COURSE DESCRIPTION

A survey of dances from different cultures, their histories, and their influences on contemporary dance and society. Cultural origins, significance, motivations and techniques will be explored experientially.

Credit Hours: 64 active hours. In a 16-week semester, students should expect to commit 4 hours/week to this class. This does not include time spent on homework assignments and preparations for tests.

COURSE RATIONALE

DANC 1305 will begin with an analysis of how dance may be used in different cultures around the world. Students will interpret commonalities and differences among peoples, ideas, aesthetic traditions, and cultural practices in regions of Africa, Asia, The Americas, and Polynesia. The course will include physical labs where students will learn elements of selected dance forms from community members. The course will conclude with a presentation on a dance form of interest to the student and the writing of a comparative paper.

INSTRUCTIONAL METHODOLOGY

Course delivery method is via recorded lectures, discussion boards, and self-guided movement experiences. The primary modes of learning will be lectures (recorded) by the instructor, class discussion boards, and multicultural recorded movement labs. Multicultural lab experiences will play a significant part in our class experience and students are expected to experience each movement lab via the recording. Students will also complete library/internet research for their end of semester presentations.

EXAMS AND ASSIGNMENTS    

There will be five (5) elements evaluated in class throughout the semester. The first evaluation will review a series of concepts and ideas which each student will identify and write about the significance of that image/dance/action to the correct culture. This will take the form of a quiz at the end of each module. The second evaluation will be a series of short module focused journal entries based on the student’s personal observations of ideas we explored in the lectures, readings, discussion boards, and cultural labs.  The third element included in evaluation is the students’ involvement and engagement with the course material, discussion boards, and recorded movement labs. The fourth element included in evaluation is a presentation of a cultural dance form which is a part of the students’ personal heritage, or a cultural movement form we have not addressed in class. The final element is a comparative paper. The comparative paper is a comparison between two modules, using the previous module journals as a starting point, OR the examination of one theme and how it is seen across all of the modules we explored. (See assignment for more details.)

• • Module Journal Entries 
  • Module Quizzes  
  • Personal Involvement and Interaction
  • Cultural Presentation
  • Comparative Paper (end of the semester comparison between two modules OR looking at one theme across all modules)

REQUIRED TEXTS AND MATERIALS 

The course text is World Dance Cultures by Patricia Leigh Beaman. This book is available in the ACC bookstore as both a hardcopy and an eBook. Other, non-textbook, readings will be posted in Blackboard and may be emailed upon request. See the attached Course Schedule for reading assignments. Video will be used frequently in DANC 1305 including lectures and interactive dance labs. 

COURSE SCHEDULE

DANC 1305 World Dance

Asynchronous

All readings (apart from the textbook) will be posted on Blackboard.

Week 1

Welcome! Introduction            Read:     An introduction to World Dance Cultures p. xviv

8/30                 Start Here Quiz & Student Survey Due

Week 2 & Week 3

India Module: Bharatanatyam, Kathak, Kathakali        Read Chapter 1 in Beaman text.

Contemporary Dance in Indian popular culture: Bollywood

   *Lab: Bharatanatyam

9/15                 India Module Quiz (#1) & Journal (#1) Due

Week 4 & Week 5

Africa: Fertility festivals, death ceremonies, and ancestor worship    Read Chapter 6 in Beaman text.

North Africa, Turkey, and Spain: Healing, worship, and expression    Read Chapter 7 in Beaman text.

*Lab: Flamenco

9/29                 Africa, North Africa, Turkey, and Spain Module Quiz (#2) & Journal (#2) Due

Week 6 & Week 7

Native America, the Caribbean, and South America: Resistance, spirituality, and spectacle         Read Chapter 8 in Beaman text.

Puerto Rico & Mexico               Read Ballet Folklorico reading.

*Lab: Ballet Folklorico

10/13              Americas Module Quiz (#3) & Journal (#3) Due

Week 8 & Week 9

Japanese noh, kabuki, and butoh: Entertaining samurai, merchants, and rebels                Read Chapter 4 in Beaman text.

Korean Dance               Read Korean Dance reading.

*Lab: Korean Folk Dance

10/27              Japan and Korea Module Quiz (#4) & Journal (#4) Due

Week 10 & Week 11

Cambodia and China: Dance as a political tool              Read Chapter 3 in Beaman text.

*Lab: Classical Chinese Dance

11/10              Cambodia and China Module Quiz (#5) & Journal (#5) Due

Week 12& Week 13

Bali and Java: From temple, to village, to court             Read Chapter 2 in Beaman text.

Hawai’i, Aotearoa/New Zealand, and Papua New Guinea: Guardians of culture            Read Chapter 5 in Beaman text.

