Faculty Syllabus

This introductory course in improvisation will investigate spontaneous problem-solving as a means of generating movement for dance composition. Students will be called upon to explore and respond to various forms of stimuli in a safe and supportive learning environment within solo and group work.

Credit Hours: 64 contact hours. In a 16-week semester, students should expect to commit 4 hours/week to this course.

This course requires that students complete the following: 

• Consistent attendance and active participation in class meetings
• Eight (8) Journal Entries
• Presentation 
• Attendance at Dance Film Night 
• Attendance at Choreographers’ Showcase 
• Contribution to Final Ensemble Score for Open House  
• Written Self Reflection

The primary methods of learning for DANC 1201 will be improvisation and choreography assignments, instructor-led warm-ups, conditioning, and body awareness exercises, and journal assignments. Students will also participate in class discussions and learn through observation of their fellow students.

The semester is divided into three units of focus: solo improvisation with an emphasis on the elements of dance, contact improvisation, and ensemble improvisation.

This is a ZTC (Zero Textbook Cost) section. In place of required textbooks, all textbook materials needed for the class will be available online to students free of charge. Students may print copies of the resources but will be responsible for printing costs.

Resources will include articles, excerpts, and chapters, which will be provided within each module on Blackboard. A curated selection of dance films and videos will also be provided within each module on Blackboard. Students will be expected to access links to YouTube, Vimeo, and other public sources.

Students are encouraged to read additional books on dance or articles in magazines and newspapers regarding dance. Good sources include The Village Voice, The New York Times, and Dance Magazine. Students should bring a notebook and pencil to each class meeting. Journal entries will be made during every class and will include notes regarding course material, personal observations, thoughts on the creative process, and tech/performance notes. 

Suggested Readings

Bogart, Anne, and Tina Landau. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. Theatre Communications Group, 2005. 

Buckwalter, Melinda. Composing While Dancing: An Improviser’s Companion. The University of Wisconsin Press, 2010. 

Burrows, Jonathan. A Choreographer’s Handbook. Routledge, 2010. 

Cooper Albright, Ann. Taken by Surprise: A Dance Improvisation Reader Wesleyan University Press, 2003. 

Johnson, Darla. The Art of Listening: Intuition & Improvisation in Choreography. TSTC Publishing, 2012. 

Lavender, Larry. Dancers Talking Dance: Critical Evaluation in the Choreography Class. Human Kinetics, 1996. 

Lerman, Liz, and John Borstel. Critical Response Process: A Method for Getting Useful Feedback on Anything You Make, From Dance to Dessert. The Dance Exchange, Inc., 2003.

Novack, Cynthia J., Sharing the Dance: Contact Improvisation and American Culture. The University of Wisconsin Press, 1990.

Olsen, Andrea, and Caryn McHose. The Place of Dance: A Somatic Guide to Dancing and Dance Making. Wesleyan University Press, 2014. 

Peeters, Jeroen. Are we here yet? Damaged Goods, Meg Stuart. le presses du réel, 2010.  

Shaw, Holly. The Creative Formula: Compose, Choreograph, and Capture Your   Masterpiece. Performers & Creators Lab, 2016. 

Vargas, Mike. “Looking at Composition Is Like Painting the Golden Gate Bridge: 86 aspects of composition.” Contact Quarterly 28.2 (2003): 28-34. Print.

Course Level Student Learning Outcomes

Upon successful completion of this course, students will:

1. Execute basic improvisational skills. 
2. Demonstrate the ability to respond spontaneously to a variety of stimuli.
3. Demonstrate an understanding of space, time, and energy through improvisational practices. 
4. Understand and generate a collaborative atmosphere.
5. Analyze, evaluate, and articulate the creative process. 

