University of Wisconsin-Whitewater
Curriculum Proposal Form #4
Change in or Deletion of an Existing Course
Type of Action (check all that apply)
Course Deletion
Course Revision
Description Change*
Title Change
Number Change
Contact Hour Change and or Credit Change
Grade Basis
Add Cross-listing
Requisite Change
Repeatability Change
Diversity Option
General Education Option
area: GP ***
Computer Requirement
Writing Requirement
Other:
* Use Form 5, if only a Description Change
*** Note:
For the Gen Ed option, the proposal should address how this course relates to specific core courses, meets the goals of General
Education in providing breadth, and incorporates scholarship in the appropriate field relating to women and gender.
Effective Term: 2103 (Summer 2010)
Current/Old Course Number:
New Course Number:
Cross-listing:
PEGNRL 209
Cross-listing:
Current/Old Course Title:
New Course Title:
AMERICAN PARTNER DANCE: Lindy, Latin, & Night Club
25-Character Abbreviation (if new title): AMERICAN PARTNER DANCE
Sponsor(s):
Denay Trykowski
Department(s):
HPERC
College(s):
Education
List all programs that are affected by this change:
If programs are listed above, will this change affect the Catalog and Advising Reports for those
programs? If so, have Form 2's been submitted for each of those programs?
(Form 2 is necessary to provide updates to the Catalog and Advising Reports)
NA
Proposal Information:
I.
Yes
They will be submitted in the future
(Procedures can be found at http://acadaff.uww.edu/Handbook/Procedures-Form4.htm)
Detailed explanation of changes (use FROM/TO format)
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II.
FROM:
TO:
Justification for action
Diversity Components:
1. Understanding that American society has been and continues to be shaped by the
interaction of diverse groups.
2. Understanding or knowledge of cultures other than one’s own.
3. Ability to reflect on one’s own perspectives and how these relate to others
who we perceive as different from ourselves.
4. Understanding of how group differences are expressed, including cultural practices
as well as differences in power or access.
5. Skill/facility/experience working with people who are different from oneself.
As the United States’ population becomes more diverse, popular social forms of dance and music associated
with the diversifying of culture become more important to understand and appreciate. Through this course,
university students will receive instruction in the African-American social dance jazz form known as Lindy Hop,
in several Latin dances with roots in the Caribbean islands and Africa, and in a newer American partner dance
that emerged from 1950’s Rock-N-Roll novelty line dancing. These unique dance forms have and continue to
shape American Social Dance. Diversity is reflected by: Swing dances from the eras of Black Segregation, the
Depression, and women’s suffrage; American Latin dances that emerged during times of the African slave
trade in the Caribbean; and a 1950’s partner dance that expresses the American slow ballad, yet borrows and
re-invents American Latin dance patterns.
This elective course will reflect diversity in the United States through American partner dance content that
enriches students culturally, socially, musically, and kinesthetically. By experiencing ethnic diversity within the
course content, students gain a better understanding of the ways in which similar and different emotions are
expressed by different cultures through music and partner dance, thus reducing prejudice and stereotypes
about cultures other than their own. Students will also learn that what they might have thought was a recent
American invention actually evolved from African slaves in both the U.S. and the Caribbean islands.
The course movement activities, lectures, discussions, and off-campus experiential assignments support a
learning environment whereby students interact with persons of different skills, career goals, gender
orientations, cultural backgrounds, ages, and economic resources. The course lead-and-follow activities
support a learning environment whereby students discover that gender roles in a traditional dance partnership
possess equal power, and are equally important.
Course justification:
1. “VIRTUAL SOCIALIZING”, such as relying on internet personal web spaces, blogs, email, text
messaging, cell phone usage, etc. for everyday human communication, has the potential to lead to
social isolation. The rapid way that people are assimilating virtual means of communication has the
potential to reduce opportunities for real social interaction. This course can serve to counterbalance
such effects. In group social dance lessons, students learn appropriate ways to touch, to look, and to
respond to other human beings in a healthy, fun environment, that promotes real social interaction
with others on a 1-to-1 basis, and in a community group scene.
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2. At a time when television and computer media are attracting large audiences to view partner dance
competitions, many students are interested in having an opportunity to get started with such dance
forms, but cannot afford the high prices charged by commercial ballroom dance studios, nor can they
fit those regular lessons into their university schedules. This course allows students to access these
dance styles.
3. The areas of partner dancing that appeal most to college-age students are those that are currently
popular in the clubs, and also made popular by the media. They include the upbeat dance genres of
SWING, LATIN, and NIGHT CLUB dances. It is to the students’ advantage to have access to these
types of lead and follow dances through an elective course that enriches them socially, musically,
culturally, and kinesthetically.