   *Lab: Tinikling

11/24              Pacific Islands Module Quiz (#6) & Journal (#6) Due

Week 14 – Week 16

12/8                 Cultural Presentation Due

12/13              Final Comparative Paper Due

Module Journal Assignment

Reflections of the completed module

Your Module Journals will be a collection of your expectations for a given dance form or culture, observations about your personal experience with the dance form in lab, and reflections about your experience and how it was impacted by your expectations. A prompt (see below) will be given for each journal entry to help guide your thoughts.

Each Module Journal Entry shall be submitted the end of each module.

Module India: (9/15)

Briefly describe the movements of Bharatanatyam, Kathak, Kathakali, and Bollywood. Select one, or more, of these dance styles and describe how they are both different from and similar to dance styles with which you are familiar.

Module Spain, Turkey, North Africa: (9/29)

               If you could participate in a Zar, a Sema, or a Egugun festival, as the Egungun, which would you select? What aspects attracted you to this spiritual practice and why did you select it? What aspects of the other two forms did you find less appealing?

Module Americas: (10/13)

               Indigenous people, enslaved people, and economically disadvantaged people often have elements of their culture outlawed or appropriated by national governments. For you, which cultural dance in this module is the most striking example of celebration and/or suppression? Describe why you feel this way?

Module Japan and Korea: (10/27)

Butoh and K-pop are contemporary interpretations of traditional dance styles from their respective cultures. Do you agree or disagree with this statement?

Is it more important for a culture to preserve its art or progress its art? Use aspects of both Butoh and K-pop to illustrate your answer.

Module Cambodia and China: (11/10)

               Governments often use art as propaganda or attack artists for speaking out. How did the Cambodian government treat dancers under Communist rule? How did China treat dancers under Communist rule? How do you feel about artists speaking out or being oppressed today? Describe how a dance form you are familiar with has been used as a tool for social change?

Module Pacific Islands: (11/24)

               Dance is a very personal form of expression. Baris Gede, Legong, Calonarang, Bedhaya, and Tinikling are only performed in a group. The Sanghyang Dedari and Gisalo are always solo dances. The Hula and Haka can be performed solo or with a group. Select both a solo dance form and a group dance form and discuss what you feel are the expressive strengths and weaknesses of each. Discuss specific aspects you observed in each form to support your opinion. Would you personally feel more comfortable dancing by yourself or in a group, and why do you feel this way?

Exploring Your Personal Heritage Through Dance

Cultural Presentation

The purpose of the class presentations is to give you an opportunity to discover, explore, and share a dance form which is a part of your cultural history or a dance form from a culture we have not examined this semester. (Remember that culture is anything you consider it to be.)

1. Presentation – You will create a seven to ten-minute (7 - 10 min.) class presentation on a dance form we have not covered this semester. Record your presentation and upload the video, or link to the video, to Blackboard by Dec. 8.

Your presentation should explore the cultural significance and critically analyze your selected movement form, looking at both the historical development and current expression as seen through a physical demonstration. Explore the following points:

• How did this dance form develop historically? What country or community did it start in? Why or how did it begin (if known)?

• Who has traditionally performed this movement? Who is currently performing it (if applicable)? Single gender? Mixed? Transition from one to the other? What is the cultural significance of this dance form to the people who perform it? Are the performers themselves significant to the culture? If so, how?

• What was the social impact of this dance form? Is it used in celebration of a religious ceremony, a civil or political ceremony? Is it a form of community building or ritual of growth/passage?

• Are there or were there any significant individuals involved with the dance form? Is there a founder, major choreographer, well known performer, etc., associated with this movement form?

• What are the characteristics of this movement form? Are there significant actions, pathways, which enable you to recognize this dance form? (Example: Dancing on the tips of your toes in special pointe shoes = ballet)

• Where is it typically performed? (On a stage, outdoors, in temple, in a home, etc.) Is it performed at a certain time of year, time of day, etc.? Is the length of the dance culturally significant?

• What do people wear to perform this dance form? What is the significance or importance of the different elements of the costume (masks, makeup, jewelry, etc.)? Are women and men, old and young, higher and lower ranking, performers dressed differently? Does context matter?

• What sound, if any, accompanies the movements? Do the ‘dancers’ contribute to the accompaniment? Do the ‘musicians’ contribute to the movement? Are specific instruments or sounds or songs associated with this movement form?

• Is this dance performed in Austin, or in the central Texas area? Please share any upcoming performance dates and information. (Websites are great!)

• Are there classes available in this cultural dance form in the Austin area? Or is this a form you may only access as a part of the culture? Share any class times, locations, and cost information you can find. (Remember to be culturally sensitive.)

Use these points as a check list to make sure you have covered all elements of this cultural dance style. Please include any additional information you’d like to. For example: Why did you select this style? What makes it meaningful to you? Short videos of an interview you conducted for the presentation. Show props or costumes, or photos of you or a family member in costume or the ‘location’ of the movement style. Etc.

