Loyola Marymount University

COURSE SYLLABUS

Introduction to Choreography – Dance ___ TIME / ROOM / 3 Units

Fall 2013 ____name_______________, Faculty

Department of Theatre Arts and Dance, Dance Program Office: ___ Phone: ________________ email: ____________________

Office Hours: _________________ and by appointment

I. Course Description:

Introduction to Choreography introduces students to principles and practices of creating dance choreography as a form of human expression. Students will generate movement using imagination through improvisation and source exploration; manipulation of movement using principles of composition; creation and performance of short movement studies; and observation, critical analysis, and self-reflection in spoken and written form. Students will use an inquiry approach to creative processes providing opportunities and challenges that stretch the imagination about what they can explore, say, represent, and ask through dance. The elements of body, shape, space, and time; qualities of movement; principles of composition; and ways to modify movement phrases are the basis for the compositional studies presented, explored, and evaluated. Students will learn approaches to revision, methods of notating choreographic concepts, and methods for critical analysis of dance works using personal, aesthetic, and cultural understanding. Assignments will encourage the wellbeing of the whole person through the physical, intellectual, and affective activity of self-expression and group interaction that occurs through dance-making and building a dance-making community. Methods of learning include guided improvisations, solo and small group presentations, written assignments, performance viewings (live and video), observation, motif notation, and class discussion. Students will develop an understanding of the choreographic/creative process and its relevance to other areas of study.

Because we will focus on improvisation and invention, previous dance training is not necessary. Each student will bring his/her own history and ideas to each exercise, and in turn, make discoveries congruent with individual experience. The concepts we will discuss and explore are based on the basic elements of dance:

Body -- Body part sequencing, initiation, active or held parts. Effort -- Weight/Force (light/strong), Time (quick/sustained) including tempo, Space (direct or indirect), Flow (Bound or Free). Shape -- Still forms; rise, sink, enclose, spread, advance, retreat; Breath; spoke, arc, carve. Space -- Kinesphere, Pathway, Levels.

Beyond movement invention, we will study the concepts of compositional development, including but not limited to: theme and variation, repetition, focus, intention, staging, grouping, motif and phrase, and detail. We will also explore an elementary use of motif notation as a springboard for dance-making. Introduction to Choreography should help each student to develop awareness of body-mind through physicality, confidence, individuality, and awareness of others. Students should develop an understanding of dance as an art form, and be able to describe what they experience in a dance using ideas from our class and from their own imaginations.

If the Core curriculum is shifted from a 3-credit to 4-credit structure, the following material will be added to the course description listed above: “Important historical dance works representing key shifts in cultural attitudes about what constitutes art will be explored through video analysis, brief writing assignments, and discussion—these experiences will support choreographic assignments.”

II. Goals

As a contributing member of our classroom community you will be asked to:

• develop a practical and theoretical understanding of the use of the elements of body (shape), energy, space, and time in relation to the creation of dance composition.

• discover dance as a means of personal self expression, communication, and empowerment. • recognize and develop your individual creative voice. • work through movement improvisation as a means to develop and expand your personal movement

vocabulary. • cultivate a mutually responsive atmosphere through a willingness to collaborate with peers and

instructor. • develop an ability to analyze, discuss, and write about your own and other’s choreography using

established dance vocabulary (in relation to your own knowledge of the material) with maturity, appreciation, and respect.

• analyze (in verbal and written form) classroom exercises and improvisations, movement interactions with peers, and classroom compositions.

• develop an appreciation for dance and other art forms through the creative process. • develop an understanding of one’s own and other’s perspectives on aesthetic valuing and how these

values relate to various shifts in aesthetic approaches to art-making. • experience the powers of dance and dancing as a physical, emotional and intellectual experience.

III. Objectives

The student will:

• increase body awareness, coordination, strength, flexibility and balance. • develop ability to physicalize ideas of Body, Effort, Shape, Space, and Relationship. • experience and practice creative dance-making, posing questions, and problem solving. • develop skills in improvisation through responding spontaneously to assigned material. • generate authentic movement material. • discuss and analyze creative dance-making in our class in relation to other dance styles. • interact, share responsibility, collaborate with others, and create and nurture a sense of community. • observe, discuss, and evaluate the aesthetic principles of dance as an art form.