Relationship to program assessment objectives:
This course will contribute to fulfilling the following programs’ assessment objectives for the Department of
Health, Physical Education, Recreation and Coaching.
1. This course will serve the mission of the department of HPERC in preparing students for careers in
Health, Physical Education, and Recreation, and in contributing to the General Studies Program for
undergraduate students. It will serve the university community, and contribute to the health, fitness
and well-being of UW-W students.
2. The objectives of this course in the HPERC Physical Education General program will be assessed via
written evaluation instruments that include tests, reflective narratives, and student demonstrations.
The course will also be assessed with Student Evaluation questionnaires.
Budgetary impact:
Formerly a Special Workshop, this course will be offered for the first time as a New Course in Spring, 2010.
The Dept. of HPERC will adjust internally to accommodate teaching of this course.
Course description: (50 word limit)
Students enrolling in this course must register with a partner. Students practice partner dancing that evolved
from interactions of Americans with African-Americans, Afro-Cubans, and other Caribbean Cultures. American
Lindy Hop, Night Club Two Step, Cha Cha, and Mambo/Salsa dances are presented for beginners. Culturalhistorical backgrounds, musical accompaniment, gender role expectations, and partnering dance skills are
introduced through practice, readings, community outreach, lecture, and assignments.
If dual listed, list graduate level requirements for the following: NA
1. Content (e.g., What are additional presentation/project requirements?)
2. Intensity (e.g., How are the processes and standards of evaluation different for graduates and
undergraduates? )
3. Self-Directed (e.g., How are research expectations differ for graduates and undergraduates?)
Course objectives and tentative course syllabus:
Students will:
1. Gain awareness and appreciation of historical, cultural, and diversity points of view about American partner
dancing in both a social and performance context, through lecture, discussion, hands-on, community outreach,
internet assignments, and reflective written assignments.
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2. Distinguish separate and equal gender roles in the task of applying beginner-level lead or follow techniques,
connection, and style, specific to the dances practiced, from a contemporary American social dance viewpoint, for
continuous lifelong learning.
3. Increase awareness and appreciation for the aesthetics of partner dancing in a social context, and for a variety of
points of view about partner dancing and its performance.
4. Appreciate and identify musical accompaniment, rhythm, and timing specific to the dances practiced.
5. Participate in an out-of-class social dance lesson as community outreach for acquiring additional self-enrichment
and self-confidence in applying partner dance skills to cultural/social dance events, whereby students work
cooperatively with people of different ages and cultural backgrounds.
6. Practice and perform selected American rhythm partner dances at a beginning level to show acquisition of
movement skills, dance patterns, frame, posture, footwork, lead or follow responsibility, timing, and musical
interpretation, acquiring a foundation for acquiring more complex dance skills.
7. Appreciate the value of partner dance movement as a means to mental and physical health and well being.
8. View the value of partner social dance as a brand new interest, a complement to their chosen profession, a
complement to their personal lives, or as a career path in itself.
9. Practice body awareness exercises at a beginner level for dance posture & physical connection to partner.
These course goals provide breadth by supporting General Education goals # 1, 3, 5, 7, 8, and 9, as
students will:
#1:
#3:
#5:
#7:
#8:
#9:
Think critically and analytically, integrate and synthesize knowledge, and draw
conclusions from complex information.
Understand and appreciate the cultures of the U.S.A. and other countries, both
contemporary and historical: appreciate cultural diversity; and live responsibly in
an interdependent world.
Communicate effectively in written, oral, and symbolic form with an appreciation
of aesthetic and logical considerations in conveying ideas.
Appreciate the importance of the fine and performing arts.
Develop the ability to use the computer when appropriate
Understand the factors and habits that are essential for continual mental and
physical health and well being, and evaluate the information and advice offered
on these topics.
Tentative course outline:
I.
LECTURE with DISCUSSIONS
A. CULTURAL BACKROUND/HISTORY of selected vernacular, popular, regional, and fad
social dances
1.
2.
3.
II.
video illustrations, assigned viewings
instructional and lecture notes
web-based assigned readings, viewings
BASIC SKILLS
A.
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Connection concepts for partner dancing
1.
dance posture
2.
hook & wall/leverage, compression, and weight (gravity)
3.
open and closed hand & body positions, dance frames
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4.
III.
lead and/or following technique through the dance center or frame
B.
Basic dance patterns at the beginner level for each dance genre introduced
C.
Timing & phrasing of dance movements with music
D.
Ballroom dance foot positions (optional at beginner level)
E.
Latin hip motion (optional at beginner level)
F.
Stylistic differences at the beginner level for each dance genre introduced
G.
Footwork for beginners
PROGRESSIVE INSTRUCTION
A. simple to complex instruction for 3 American rhythm dance genres:
1.
