HomeMy WebLinkAboutDAN-103Bergen Community College
Division of Arts, Humanities & Wellness
Department of the Performing Arts
Course Syllabus
Modern Dance DAN-103
Date of Most Recent Syllabus Revision: ___August 19th, 2019___
Course Typically Offered: Fall ___ Spring ___ Every Semester _X__ Other _____
Syllabus last reviewed by: BCC General Education Committee ______________
Curriculum Committee ________________________
Basic Information About Course and Instructor
Semester and Year: Fall 2019
Course and Section Number: DAN-103
Meeting Times and Locations:
Instructor:
Phone:
Email:
Department Campus Location: West Hall 225 Department Campus Phone: (201) 447-7143
Departmental Secretary: Barbara Bliss Department Email: bbliss@bergen.edu
Office Hours: by appointment
Course Description
Modern Dance explores the mind and body as a creative instrument. Its history is based on
individual and authentic voices of choreographers and creative voices from the 20th Century
to the present day, including exposure to Duncan, Humphrey, Graham, Limon, Cunningham,
Ailey, Nikolais, Louis, and other contemporary vocabularies of movement. The movement lab
includes weekly technique and improvisation classes, as well as introduction to
choreography. Individual creativity and expression are encouraged. 2 labs, 1 credit
No prerequisites and/or co-requisites.
Student Learning Objectives: As a result of meeting the requirements of this course,
students will
1. Gain knowledge in various Modern Dance techniques and styles (i.e., Graham,
Horton, Limon, Ailey, Nikolais, Louis et all) in order to further develop the student’s
individual creative voice.
2. Demonstrate their acquired knowledge of and ability to utilize the unique aspects
of modern dance (i.e., tempo, movement range, time, space, shape, motion, rhythmic
structures, dynamic accents, spatial awareness, creative and authentic movement,
improvisation, choreography, and performance skills).
3. Demonstrate their acquired knowledge of and/or ability to use the specific
elements from the German School of Modern Dance, specifically the
Holm/Nikolais/Louis tradition (including the terminology, N/L’s contribution to modern
dance vocabulary and history, the fundamental movement principles inherent to N/L
technique, and related creative movement fundamentals of improvisation,
choreography, music composition, and lighting design as influenced by the N/L
tradition).
4. Gain awareness and understanding of the aesthetic, visceral, and physical benefits
derived from training in specific techniques, with emphasis on totality of movement
and aesthetics.
5. Develop and improve their individual dance technique, and improvisation,
composition, and performance skills while becoming technically fluent in the basic
modern dance vocabulary specific to the various modern dance choreographers.
6. Research a prominent modern dance choreographer and write a biographical paper.
7. Attend two (2) performances: the Ars Electronica/Nova concert held in the Ciccone
Theater (date TBA) and an off-campus performance (approved by the instructor) and
write a performance reaction/review paper in response to each.
Student Learning Outcome Assessments: In support of the above-mentioned goals, each
student will be assessed as follows
1. Through consistent attendance, active participation in class warm-up, movement
exercises, in-class discussions, and weekly dance solo assignments, students will
demonstrate their knowledge of and ability to perform the warm-up and the basic body
positions and movements/choreography learned.
2. Through active participation in class exercises and assignments, and weekly solo
presentations, students will demonstrate their understanding of and ability to perform
fundamental modern dance elements of tempo, movement range, rhythmic structures,
dynamic accents, spatial awareness, creativity in movement, and improvisational,
choreographic, and performance skills.
3. Through consistent attendance, active movement participation, reading, researching,
video viewing, participating in in-class discussions, and writing assignments, students
will demonstrate their acquired knowledge and vocabulary, and developing skills in
Modern dance.
4. Through consistent attendance, active participation in all in-class and homework
movement assignments, and viewing of peer and professional dance-work (live, online,
DVD, etc..) students will gain awareness and understanding of the aesthetic, visceral,
and physical benefits derived from Modern dance history and training.
5. Through consistent attendance and active participation in in-class studio work and
completing out-of-class movement assignments, students will develop and improve
their individual dance technique and improvisational, choreographic, and performance
skills, simultaneously building their fluency in the basic modern dance vocabulary
specific to various modern dance traditions.
6. Through a written biographical paper, students will demonstrate their research and
knowledge of a prominent modern dance choreographer and/or pioneer. Students will
be required to present and read their paper aloud to enhance public speaking and
workplace readiness skills.
7. Through verbal discussion and written submission, students will discuss their
experience attending and personal reviews of the Ars Nova/Electronica concert and the
off-campus performance.
Course Content
Modern Dance – This course is designed to introduce students to the basic principles and
vocabulary of Modern Dance pioneers, such as Duncan, Humphrey, Graham, Limon,
Cunningham, Ailey, Nikolais, Louis, and other contemporary vocabularies of movement.