IV. Course Learning Outcomes

At the successful completion of the course, each student should be able to:

• analyze aesthetic components of dance composition. • interact with a group to create movement compositions. • incorporate the elements of body (shape), energy, space, and time in the creation of dance

compositions. • purposefully use improvisation as a means of movement invention. • demonstrate intention and theme in dance compositions. • compose and perform dance studies in group, duet, and solo forms. • collaborate with peers and instructor during physical, verbal, and written activities in a mature and

respectful manner. • observe, discuss, and write in English and motif notation about choreography as an art form using

established dance vocabulary. • provide constructive verbal feedback to others. • demonstrate professional, respectful behavior within an art-making community.

V. Procedure

Introduction to Choreography is an experiential class in which students will use guided improvisation to explore the elements of dance in order to create movement studies. The movement studies will be created in solo, duet, and small group forms and performed in class with feedback and evaluation provided by the instructor with additional feedback provided by peers. Written assignments in the form of journal entries in dance notation and in English and a dance video and/or dance concert report will be completed outside of class. While time will be allotted to work on movement studies during class, time outside of class will be required to satisfactorily complete all course work.

NOTE: The teaching of dance technique/choreography regularly utilizes human contact as a mode of instruction and correction. In addition to demonstration and verbal instruction, the use of judicious physical corrections may be employed. If for any reason a student is uncomfortable with the use of touch, the student must communicate with the instructor or department chair Patrick Damon Rago.

VI. Requirements

Regular attendance

• see departmental attendance policy. • each unexcused absence beyond the equivalent of one week’s worth of classes will result in the final

grade being lowered by 1/3. • you are responsible for class materials missed via communication with the instructor and/or fellow

students. • communicate with the instructor via email as early as possible regarding absences or delays. • if you are not able to participate in class due to injury or non-contagious illness, observe and take

notes in your choreography journal (see below) on the materials covered in class. Students who observe may be called upon to comment on materials being covered in class.

Promptness

Students are expected to be in the studio, properly attired, and ready to participate at the start of every class. Students will be considered tardy if arriving after attendance is taken. If arriving late, it is your responsibility to ensure the instructor has marked you present for class (see teacher at end of class to insure you are marked as present). If tardy, students must ask the instructor’s permission to join class.

Proper attire

• if a student is not attired properly, he/she will not be allowed to participate in class. • proper attire includes slim fitting dance, athletic/workout clothing which allows for full range of

motion. • no overly baggy sweatpants/shirts. • no jeans, dress clothes or skirts/dresses. • kneepads are suggested. • no excessively revealing clothing. • hair should be pulled away from the face. • no perfumes, oils, skin lotions or oil-base hair products (due to possible floor residue). • wear underwear and use deodorant. • students are encouraged to dress in layers to allow for temperature variations in the studio.

Movement studies

Throughout the semester, students will create five movement studies that incorporate the elements of Body, Effort (energy), Shape, Space, Time, and Relationship and involve solo, duet, and small group forms. Specific criteria for each study will be explained prior to each study.

Attendance at the Faculty Dance Concert/written concert report

Concert Report: every enrolled student must write and turn in a two-page, typed and spell-checked concert report based on having seen the Faculty or Student Dance Concert. The report should be double spaced in 12-point Times font. Please include your ticket stub and/or program with your concert report. The consequence of not turning in a concert report is the semester grade being lowered by 2/3 of a letter grade. The consequence of a concert report being turned in late (submission date TBD) is the semester grade being by 1/3 of a letter grade. Concert reports should be submitted in hard-copy format.

Active participation

• prepare your mind and body: center and focus internally, awaken, relax, energize your body as needed; on your own, without socializing, before class begins and during roll.

• acknowledge your place as a vital member of the classroom community through interpersonal and intrapersonal connection.