2.
3.
4.
IV.
CAMPUS OUTREACH (based on availability)
A.
V.
VI.
Attendance at Irvin Young Auditorium performances related to popular or social dance and dance music or culture
as designated by instructor, only when appropriate, and when available. Written reflection paper required.
COMMUNITY OUTREACH
A.
Attendance at off-campus or out-of-class partner dance beginner lessons based on availability, proximity, as
determined by instructor. Written reflection paper required.
B.
Attendance at off-campus or out-of-class practice dances based on availability, proximity, as determined by
instructor. Written reflection paper required.
WRITTEN EVALUATIONS
A.
VII.
Night Club Two Step (simplest form)
Lindy Hop (earliest Swing form)
Cha-Cha (skills build on previous skills)
Mambo/Salsa (skills build on previous skills)
1 written test, to evaluate understandings of cultural diversity and history of dances introduced in course, and of
other course content as listed above under course objectives
SKILL EVALUATIONS (“SUCCESS CHECKS”)
A.
Authentic assessment of students by instructor as they perform dance movements in partnership
and/or
B.
VIII.
Authentic assessment of students by instructor as they perform dance movements individually.
WRITTEN ASSIGNMENTS
A.
Students will document their personal insights relating to required outside dance lessons in relation to course content
in a written paper.
B.
Students will reflect upon and document their outside-of-class required practices on log sheets.
C.
Students will reflect and document their personal insights relating to outside dance performances, when and if
assigned, in a reflection paper.
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D.
Students will reflect and document their web reading assignments and video documentaries on worksheets or
questionnaires.
Bibliography: (Key or essential references only. Normally the bibliography should be no more
than one or two pages in length.)
BOOKS:
Aparicio, Frances R. LISTENING TO SALSA: Gender, Latin Popular Music , and Puerto Rican Cultures.
Hanover and London: Wesleyan University Press/University Press of New England, 1998.
Austerlitz, Paul. MERENGUE: Dominican Music and Dominican Identity. Philadelphia, PA: Temple
University Press, 1997.
Carpentier, Alejo. MUSIC IN CUBA. Minneapolis: University of Minnesota Press, 2001.
Fernandez, Raul A. FROM AFRO-CUBAN RHYTHMS TO LATIN JAZZ: Music of the African
Diaspora. Berkley: University of California Press, 2006.
Flores, Juan. FROM BOMBA TO HIP-HOP: Puerto Rican Culture and Latino Identity. New York: Columbia
University Press, 2000.
Fuentes, Leonardo P. FACES OF SALSA: A Spoken History of the Music. Washington, D.C.: Smithsonian
Institution Press, 2003.
Haskins, Jim. THE COTTON CLUB. New York: Random House, 1977.
Manning, Frankie and Millman, Cynthia. FRANKIE MANNING: Ambassador of the Lindy Hop. Philadelphia:
Temple University Press, 2007.
Miller, Norma and Jensen, Evette. SWINGIN’ AT THE SAVOY: The Memoir of a Jazz Dancer.
Philadelphia: Temple University Press, 2001.
Morales, Ed. THE LATIN BEAT: The Rhythms and Roots of Latin Music, from Bossa Nova to Salsa
and Beyond. New York: De Capo Press, 2003.
Orovio, Helio. CUBAN MUSIC from A to Z. Durham, NC: Duke University Press, 2004.
Pacini, Deborah. BACHATA: A Social History of a Dominican Popular Music. Philadelphia, PA: Temple
University Press, 1995.
Roberts, John Storm. THE LATIN TINGE: The Impact of Latin American Music on the United States.
Oxford: Oxford University Press, USA, 1979.
Rondon, Cesar Miguel. THE BOOK OF SALSA: A Chronicle of Urban Music from the Caribbean to
NYC. University of NC Press, 2008
Rushing, Shirley, and McMillan, Patrick. BALLROOM DANCE AMERICAN STYLE: Smooth, Rhythm
and Latin. Dubuque, Iowa: Eddie Bowers, 1997.
Salazar, Max. MAMBO KINGDOM: Latin Music in New York. Schirmer Trade Books Pub., 2002.
Selmon, Simon. LET’S LINDY. Princeton, N.J.: Princeton Book Company Pub., 1994.
Stearns, Jean and Marshall. JAZZ DANCE. New York: Schirmer Books, 1979.
Sublette, Ned. CUBA AND ITS MUSIC: From the First Drums to the Mambo. Chicago: Chicago review
Press, 2004.
Wright, Judy Patterson. SOCIAL DANCE: Steps to Success. Champaign, IL: Human Kinetics, 1992.