Technique warm-up vocabulary is rooted in the Nikolais/Louis Technique, which includes
derivative Pilates and Yoga principles of opposition and muscular engagement. During weekly
technique classes, students will develop an understanding of the art form, technique, and the
philosophy behind this unique approach, which is rooted in abstraction. Students will explore
aspects of space, time, shape, motion, tempo, range of movement, rhythm, and dynamics as
they come to appreciate the body as an expressive instrument. They will also achieve the
physical, neuromuscular, philosophical, musical, and historical benefits that the art form
offers. Aesthetics and authentic movement vocabulary will be emphasized.
Technological Literacy
Technological literacy and/or information literacy is a key component to this course.
Students will be encouraged and required to view video clips online as well as through the
BCC Library’s Dance Data Base.
Course Texts and/or Other Study Materials
Required: No text is required for this course.
Supplemental:
Albright, Anne Cooper & Gere, David. Taken By Surprise, A Dance Improvisation Reader.
Middletown, Connecticut: Wesleyan University Press, 2003.
Blom, Lynne Anne & Chaplin, L. Tarin. The Intimate Act of Choreography. Pittsburgh,
Pennsylvania: University of Pittsburgh Press, 1982.
Franklin, Eric. Dynamic Alignment Through Imagery. Champaign, Illinois: Human Kinetics,
1996.
Haas, Jackie Greene. Dance Anatomy. Champaign, Illinois: Human Kinetics, 2010.
Hanna, Judith Lynne. To Dance Is Human, A Theory of Nonverbal Communication. Chicago and
London: The University of Chicago Press, 1987.
Humphrey, Doris. The Art of Making Dances. Princeton, New Jersey: A Dance Horizons Book
Princeton Book Company, 1987.
Kaltenbrunner, Thomas. Contact Improvisation. Oxford: Meyer & Meyer Sport, 2004.
Kassing, Gayle. History of Dance, An Interactive Arts Approach. Champaign, Illinois: Human
Kinetics, 2007.
Lihs, Harriet. Appreciating Dance 4th edition A Guide to the World’s Liveliest Art. Hightstown,
New Jersey: Princeton Book Company, 2009.
Louis, Murray. Inside Dance; Essays by Murray Louis. St. Martins Press 1st Edition. 1980.
Madson, Patricia Ryan. Improv Wisdom, Don’t Prepare, Just Show Up. New York, New York:
Bell Tower, 2005.
Morgenroth, Joyce. Dance Improvisations. Pittsburgh, Pennsylvania: University of Pittsburgh
Press, 1987.
Nachmanovitch, Stephen. Free Play, Improvisations in Life and Art. New York, New York:
Penguin Putnam, Inc., 1990.
Taylor, Jim & Taylor, Ceci. Psychology of Dance. Champaign, Illinois: Human Kinetics, 1995.
Scheff, Helene, Sprague, Marty, MrGreevy Nichols, Susan. Exploring Dance Forms and Styles,
A Guide to Concert, World, Social, and Historical Dance. Champaign, Illinois: Human
Kinetics, 2010.
Smith-Autard, Jacqueline M. Dance Composition sixth edition. London: Methuen Drama A&C
Black, 2010.
Tharp, Twyla. Twyla Tharp The Creative Habit Learn It and Use It For Life. New York, New
York: Simon & Schuster Paperbacks, 2003.
Backstage Magazine
Dance Magazine
Dance Teacher Magazine
The New York Times
Additional articles may be handed out in class by the instructor periodically.
Technological: YouTube.com, various DVDs of dance performances and documentaries
Grading Policy
The final grade in this course will be determined by a student’s overall mastery of the subject matter
as evidenced by attendance/active participation in class (including bringing in weekly articles on
dance), Ars Nova/Electronica performance reaction paper, and a biographical research paper.
Attendance/Participation 50%
Performance Reaction Paper 15%
Biography Paper 20%
Final Solo 15%
Criteria for Evaluation:
Attendance:
Attendance is mandatory! Student will be expected to arrive prepared (in proper attire and
footwear) and ready to begin at the scheduled start time of class. Student should allow time
to change for class and be in the studio or at the discussion table unplugged or preferably
with laptop. Chronic lateness and/or missed classes will negatively impact this portion of the
student’s grade and may affect overall grading. Two (2) absences will result in a one full letter
grade drop. Absences are strongly encouraged to be made up at BCC in alternate dance
disciplines, such as Ballet, Dance Improvisation, Jazz, Ballroom with the permission of those
instructors.
Class Participation/Final Solo:
Students will receive an overall grade on the quality of in-class participation and etiquette in
class. Daily attendance is mandatory and student participation is a key component to the
learning and evaluation process. Missed and makeup classes must be discussed with the
instructor. Students are required to demonstrate their learning and developing skills through
designing weekly solo dance assignments. The solo is a short movement study utilizing the
body as an instrument and space as the canvas. Each student will perform for class viewing
and critique. The final class will culminate in a showing of the final dance solos. Students are
strongly encouraged to bring laptops to class weekly for learning purposes.
Biography Paper:
Student will write a 5 page biographical research paper about a prominent modern dance
pioneer and/or choreographer. Further details will be discussed in class.