• Choreography Journal: maintain a choreography journal/notebook throughout the semester to be handed in by the last day of class. The choreography journal is a tool to document, reflect, and gain perspective on one’s progress throughout the semester, log classroom activities, exercises, and occasional writing assignments, paste or draw images relevant to assignments, brainstorm, or record any additional relevant information. Students are required to write a minimum of one entry per week in their choreography journals in addition to any in-class writing assignments. Class notes from observation days will be kept in the choreography journal. Choreography journals should be brought to every class along with a pen or pencil to facilitate in-class writing assignments and note-taking. Choreography journals must be submitted in hard copy.

• inform instructor if you are working with/through an injury. • demonstrate a willingness to volunteer. • demonstrate a willingness to ask and answer questions and participate in all class discussions. • provide peer feedback in a supportive manner. • seek individual guidance from instructor regarding progress in the course. • maintain receptivity towards forms of expression other than physical, including verbal and written

forms. • demonstrate openness to visual, verbal, and tactile contact with your classmates. • demonstrate openness to experimenting with improvisation.

Additional class policies/requirements

• all electronic devices must be turned off and put out of sight during class-time. A repeat offender may lose credit for the day's work.

VII. Evaluation

Choreographic work – Five choreographic studies (10% each) 50%

Each study is graded on the following criteria: • application of learned skills and concepts. • evidence of clear artistic intention of the study. • quality of performance including personal investment. • commitment to creative exploration and risk. • evidence of effort, time, and work both inside and outside of class. • demonstration of active participation when working with a group. Written work (10% each) 30%

• Concert Report (see above). • Choreography Journal (see above). • Final exam (a written exam evaluating student comprehension of concepts and terms used throughout

the semester).

Participation 20%

Active participation is a crucial factor to your success in this class. As a member of this classroom community, you agree to be personally invested and prepared for each class physically, mentally, and emotionally. Regular attendance is a top priority as new material is presented, practiced, and discussed at each class meeting. You agree to come to class prepared by reviewing material from previous class meetings as necessary. You are expected to contribute to the community in a positive manner and be prepared to participate, volunteer, demonstrate, provide feedback, participate fully in all written assignments, and exhibit a strong desire to learn. Students are expected to be supportive, compassionate, and understanding of themselves and others at all times.

VIII. Grading

A = The A student will demonstrate a high level of dedication to personal growth through near perfect attendance, including always being on time, properly dressed, and ready to work at the beginning of class all of the time.

The A student will actively participate every day, work diligently in class, listen to and integrate suggestions from instructor and peers, willingly approach movement improvisation with a curious yet mature outlook, experiment with new ideas and successfully incorporate classroom concepts into their choreographic studies which will be performed with clear intention and personal investment. The A student is always prepared, invested, shows confidence in his/her ability, volunteers to present work and provide feedback, and helps others when appropriate.

The A student will actively participate in all discussions, ask and answer questions intelligently, listen to the questions and comments from others, completes all assignments on time, and is a positive, supportive and compassionate member of the class community.

B = The B student will be on time, dressed, and ready to work at the beginning of class, most of the time. The B student may have 2 – 4 absences.

The B student will be actively invested and participate most days, work diligently in class, listen to and integrate suggestions from instructor and peers, willingly approach movement improvisation with a curious yet mature outlook, experiment with new ideas and successfully incorporate classroom concepts into their choreographic studies which will be performed with clear intention and personal investment. The B student is usually prepared, shows some confidence in his/her ability, volunteers to demonstrate, and helps others when appropriate.

The B student will usually participate in discussions, ask and answer questions intelligently, listen to questions and comments from others, and is a positive, supportive and compassionate member of the class community.

C = The C student is regularly late, unprepared or absent. The C student may have 2-6 absences.

The C student will participate most days, but with effort that lacks investment and desire. The C student does not work diligently in class, rather he or she continues to perform at the same level. The C student rarely listens to and integrates suggestions from instructor and peers, does not approach movement improvisation with a curious yet mature outlook, experiment with new ideas or successfully incorporate classroom concepts into their choreographic studies. The C student’s choreography lacks clear intention and personal investment.

The C student is seldom prepared, shows little confidence in his/her ability, rarely volunteers, and usually doesn’t help others.