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ONLINE RESOURCES and WEB SITES:
D2L online support of course
www.dancedancedance.com
www.frankiemanning.com
www.savoystyle.com
www.nyfolklore.org/pub/voices98/manning.html
http://en.wikipedia.org/wiki/Shim_Sham
www.centralhome.com/ballroomcountry/
www.lindyhopping.com
www.youtube.com
www.swingdanceshop.com
www.streetswing.com
www.LatinDanceDirectory.com
www.WorldSalsaFederation.com
www.SalsaWorldChampionships.com
http://swingscene.wordpress.com
VIDEO RESOURCES:
The Call of the Jitterbug
Dance Time, Vols. I, II
Ballroom Dancing for Beginners
Dancing the Music, with Frankie Manning
Savoy-style Lindy Hop, with Frankie Manning and Erin Stevens
Black Artists of the Silver Screen
Bob Rizzo’s Simply Swing
Ballroom Dancing: The International Championships
Dancing: Sex & Social Dance
Shim Sham with Frankie Manning
Jammin’ With the Greats
Buddy Schwimmer’s Night Club Two Step Instructional DVDs
Christy Lane’s Complete Guide to Latin Dancing
Lively Latin
Latin Dances
Latin Dancing
FILMS:
Strictly Ballroom
Swing Kids
Malcolm X
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Queen of the Stardust Ball
Salsa – the motion picture
Dirty Dancing
Dirty Dancing: Havana Style
Dance With Me
Take the Lead
Step Up
Mad Hot Ballroom
Hellzapoppin’
TRADE MAGAZINES:
USA Dance
NTA: National Teachers Association Newsletter
America in WWII
Latin Beat Magazine
Notes:
1. Contact the Registrar's Office (x1570) for available course numbers. A list of subject areas can be found at
http://acadaff.uww.edu/Handbook/SubjectAreas.html
2. The 15 and 25 character abbreviations may be edited for consistency and clarity.
3. Please submit electronically when approved at the college level - signature sheet to follow in hard copy.
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DIVERSITY COMPONENTS:
As the United States population becomes more diverse, with African-American and Latin-American cultures on
the rise, popular social forms of dance and music associated with the “diversifying” of culture are also more
widespread and more visible on college campuses and in rural and urban communities. Through this course,
university students will have access to instruction in the African-American social dance jazz form known as
Lindy Hop, in several Latin dances with roots in the Caribbean islands and Africa, and instruction in a newer
American partner dance evolving in the 1950’s that is replacing the Waltz as a slow dance. These dance forms
have and continue to shape American Social Dance, from the roots of Swing dance in the eras of Black
Segregation, the Depression, and women’s suffrage, from the roots of American Latin dancing in the African
slave trade of the Caribbean islands, to a more recent addition out of the 1950s, a partner dance that
expresses the American slow ballad, yet borrows and re-invents American Latin dance patterns.
This elective course will reflect diversity in the United States through American partner dance content that
enriches students culturally, socially, musically, and kinesthetically. By experiencing ethnic diversity within the
course content, students begin to understand better how similar and different emotions are expressed by
different cultures through music and partner dance, thus reducing prejudice and stereotypes about cultures
other than their own. Students will also learn that what they might have thought was a recent American
invention, Salsa dancing, actually evolved from African slavery in both the U.S. and the Caribbean islands.
Students will also become aware that there are Americanized versions of the Afro-Cuban partner dances that
arrived in the U. S. during the 1930’s and 40’s, and that when on the dance floor, racial differences had a
tendency to dissolve.
Through the off-campus experiential learning component in an opposite-gender dance environment, students
will cooperate with students and non students who are different than themselves in age, culture, ability,
physical, and social maturity. The partnering relationships reflect an equal but different power distribution
between male and female roles, with neither being less important than the other. The course movement
activities, lectures, discussions, and experiential assignments support a learning environment whereby
students interact with persons of different gifts, career goals, gender, cultures, and economic resources. The
course lead-and-follow activities support a learning culture whereby students discover that their gender roles
in a traditional dance partnership have equal power, and are equally important. The roles of “leading” and
“following”, “directing” and “responding” take on new meanings for both male and female students.
III.
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Syllabus/outline (if course Revision)
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UNIVERSITY OF WISCONSIN-WHITEWATER
Department of Health, Physical Education, Recreation and Coaching
SPRING 2010 SYLLABUS
PEGNRL 209: AMERICAN PARTNER DANCE: Lindy, Latin, & Night Club
WC 182 (dance studio) 3 CREDITS
ATTENTION: Students must register with a partner
Not for Audit or S/NC
Students enrolled in this course are responsible for having read the course syllabus. Enrollment in this
class will be construed as acceptance of the course syllabus and compliance with all of its
specifications.