Remember, for example, even if the costumes are ‘not significant,’ tell us that. “Performers of this dance style wear everyday clothing. You may see people performing the ____ in jeans, shorts, a wedding dress, flip flops, boots, a Halloween costume…anything!”

I will also be looking for clear, well-paced public speaking, an organized presentation with smooth transitions and a demonstration of interest in your topic, as well as good example videos with your own verbal explanation of what we are seeing or what we should note. Not all forms will have movement videos available (traditional zār, gisalo), so in these cases include images, your own demonstration, or a full discussion on why recording the movement would be inappropriate.  

Multi-Cultural Comparative Dance Paper Assignment

A comparison of two modules OR a look at all modules through one theme

Your Multi-Cultural Comparative Dance Paper should be approximately four (4) pages in length, type-written, double-spaced, 12 pt. font, and uploaded to Blackboard by 11:59pm on Dec. 13. You may submit your paper early. Your paper may be longer than four (4) pages.

Approach this assignment as an opportunity to synthesize all your thoughts about the various concepts and cultures we have addressed in class. I am happy to read and provide feedback on drafts at any time. You are welcome to email me (jlindber@austincc.edu) any subsequent drafts and I will count them.

Option 1 - Your Multi-Cultural Comparative Dance Paper may be a comparison of two modules using your Module Journals from those modules as the starting point for comparing and contrasting the different cultural dance styles. 

• Option 1 – comparing two modules
  • Select one journal entry from the first three modules (India, Z, S, F, & NA, Americas)
  • Select one journal entry from the second three modules (Japan & Korea, Cambodia & China, Pacific Islands)
  • Compare and contrast the two selected modules
  • You will need to mention ALL the dance forms we looked at in both modules
  • You may select one idea/concept to further explore in both modules or
  • You may look at both modules with a single theme or question

OR

Option 2 - Your Multi-Cultural Comparative Dance Paper may be a look at select dances and cultures through a specified theme. You might compare and contrast how different cultures use: costumes, view the role of gender, incorporate music, etc. Include descriptions of the different dances and cultures which support and define your response.

• Option 2 – unified theme
  • Select one theme (costumes, music, gender, government, religion, etc.)
  • Write about how this one theme is seen/used/approached in several cultures we looked at (you may include cultures which were a part of the cultural presentations, including your own)
  • You may explore your theme though multiple cultures and as seen in multiple dance forms within each culture
  • You do NOT need to mention all the dance forms we explored in every culture we looked at; only those forms you see connecting to your topic

Discussion Board Prompts

Included in Interaction Evaluation for Asynchronous Participation

Note: Discussion Board activities should be completed within the identified module. There is no set due date for each Discussion Board entry, but they must be completed before Dec. 1 for full credit.

Module India A: After completing the first week readings and lectures for this module, discuss the most significant, interesting, or surprising thing you learned.

Module India B: After completing all the readings and lectures for this module, discuss the aesthetic elements of various Indian dance forms. You may compare and contrast dance movements, music, costumes, makeup, setting, or any other observable aspect of the dance or performer. Are certain elements unique to a particular practice, or are they common to more than one Indian dance form? Are certain elements purely decorative or do they carry a particular meaning or symbolism?

Module Spain, Turkey, North Africa A: After completing the first week readings and lectures for this module, discuss the most significant, interesting, or surprising thing you learned.

Module Spain, Turkey, North Africa B: After completing all readings and lectures for this module, compare two of the dances as forms of ritual practice. Rituals are intended to create a desired change or impact on the participants and/or observers. What elements of each do you consider to be the most or least important in building community faith in the effectiveness of each dance ritual?

Module Americas A: After completing the first week readings and lectures for this module, choose one of the following discussion topics:

1. Critique the response to Ghost Dance and share what you might have done to mitigate the massacre.
2. Analyze how Haitian Vodou differs from your original understanding.

Module Americas B: After completing all readings and lectures for this module, discuss how both Ballet Folklorico and Tango have been regarded by their respective national governments.

Module Japan and Korea A: After completing the first week readings and lectures for this module, discuss what you feel are the most defining elements of Noh, Kabuki, and Butoh. Create a haiku poem for one Japanese dance form (three lines, with five syllables in the first line, seven in the second, and five in the third).

Module Japan and Korea B: After completing all the readings and lectures for this module, discuss what you feel are the most defining elements of Hwagwanmu, Buchaechum, and Jangguchum. How do you see elements of these traditional Korean dances represented in contemporary K-Pop?

Module Cambodia and China A: After completing the first week readings and lectures for this module, discuss the elements of Apsara dance and your thoughts on the role of the Apsara dancers before, during, and after Communist rule in Cambodia.

Module Cambodia and China B: After completing all the readings and lectures for this module, discuss the elements of Jingju and Communist Ballet. Share your thoughts on the impact of Communist influence and propaganda on artistic expression.