The C student will not participate in discussions and rarely listens to the questions and comments from others.

D = The D student will demonstrate a below average level of effort in the categories listed above.

F = The F student will demonstrate a complete lack of effort in every category.

IX. One-on-One Meeting

Every student will have at least one individual meeting with the instructor during the semester. We will discuss the student’s needs, desires, and goals and will be create a strategy for meeting each stated goal.

X. Sequence of Content and Activities

(professor retains the right to reschedule activities or to modify lessons at his/her discretion, keeping in mind the course load commitment will not change, only the types of activities based on student needs.)

Activity 1—Action/Stillness, Flexion/Extension, Pathways, Efforts, Poems, writing about summer to start a dance. Partner dance exchange to complete haiku. [writing]

Activity 2—Shape: Shape forms, Shape Qualities, Breath and Shape Flow Support. Space study using stillness, action, and focus. Symbols for shape forms, Flexion/Extension, Pathways, breath, shape-flow support. Creating a living breathing form that grows and shrinks. Define this character/being. How does it locomote and live its life? What and how does it see. [character development]

Activity 3— Space: Kinesphere, Level, Directions, Travel, Superzones, Shadow Forms, Relationships, revisit flexion and extension. [psychology of space, observe kinesphere use this week]

Activity 4—Time and Rhythm, Natural Time, Irregular Rhythm, revisit Action and Stillness. Meter exercise music. Creating two phrases: one that mimics the rhythm and one that converses with or breaks the rhythm by using disaffined Effort qualities. Work with partner to form a dance. [music] Instructor will check journals this week.

Activity 5—Body: Becoming clear about initiation of body parts and Flow use. [relating to stability mobility, What in your life allows you to feel stable and what allows you to feel mobile? Making sculpture in the classroom together. Bring props that feel stable and mobile to you. Keep in mind, they must be carried back and forth to studio. Biology/cell/amoeba vs. architecture]

Activity 6—Core-distal connectivity using Gross body movement vs. gestural movements with Efforts and Shape-Flow Support: Responding to photos and artwork with line and texture. [visual art to create a mood and relationship to space] Cathedrale Engloutie by Jiri Kylian

Activity 7—Relationships: To something invisible. Chairs and benches okay today. Focus shifts, direct/indirect, no attending at all to focus [silent narratives]

Activity 8—Relationships to another person. Continue using your relationship dance from last week to build so we can share dances Friday in class. [partnerships, relating] Instructor will check journals this week.

Activity 9—Trust, touch, support. Give and take weight. What can it mean? What can we say or not say? Who and what are we together this close? [weight-sensing, who am I in relation to others and world?, sensing-feeling-action, building connections, Bring a prop to class that allows you to experience weight: an orange, a scarf, a feather, a leaf, a heavy comforter. Let us know if we can share it. We’ll deal with weight starting with these objects. Light and heavy objects.]

Activity 10—Abstracting partnerships with same partner: Trust, touch, support, you are an inanimate object or a living being, awareness, ignoring, another person’s kinesphere and what it can mean. Efforts and Shape flow support will be fun to add to this work now. [independence and dependence, connection and disconnection as a form of expression about modern culture, poems, imagery that reveals modern relationships in USA or culture you are familiar with. Bring a photo or image from magazine or newspaper to class to use and share with others.]

Activity 11—Partnerships with a trio using a fuller range of efforts—being more subtle and more extreme. Create studies using an effort score and then layer them to make a dance. Decide how you want to revise it by taking turns seeing it. Discuss after all three see and then negotiate possibilities. Try things on. Levels, shape, effort, pathway, design, facing, repetition, etc. Negotiate and revise together or take turns doing revisions alternately as you go. See what either collaborative process feels like. [cooperative leadership, collaboration]

Activity 12— Continuing with previous Activity’s trio and add Chance. Play with Kandinsky readings to supplement performance or creation. Play with traditional forms with a twist: Canon, Theme and Variation, Repetition, Motif and Variation=Rondo ABACABA, Ternary=ABA, dancing in different Key signatures from Labanotation. Dice and other forms of chance. (Standard Cross of Direction, Constant Cross of Axis, Cross of Body Axis or Body Key, Stage Direction, Room area direction) [dealing with shifting currents and maintaining some semblance of connection throughout for yourself—our ever changing society puts us here every day, what is an important issue for you lately? Math and layered numbers.]