INSTRUCTOR: Denay Trykowski
PHONES: 472-1505, Dept.: 1140, 5780
OFFICE: 115 Williams Center
E-MAIL: trykowsd@uww.edu
OFFICE HOURS: ___________________________________________________, and by appointment.
Please let me know if you need any special accommodations in the curriculum, instruction, or assessments of this course to
enable you to fully participate.
REQUIRED TEXT: None (readings are assigned from handouts and Internet).
OTHER REQUIRED:
Students are required to enroll with a partner for this course.
Use pencil and eraser for all work to be turned in for class, unless otherwise specified.
Students should always bring note-taking supplies to class (electronic or other).
PLEASE TURN CELL PHONES OFF IN CLASS.
DESCRIPTION & PREQUISITES:
Students enrolling in this course must register with a partner. This course is for beginners; previous dance
experience is not required. Students learn partner dancing that evolved from interactions of Americans with
African-Americans, Afro-Cubans, and other Caribbean Cultures. American Lindy Hop, Night Club Two
Step, Cha Cha, and Mambo/Salsa dances are presented. Cultural-historical backgrounds, musical
accompaniment, gender role expectations, and partnering dance skills are introduced through practice,
readings, community outreach, lecture, and assignments.
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COURSE OBJECTIVES: Students will:
10. Gain awareness and appreciation of historical, cultural, and diversity points of view
about American partner dancing in both a social and performance context, through
lecture, discussion, hands-on, community outreach, internet assignments, and
reflective written assignments.
11. Distinguish separate and equal gender roles in the task of applying beginner-level
lead or follow techniques, connection, and style specific to the dances practiced, from
a contemporary American social dance viewpoint, for continuous lifelong learning.
12. Increase awareness and appreciation for the aesthetics of partner dancing in a social
context, and for a variety of points of view about partner dancing and its
performance.
13. Appreciate and identify musical accompaniment, rhythm, and timing specific to the
dances practiced.
14. Participate in an out-of-class social dance lesson as community outreach for
acquiring additional self-enrichment and self-confidence in applying partner dance
skills to cultural/social dance events, whereby students work cooperatively with
people of different ages and cultural backgrounds.
15. Practice and perform selected American rhythm partner dances at a beginning level
to show acquisition of movement skills, dance patterns, frame, posture, footwork,
lead or follow responsibility, timing, and musical interpretation, acquiring a
foundation for acquiring more complex dance skills.
16. Appreciate the value of partner dance movement as a means to mental and physical
health and well being by engaging in all class activities and practices.
17. View the value of partner social dance as a brand new interest, a complement to their
chosen profession, a complement to their personal lives, or as a career path in itself.
18. Practice body awareness exercises at a beginner level for dance posture and physical
connection to partner, which also contribute to everyday body biomechanics,
balance, and muscular control.
P. 2
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HANDS-ON, PARTICIPATORY AND INDIVIDUALIZED ACTIVITIES:
Students will actively participate in dance activities while rotating partners for maximum learning and practice.
Activities will also include hands-on opportunities for students to experience one-on-one coaching by the
instructor. Students will be physically touching each other and touching their instructor during instruction.
Students are expected to practice skills with and without a partner outside of class for maximum benefit.
When a student is absent, s/he is responsible for catching up prior to attending class. A list of class members
“Buddy List”, will be distributed to class members only, with contact information for practice outside of class.
ATTENDANCE:
Participation in movement activity constitutes attendance, and is the most important criteria for
learning and evaluation in this course. Absences should be reserved for emergencies only. Excessive absences will negatively
affect one's grade. In a semester course meeting 2 times per week, more than 2 absences is excessive.
Medical reasons for observing without participation (sitting out) are honored, AND will receive 1/2 attendance credit, or,
students may ask to complete a class observation sheet to turn in at the end of class for full attendance credit. When absent,
the student is responsible for initiating the making up of all missed work.
Students absent for religious observances and university-sponsored activities, such as field trips, university-sanctioned
athletic events, must take the initiative to make up missed work. In order not to be penalized for absences, these students
must bring an official notice from the sponsoring faculty member or coach at least 2 weeks prior to the absence. Religious
observances must also be documented in writing to instructor, with date, time, and relationship to the service.
More than 2 late arrivals and/or early departures will be considered 1 absence. Students are responsible for maintaining
the accuracy of their attendance record. If not present during roll call, you will be marked absent. Students must
PERSONALLY inform instructor of arrival after attendance has been taken to have the absence removed and changed to
a “late”.
ATTENDANCE ASSESSMENT:
Attendance points are subtracted from final numerical score, based on 100%.
1, 2 absences/emergencies = no points deducted (-0) ( absences for religious observances and
field trips are in a “separate account”.