*Academic Dishonesty: Students must cite 3 different sources in a MLA formatted
bibliography. Acts of plagiarism will not be tolerated. If plagiarism is detected, a failing grade
will result.
Performance Reaction Papers:
Student will attend the Ars Nova/Electronica concert (TBA) and one off-campus dance
performance and submit a 1 page reaction paper about their experience of each
performance. Paper due dates TBA.
90-100 = A 86-89 = B+ 80-85 = B 76-79 = C+ 70 - 75 = C 65-69 = D
E =Unofficial Withdrawal W =Official Withdrawal INC=Incomplete 0–64 = F
Attendance Policy
BCC Attendance Policy:
All students are expected to attend punctually every scheduled meeting of each course
in which they are registered. Attendance and lateness policies and sanctions are to be
determined by the instructor for each section of each course. These will be established
in writing on the individual course outline. Attendance will be kept by the instructor for
administrative and counseling purposes.
Students will be evaluated on attendance and participation in class using the following
criteria: consistent attendance; evidence of out-of-class practice; completed
assignments; quality classroom participation and responses.
Bergen Community College Academic Policies
Student and Faculty Support Services
Bergen Community College is committed to academic integrity – the honest, fair, and
continuing pursuit of knowledge, free from fraud or deception. Please review the
college catalogue or student handbook for further information on this topic.
Bergen Community College has adopted an internal grievance procedure to provide for
prompt and equitable resolution of complaints alleging any action prohibited by federal
regulation implementing Section 504 of the Rehabilitation Act of 1973, as amended and
the Americans with Disabilities Act of 1990 (ADA). Please review the college catalogue
for further information on this topic.
Bergen Community College is committed to providing its students and employees with
an academic and work environment free from sexual harassment or discrimination.
Please review the policy prohibiting sexual harassment in the college catalogue.
Please review the statement on acceptable use of BCC technology in the college
catalogue.
Faculty are available to meet with students as requested and/or by appointment.
Students are encourages to seek out their faculty member for academic needs.
All students are encouraged to visit and use the BCC Library. There are electronic
references in the area of dance available to our students.
Students are encouraged to use the student support services of the college including
the Writing Center, the Tutorial Center, the Office of Specialized Services, ELRC, and the
off-campus dance studio of Art of Motion Inc.
The Distance Learning Office – for any
problems you may have accessing your
online courses
Room
C-334
201-612-5581
psimms@bergen.edu
Smarthinking Tutorial Service On Line
at:
www.bergen.edu/library/learning/tutor/smart/index.asp
The Tutoring Center Room L-
125
201-447-7908
The Writing Center Room L-
125
201-447-7908
The Online Writing Lab (OWL) On Line
at:
www.bergen.edu/owl
The Office of Specialized Services (for
Students with Disabilities)
Room
S-131
201-612-5270
The Sidney Silverman Library – Reference
Desk
Room L-
226
201-447-7436
OFF-CAMPUS:
Art of Motion Inc.
(contact Lynn Needle for more
information or further support)
17 Chestnut Street
Ridgewood, NJ 07405
201-652-5800
www.artofmotion.org
Course Outline:
Note to Students: This Course Outline and Calendar is tentative and subject to change, depending upon the progress
of the class. Also, due to the nature of progressive and integrative learning, concepts will be taught in like manner.
Modern Dance Course Outline
Week Topic/Activity Learning
Objectives
Assignments Due/ Events
1 Introduction to Course 1,2,3,4,5
2
1,2,3,4,5 Begin Weekly Assignment
Article due, solo work
3
1,2,3,4,5 article due, solo work
4
1,2,3,4,5 article due, solo work
5
1,2,3,4,5 article due, solo work
6
1,2,3,4,5 article due, solo work
7
1,2,3,4,5,7 *Ars Nova Performance Papers
DUE*
article due, solo work
8
1,2,3,4,5,6 article due, solo work
9
1,2,3,4,5 article due, solo work
10
1,2,3,4,5 *Biography Research Papers
DUE*
article due, solo work
11
1,2,3,4,5 article due, solo work
12
1,2,3,4,5 article due, solo work
13
NO CLASS
Happy Thanksgiving!
14
1,2,3,4,5 article due, solo work,
production values
15
1,2,3,4,5 solo work/rehearsal
16
1,2,3,4,5 Final Solo Presentations
Modern Dance Course Content Concepts
I. Modern Dance –a brief History/Duncan VIII. Spirals
a. Technique IX. Circles
b. Improvisation X. Quality of Motion
c. Composition XI. Movement Phrase
II. Time - Cunningham a. Soft/Hard
III. Space - Nikolais b. Slow/Fast
IV. Shape – Horton/Ailey c. Round/Angular
V. Motion - Graham XII. Choreography/Solo
Peer Critique/Review
VI. Levels – Humphrey, Weidman, Limon XIII. Review
a. High XIV. Production Values
b. Medium XV. Dress Rehearsal
c. Low XVI. Final Exam/Solo
VII. Turns Performance