Discuss paper assignment and observation of dance concert. IMPORTANT: Be sure to get tickets early. Reserve them by phone or pick up tickets across from the bookstore. Concert dates: __________ Write response paper that is due on ___________.

Activity 13—Work on dance to refine it and shape it to your liking. You may perform as a quartet, trio, duet, or solo now. Think about what works for you and your schedules. Larger group dances take a lot more time to organize. Share in small groups today and give and get feedback: write and hand papers to each other. Go back and embellish your dance with anything we learned earlier in the course: Body, Effort, Shape, Space, Form, Poem, Visuals, props, etc. [Bringing the dance closer to final form].

Activity 14—Dance Concert Papers are Due on Wednesday April 20th.

Continue working on dances. They should be 3 minutes long by now.

Activity 15—Workday and sharing, showing, editing, revising day on April 25th. Final showing and videotaping of dances on April 27th.

Final Examination Period—Observe dances together on video. Discuss papers. Comprehensive Journal-Based Papers are DUE today.

_________________________

FINE PRINT:

Academic Honesty: Academic dishonesty will be treated as an extremely serious matter, with serious consequences that can range from receiving no credit for assignments/tests to expulsion. It is never permissible to turn in any work that has been copied from another student or copied from a source (including Internet) without properly acknowledging the source. It is your responsibility to make sure that your work meets the standard of academic honesty set forth in the “LMU Honor Code and Process,” which appears in the LMU Bulletin 2010-2011. (See http://www.lmu.edu/about/services/registrar/Bulletin/Bulletins_in_ PDF_Format.htm.) PLEASE NOTE THAT THERE IS A ZERO TOLERANCE POLICY FOR ANY KIND OF ACADEMIC DISHONESTY. STUDENTS WILL RECEIVE THE GRADE OF “F” in the course.

Americans with Disabilities Act: Students with special needs as addressed by the Americans with Disabilities Act who need reasonable modifications, special assistance, or accommodations in this course should promptly direct their request to the Disability Support Services Office. Any student who currently has a documented disability (physical, learning, or psychological) needing academic accommodations should contact the Disability Services Office (Daum Hall Room 224, 310-338-4535) as early in the semester as possible. All discussions will remain confidential. Please visit http://www.lmu.edu/dss for additional information.

Respect for Self and Others: As an LMU Lion, by the Lion’s code, you are pledged to join the discourse of the academy with honesty of voice and integrity of scholarship and to show respect for staff, professors, and other students. Please refer to the Lion’s Code (see http://www.lmu.edu/AssetFactory.aspx?vid=30313) or to LMU’s Community Standards. (See http://www.lmu.edu/studentlife/Judicial_Affairs/Standards_ Publication.htm for the Student Conduct Code, Section IV. D.).

Email Communication: At times I will communicate with the entire class using campus email systems, so it is essential that you regularly check your lion.lmu.edu email address or forward your lion account email to your preferred email address.

This syllabus and its contents are subject to revision.

Sample Rubric for Choreographic Assignment Student Date

Assignment Personal Goals

Expert Highly skilled Growing Novice Non-participant

Expert, works well with making movement and is dedicated to a point of achieving clarity of focus and ease of forming with a high level of creativity

Highly skilled and streaming along with clear focus and forethought with eagerness to explore and create

Growing and working towards trying new things, willingness to try what is assigned, accomplishes assignment

Takes Novice attitude rather than diving in with willingness, works on assignments, fulfills assignment but would rather not take risks in this setting

Non-participant, barely gets projects done, isn’t really interested in assignment and is unwilling to risk sharing his/her creation

1. Application of learned skills and concepts

2. Evidence of clear artistic intention of the study

3. Quality of performance including personal investment

4. Commitment to creative exploration and risk

5. Evidence of effort, time, and work both inside and outside of class

6. Demonstration of active participation when working with a group