3, 4 absences/emergencies = 5 points deducted for each emergency ( minus 5 for each absence)
5 or more emergencies:
COURSE ASSESSMENT:
= 10 points deducted at the 5 th absence and for each additional absence
beyond. Consider withdrawing from the course.
Based on 100%, plus or minus Attendance, as follows:
48%
2 SUCCESS CHECKS: (#1=22 %; #2=26%) 2 dance demonstrations (25-45pts. each) based on
class work, performed with a randomly-selected partner from your class.
20%
WRITTEN ASSESSMENT (30 - 45pts): 1 comprehensive written test, to be announced during last
1/3 of course, based on class work, assigned video observations, and web site assigned readings.
20%
OUTREACH (20 pts): Attend minimum 1 hour professional group PARTNER dance LESSON
outside of class ( Off campus), earning up to 20 pts. May combine 2 separate ½ hour lessons.
Attending a social dance does not fulfill this requirement – you must take a group lesson.
See p. 4: OUTREACH REQUIREMENTS.
12%
DOCUMENTED PRACTICES: 3 pts. ea. At least 4 one-hour practices outside of
class with class partner.
P. 3
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OFF-CAMPUS COMMUNITY OUTREACH: ( Costs vary from FREE to EXPENSIVE )
OUTREACH
REQUIRE1 off-campus BEGINNER social dance group lesson or workshop functioning on a drop-in basis, or one-time
MENTS SEE BELOW. Lessons must be a minimum of 1 hour in length, or TWO ½-hour lessons. You may
attendance.
not join the middle of a series.
Periodically check the bulletin board for posted announcements, dance web sites, etc. YOU MUST DO YOUR OWN
SEARCHING ! You may not arrange for an instructor to teach a group from your section privately. You must
attend a public class.
SOME SUGGESTIONS: Always phone ahead the .org/.com to confirm, before attending:
*
Madison at the
Two ½-hour Beginner West Coast Swing lessons every Wed. PM in
Badger Bowl, Exit from W. Beltline on S. Rimrock Rd., to 506 E. Badger Rd.
MUST BE 21 YEARS OLD TO ATTEND. $3.00 charge includes a dance from
8PM to 10 PM., Madison West Coast Swing Club Hotline: 1-608-222-7750,
www.MadisonWestCoastSwing.org.
*
UW-Madison.
Beginner group lessons from “JUMPTOWN”, www.uwswing.com ,
*
www.jumpinjiveclub.com
Beginner group lessons from www.ccswing.com or,
*
Beginner group lessons from The Right Step dance studio, 6424
Monona Dr. , Madison,
WI. 608-221-1921, http://windancerstherightstep.com.
*
Beginner group lessons from Dance Easy Studio, 6107 Odana Rd.,
Madison,
1-800-883-8837, www.danceeasy.com.
*
Beginner group lessons from Milwaukee Rebels Swing Dance Club, www.geocities.com/milwaukeerebels. 414-4428777.
*
Beginner group dance lessons from UWMBDA, the University of WI
Madison Ballroom
Dance Association. See www.uwmbda.org.
*
Beginner group lessons from www.sociaollifedance.com, 3769 E.
Washington Ave.,
Madison, WI 53704, 608-246-0780.
*
High Point Rd, Madison,
WI. 608 833-3320.
*
Beginner group lessons from www.tempodancemadison.com, 701 N.
Beginner group lessons from www.casadidanza.com. 21415 W Greenfield Ave, New
Berlin, WI 53146, 262-446-7000, e-mail casa@rome.com, New Berlin, WI
*
swing@uwm.edu.
Beginner group lessons from
the Swing Dance Society at UW-M,
TO RECEIVE CLASS CREDIT FOR OUTREACH: WRITTEN PAPER (UP TO 20 POINTS)
Paper is graded on following instructions for CONTENT (C), FORM (F) and EDITED STANDARD WRITTEN
ENGLISH (ESWE), and is DUE no later than the 6th day after the lesson was taken. All outreach lessons must be
completed during the 5-weeks between _____and______, 2010. Partners not needed. Students may make car-pool
arrangements to outreach lessons.
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CONTENT(C): Document your experience by typing/wp a short critical evaluation/reflection of your personal
experience, to include date, time, place, instructors’ names, cost of lesson. Discuss how the lesson relates to, or does not
relate to class work, which movements you learned, & describe how you participated, your comfort level, its effect on
you.
FORM (F): Page length must have a minimum of 12 inches of text starting below the margin when you begin typing the
first paragraph. Use page wrap. Side margins no wider than 1 inch!!!!, Use Page Layout ! Double-spaced, Font = 11, or
12-point). 0 to 20 points will be given for this outreach activity, and must adhere to the above formatting, or it will be
returned as unsatisfactory, or receive partial credit.
