SMC Core Curriculum Course Proposal Form Fall 2013
Electronically submit this course form and attachments to the Chair of the CCC by
October 1. Please submit a separate proposal for each desired learning goal.
1. Name of Proposer: Jia Wu
2. Email address: jw14@stmarys-ca.edu
3. Department/Program of Proposer: Performing Arts/Dance
4. Name of Department/Program housing the course: Performing Arts
5. Name(s) of Program Director/Department Chair (if not the proposer): Cathy Davolos
6. Course Acronym, Number and Title: PERFA 181-01 Asian Dance
7. Proposal is for All Sections of the course: _____
Proposal is for instructor’s section(s) (Pathways to Knowledge only): _____
8. Course Prerequisites (if any): English 5
9. Unit Value of Course: 1
10. Mark with an X the Learning Goal for which the course is being proposed. (Please
submit a separate proposal for each desired goal.)
Pathways to Knowledge (at most one)
Artistic Understanding – Artistic Analysis only: _X___
Artistic Understanding – Creative Practice only: ____
Artistic Understanding – Both Artistic Analysis and Creative Practice: ____
Mathematical Understanding: ____
Scientific Understanding: ____
Social, Historical, Cultural Understanding: ____
Christian Foundations: ____
Theological Explorations: ____
Engaging the World (as appropriate, generally zero to two)
American Diversity: ____
Common Good: ____
Community Engagement: ____
Global Perspectives: __X__
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. Our focus will be on classical dance forms in Indonesia, Cambodia, India and
China. 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—
CCC Course Proposal Form
2013-2014
September 4th, 2013
and which interrogate—classical structures. Throughout, we will critically consider the
relationship between dance, transformation, cultural exchange, colonialism,
nationalism, religion, and social history. Readings, presentation, video-viewings, and inclass activities will cover all of the learning outcomes designated for Global Perspective
and Artistic Understanding.
Each week we focus on one or two Asian dance forms. We explore their meaning. What
is it to dance? What does dancing mean to an Asian choreographer, dancer, and
audience member? How can we use different tools to view, understand and discuss a
dance work in a global perspective? This class also helps my students find vocabulary to
talk and write about the non-verbal art form of dance.
LC#1: Students will be asked to present interpretations of historical and global causation
and change by studying classical forms such as ayang wong and shadow puppet in Bali
and Java, Kathak and Bharatanatyam in India, Peking Opera, Yangge and ethnic dances
in China in order to understand the changes, exchanged and cultural transformation of
Asian Dance. Throughout, we will critically consider the relationship between dance,
transformation, cultural exchange, gender, colonialism, nationalism, religion, social
history and other issues relevant to globalization.
Asian Dance has 1 writing assignments (12-15 pages), 3 quizzes and 2 class
presentations.
AA #1: By student presentation, video viewing, in-class discussion, quizzes and exams
(including writing as they watch dance videos). The dance research paper asks students
to address the one Asian dance form they chose. The students are required to examine
the historical context of the form, and go into much greater detail about the historical
and cultural contexts and how they unfolded during this time period. This exploration
would then explain how the dance form shaped and transformed into the style we
witness in the 21st Century.
Two in-class READING presentation:
The student is responsible for making TWO 20-minute presentations in class on a theme
related to the readings. Contextualize the reading, highlight key concepts and
arguments illuminated in the text, and raise pertinent questions and/or issues for
discussion. The student is 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.
Response to the Global Perspective Working Group:
I am proposing that Perfa 181 addresses Option 2 of the learning goal: “Students will demonstrate
an understanding of the world from a specific non-U.S. and non-Western European viewpoint.”
CCC Course Proposal Form
2013-2014
September 4th, 2013
Key topics of the course will include the following:
1. General information (Genres, aesthetics, and definition) about classical and folklore dance in
Indonesia, India, Cambodia, China and Taiwan
2. Asian traditional and modern/contemporary choreographers/companies
3. Asian traditional movements and music
4. Asian dance and dance bodies, training, and education
5. Asian dance and gender issues
6. Asian dance and post-colonial identity, democracy, and ethnicity
7. Asian dance and globalization, multicultural situation, and diasporas
8. Asian dance and new media
For example:
After reading the article: “Crossing-dressing across cultures genre ad gender in the dances of
Didid Nini Thowo (An Indonesian crossing-dress performer), following questions have been
raised by the students:
“How does Didik reconstruct performing gender? How does this differ from a Western
perspective? How can we use his techniques/ideas/terminology to eradicate negative
implications (especially from the west) of gender performance and also form newfound
awareness and an equal dynamic between genders? In many Asian cultural practices such as
these performances, we see a direct divide between sexual orientation and the performance. Just
because a male performer impersonates a female role, does not label him homosexual, but rather
a diverse artist. However, In our society this is not the case, for we often assume that a man in
drag is of same sex orientation. What about our structure of society makes us feel this way? How
does this differ to the structure of these Asian societies (in particular Javanese)?”
After reading “Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary
Chinese Dance: Sixty Year of Creation and Controversy”, following questions have been
discussed in the class.
“What are the pros and cons of having a centralized concept in dance? Does the idea of
"Chinese-ness" further promote tradition, or generalize it?
Why does there have to be only one "truly" Chinese identity dance when so much has happened
in the culture, multiple styles could be the epitome of Chinese culture and what they have
endured? ”
CCC Course Proposal Form
2013-2014
September 4th, 2013