Module Pacific Islands A: After completing the first week readings and lectures for this module, consider this scenario. The youth of the participants in Sanghyang Dedari is an especially important factor. While some people are concerned about how the practice might negatively impact very young children, others feel that the practice is essential for respecting and maintaining sincerely held spiritual beliefs in the community. You have been asked to evaluate that practice and to offer a recommendation for continuing, modifying, or ending that practice. In 1-2 paragraphs, explain what recommendations you would make and why.

Module Pacific Islands B: After completing all the readings and lectures for this module, choose one of the following issues to discuss:

1) Compare and contrast the Gisalo funeral rite with others that we have looked at.

2) Analyze and discuss how the Maori were able to maintain and expand their cultural customs.

Final Post:

If you could travel to any country, during any time period, where would you go, what cultural or artistic event would you observe or experience, and why?

COURSE OBJECTIVES

1. To gain a critical understanding of dance as a form of human cultural expression.   

2. To be able to identify and discuss major traditional uses of dance. 

3. To create civic and cultural awareness of the uses of dance.

4. To think critically about the uses of dance as an aesthetic tradition.

5. To present a culturally significant dance form.  

6. To practice writing about dance and its use as a cultural symbol in a clear, concise, and sophisticated manner, identifying key concepts, reasons for development, and uses of dance in various cultures.

7. To gain a greater understanding for and appreciation of world dance as a cultural art form.   

LEARNING OUTCOMES

COURSE LEVEL

Upon successful completion of this course, students will: 

1.    Evaluate and discuss the influence of culture on dance movements. 

2.    Recognize and appreciate cultural diversity through the aesthetics of movement. 

3.    Compare and contrast musical accompaniment to cultural dances. 

4.    Discuss the history and cultural relevance of world dance forms. 

5.    Apply cross-cultural analysis to the study of dance.

GENERAL ED:

Students completing this Language, Philosophy, and Culture core curriculum course will meet the following objectives: 

• Communication Skills: Develop, interpret, and express ideas and information through written, oral, and visual communication that is adapted to purpose, structure, audience, and medium.
• Critical Thinking Skills: Gather, analyze, synthesize, evaluate and apply information for the purposes of innovation, inquiry, and creative thinking.
• Personal Responsibility: Identify and apply ethical principles and practices to decision-making by connecting choices, actions and consequences
• Social Responsibility: Analyze differences and commonalities among peoples, ideas, aesthetic traditions, and cultural practices to include intercultural competence, knowledge of civic responsibility, and the ability to engage effectively in regional, national, and global communities.
• Teamwork: Consider different points of view to work collaboratively and effectively in pursuit of a shared purpose or goal.

ACC POLICIES

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ACC strives to provide exemplary support to its students and offers a broad variety of opportunities and services. Information on these campus services and resources is available at:www.austincc.edu/students. A comprehensive array of student support services is available online at: www.austincc.edu/coronavirus/remote-student-support.

Student Accessibility Services

Students with documented disabilities who need academic or other accommodations must request them through the office Student Accessibility Services (SAS). SAS offices are located at each major campus. Students are encouraged to request accommodations when they register for courses or at least three weeks before the start of the semester; otherwise, the provision of accommodations may be delayed. Students who have received approval for accommodations from SAS for this course must provide the instructor with the document titled “Notice of Approved Accommodations” from SAS before accommodations will be provided. Accommodations will not be provided retroactively. Arrangements by the instructor for academic accommodations can only be made after he or she receives the “Notice of Approved Accommodations” from the student.

Additional information about Student Accessibility Services is available at: www.austincc.edu/offices/student-accessibility-services-and-assistive-technology.

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ACC offers academic support services on all of its campuses. These services, which include online tutoring, academic coaching, and supplemental instruction, are free to enrolled ACC students. Tutors are available in a variety of subjects ranging from accounting to pharmacology. Students may receive these services on both a drop-in and referral basis. 

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Personal Support

Resources to support students are available at every campus. To learn more, ask your professor or visit the campus Support Center. All resources and services are free and confidential. Some examples include, among others:

• Food resources including community pantries and bank drives can be found here: www.centraltexasfoodbank.org/food-assistance/get-food-now

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If you are struggling with a mental health or personal crisis, call one of the following numbers to connect with resources for help. However, if you are afraid that you might hurt yourself or someone else, call 911 immediately.

Free Crisis Hotline Numbers:

• Austin/Travis County 24 hour Crisis & Suicide hotline: 512-472-HELP (4357)
• The Williamson County 24 hour Crisis hotline: 1-800-841-1255
• Bastrop County Family Crisis Center hotline: 1-888-311-7755
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• National Suicide Prevention Lifeline: 1-800-273-TALK (8255)
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• National Alliance on Mental Illness (NAMI) Helpline:1-800-950-NAMI (6264)