EDITED STANDARD WRITTEN ENGLISH (ESWE): Use correct sentence structure, grammar, punctuation, spelling for
written English.
P. 4
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FINAL EXAM: There is NO written final exam; however, class will meet during the scheduled
2-hour exam period for final class work, Success Check #2. This exam class meeting counts toward
the final attendance grade. You may not miss this class.
GRADING SCALE: Based on 100 points, plus or minus attendance points.
90 to 100 = A
80 to 89 = B
70 to 79 = C
60 to 69 = D
below 60 = F
ATTIRE AND CONDUCT: PLEASE TURN CELL PHONES OFF IN CLASS Chewing gum, food, and drinks
are not permitted in this activity class; however, breath mints, throat lozenges, etc. are allowed, if absolutely
necessary. Students may get water at fountains in the hallways when needed during class, and may use the
restrooms anytime, without asking.
Appropriate footwear is expected. Shoes are required. No bare or stocking feet. Thin-soled dance shoes, bowling shoes,
jazz shoes, “oxfords”, “pumps”, dress shoes, ballroom dance shoes, some canvas tennis shoes, wrestling shoes, are acceptable.
The following footwear is NOT appropriate for this course: platform shoes, boots, stiletto heels, ballet slippers, sandals, hiking
shoes/boots, running shoes, cross-trainers, other thick-soled or stiff athletic shoes, & any shoe with a marking or scratching
sole. Ladies, heels should be no higher than 1 inch. Both men and women must be able to point their toes in their shoes.
Shoes worn for this class should not be worn outdoors, until the course is completed. APPROPRIATE SHOES ARE
REQUIRED BY _______, 2010. Carry your dance footwear with you, put it on in the studio, and remove it before
leaving.
Hats, baggy pants, and baggy trousers are not permitted. Pants must not be dragging the floor, but should reach no longer than
the middle of the heel. Pants with “baggy crotch”, be they shorts or trousers, are not permitted. Excessively baggy T-shirts are
not permitted. T-shirts, if not tucked in, must not be longer than bottom of hip line. “GRUNGE” apparel is not appropriate in
this class. Shorts and athletic apparel are permitted, if they meet the above criteria. Dress to sweat. Layering works best.
Clothing that exposes arm pits, cleavage, buttocks, navel, and stomach is inappropriate for this class. Large dangling ear rings,
finger rings, & nose rings are a safety hazard, and are not permitted.
PRACTICE! PRACTICE! PRACTICE!
WHERE? Anywhere there is an open smooth safe floor; however, the Williams Center Dance Studio has been
especially reserved for YOU to practice alone or with a partner: (schedule posted, subject to change)
Studio hours are posted as “Dance Class Practice (Trykowski,)” and are open to ALL of Denay’s students,
and are subject to change without notice. Students are expected to share the space, and bring their own audio
equipment. Studio schedule is posted on outside of classroom door, and on studio bulletin board:
OR . . . To reserve or schedule the dance studio for practice at other times, especially on the weekend, contact
the office of Recreation Sports & Facilities at 472-1544.
ACADEMIC MISCONDUCT: The University of Wisconsin-Whitewater is dedicated to a safe, supportive and non-discriminatory
learning environment. It is the responsibility of all undergraduate and graduate students to familiarize themselves with University
policies regarding Special Accommodations, Misconduct, Religious Beliefs Accommodation, Discrimination and Absence for
University Sponsored Events. (For details please refer to the Undergraduate and Graduate Timetables; the “Rights and
Responsibilities” section of the Undergraduate Bulletin; the Academic Requirements and Policies and the Facilities and Services
sections of the Graduate Bulletin; and the "Student Academic Disciplinary Procedures” [UWS chapter 14]; and the “Student
Nonacademic Disciplinary Procedures” [ UWS Chapter 17]).
P. 5
PEGNRL AMER PTNR DAN Spring 10 Syllabus
Revised 10/02
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SAMPLE LOG SHEET FOR OUTSIDE-OF-CLASS PARTNER DANCE PRACTICE
PRACTICE # 1: due during period _______ through ______, 2010 – no later than ______ . Please follow
instructions: Practice will not receive full credit if instructions are not followed.

Practice LEAD/FOLLOW partnering skills, not individual drills like foot positions, core posture exercises,
solo spinning, etc., which you can do on your own without a partner.
 Log sheets must be turned in to instructor within 3 class days of the practice, not counting weekends.
 Use pencil with eraser – no ink. (use your eraser)
 Use Edited Standard Written English. (ESWE) DO NOT write the way you speak. Please use complete
sentences and capitalize proper names and pronouns and the beginning of each sentence. Please punctuate! For
most success, document your practice ASAP when finished.
