaniment, and you
will teach a portion of this class to your peers who, along with your instructor, will
critique you.
Learning outcomes:
The student will:
 practice application of principles, skills and methods related to
central concepts, tools of inquiry and structure of dance education.
 recognize professional and pedagogical knowledge and skills delineated in
professional, state and institutional standards, as shown in their development of
meaningful 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.