 Each practice should be no longer than 60 min. and no less than 45 min., for up to 3 pts. If a practice goes
longer than 60 minutes, it counts toward the same practice. Document it.
 You must practice with a different student from your section for each of 4 total practices. You may not
practice with different partners during the same logged practice (i.e. Switching)
 If you want to use music, bring your own with a player. Music is not required to practice.
 Don’t procrastinate practicing before a Success Check. Don’t “goof off” on practices –
but DO have fun! Stay focused.
 If you want to practice with a 2nd partner during the 2-3-week practice period, document it during that practice
period only, for optional extra-credit of up to 1 point. ( 1 time only per period)
______________________________________________________________________________
********************************************************************************************
********************
NAME: ____________________________ Circle Section: _____________________________
I practiced with student (name) _______________________ from my class on (date) _________ from (beg. time
_______AM, PM, to (end time) _______ AM, PM in the (circle) Williams Ctr. Dance Studio, or Kachel Center
Dance Studio.
Report about yourself only, not about your partner, whenever possible. Describe what went well for you and why,
and what was most challenging for you and why. Describe anything that was troublesome for you and how Denay
might clarify it for you or help you. Please self-reflect on your leading or following abilities as they develop. Also
identify which dance and dance movements or dance concepts you worked on during your practice. Continue on
the back if you need more space.
_____________________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
TOTAL MINUTES THIS PRACTICE: ________ (record total minutes here)
IS THIS AN EXTRA CREDIT PRACTICE? ( circle ) YES
NO
PEGNRL AMER PTNR DAN Spring 10 Syllabus
P.6
Revised 10/02
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PARTNER DANCE: SWING, LATIN, & CLUB
STUDENT SELF-ASSESSMENT WORKSHEET
NAME: __________________________
Due during Exam class: ________________________
DOCUMENTED PARTNER PRACTICES:
PRACTICE # 1:
Score (as fraction)
______________
PRACTICE # 2:
______________
Optional Ex. Cr. ______
PRACTICE # 3:
______________
Optional Ex. Cr. ______
PRACTICE # 4:
______________
Optional Ex. Cr. ______
Optional Ex. Cr. ______
TOTAL POINTS FOR DOCUMENTED PRACTICES: = _______ points
12
SUCCESS CHECK #1:
Score (as fraction) ______________ fraction to %, multiply by 22 %,
= _______ points
22
WRITTEN ASSESSMENT: (comprehensive test at end of semester)
Score (as fraction) ______________ fraction to %, multiply by 20 %,
= _______ points
20
OUTREACH ASSIGNMENT & WRITTEN PAPER . . . . . . . . . . . . . . . . . . . . . . . . . = _______ points
20
TOTAL POINTS EARNED: _______ points
74
ABSENCES COUNT OFF HERE . . .subtract from total points above
Absence #1 date: ____________
- 0 points
Absence #2 date: ____________
- 0 points
Absence #3 date: ____________
- 5 points
Absence #4 date: ____________
- 5 points
Absence #5 date: ____________
-10 points
Absences beyond 5: ____________ - 10 points each
Late arrivals, early departures: more than 2 count as 1 absence: ___________________
ESTIMATE: TOTAL POINTS PRIOR TO FINAL EXAM CLASS: _______
ESTIMATE: LETTER GRADE GOING IN TO SUCCESS CHK #2: ______
SUCCESS CHECK #2: (during final exam week; will not have this score in advance) = __?___ pts.
26
ESTIMATE . . . . FINAL LETTER GRADE: ______
“SELF ESTEEM COMES FROM DOING HARD THINGS WELL” . . .Susan Robison, Psychologist
P. 7
Revised 10/02
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STUDENT STATEMENT OF COMPREHENSION
(Due before or on FEBRURARY 4, 2010)
I have read, and comprehend the requirements for this course and
have been informed of proper attire, attendance requirements,
standards of behavior, outside-of-class practice, and grading methods used.
I understand that I am responsible for maintaining the accuracy of my
attendance record. When arriving after attendance has been taken
I must personally check with instructor to have my absence removed and
changed to late.
I understand that I will receive ½ participation/attendance credit for
observing class due to temporary medical infirmities. If I desire full
attendance credit for “sitting out”, I must request an observation sheet from
my instructor to complete and turn in at the end of class.
Information contained in the syllabus is subject to change over the
course of the semester. I am responsible for knowing any changes.
I understand that if I sustain any injuries while enrolled in this course,
or undergo an extended illness, that I should withdraw for medical reasons
in order to prevent further physical harm.
Use pencil to complete the following:
I would like clarification about . . . (please describe in the space below):
NAME: (print) ______________________
SIGNATURE: ______________________
COURSE TITLE: _______________________________________
DATE: ________________
Revised 10/02
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