Program Level – Student learning outcomes

1. PSLO1: Students will generate movement and demonstrate an understanding of choreographic principles and composition. Assessment criteria include:

a.    Clearly defined choreographic intent

b.    Unique movement language

c.    Clearly defined compositional structure

d.    Effectiveness in rehearsal process

e.    Professionalism

1. PSLO4: Students will demonstrate, through speaking and/or writing, the ability to clearly articulate aesthetic concerns in dance, including analysis of choreography. Assessment criteria include:

a.    Observations: Communication of relevant and thorough observations

b.    Analysis: Descriptive analysis of choreography

c.    Evaluation: Clear articulation of aesthetic values

Grading Breakdown

Grading Scale

• Tuesday, August 25 - First class
• Sunday, September 6 - Journal 1 due 
• Thursday, September 10 - Dance Student Module in class
• Sunday, September 13 - Journal 2 due 
• Sunday, September 20 - Journal 3 due 
• Sunday, September 27 - Journal 4 due 
• Tuesday, October 6 - Presentations 
• Sunday, October 11 Journal 5 due 
• Sunday, October 18 - Journal 6 due 
• Sunday, October 25 - Journal 7 due 
• Sunday, November 1 - Journal 8 due 
• Thursday, November 12, 6:00 pm - Dance Film Night 
• Thursday, November 26 - Thanksgiving, campus closed
• December 4 or 5, 7:30 show - Choreographers’ Showcase 
• December 7 (5:45 pm warm-up, 7 pm show) - Open House 
• Tuesday, December 8 -  Written Self-Reflection due in Blackboard 
• Tuesday, December 8 - Last class

Approach

Students are expected to approach this course with sincere, sustained, and dedicated participation and self-motivation in all assignments and activities. Students are also expected to have openness to feedback, risk-taking, and personal growth, along with respect for fellow classmates. 

Dress Code

Students are expected to wear form-fitting, exercise-style clothing that enables a full range of movement. This allows freedom in movement exploration. Students must also wear socks or be barefoot. Hair must be back and out of the face. Please remove any dangling jewelry. 

Attendance Policy

Attendance and Participation will weigh the most on a student’s overall class grade and will be determined by the following, totaling 2.5 points per class meeting: 

1. Attendance (up to 1 point)  
   1. Arrive on time 
   2. Stay until the end
2. Participation (up to 1.5 points)
   1. Dance fully - Push the edge of your personal physicality while listening to and voicing your bodily needs so as to not cause injury 
   2. Demonstrate individual comprehension and improvement of movement  
   3. Engage in the learning process through listening, following instructions, and asking questions 
   4. Bring a supportive attitude to class 
   5. Work with others respectfully 

All students will receive an exempt grade for their first missed class. After that, each missed class will receive a 0 as daily attendance. 

Statement on Touch 

Learning and growth thrive in an environment where we feel supported. Support in this course is a joint responsibility of us all. Please show respect and care for yourself, the community, and the environment. There are moments in the course where we will utilize light touch for alignment and technical purposes. As a class, we will practice asking consent prior to utilizing any form of touch. Share your boundaries and whenever needed, stop any activity about which you have concerns. You have the right to refuse the use of touch.

In addition, please communicate any injury, discomfort, disability or area of caution at any time throughout the course so we can adapt experiential learning experiences to support your wellness rather than undermine it.

Late Work Policy - Assignments in Blackboard 

Assignments are due at the posted deadline. Work submitted after the deadline will receive reduced credit: 1 point (1%) per day late. 

If a personal, medical, or family issue arises, please communicate with me as possible and we can work together to set a reasonable deadline extension.

ACC Dance faculty have designed dancer health and safety, facilities, and “useful info” modules, which are mandatory for dance students. Each module is tied to a course. Module completion is counted toward the final course grade. 

Modules are tied to courses as follows:

• Module 1 Musculoskeletal Awareness is required in all Modern sections (DANC-1245/2245)
• Module 2 Injury Prevention & Management is required in Improvisation (DANC-1201)
• Module 3 Nutrition for Dancers is required in all Ballet sections (DANC-1241/2241)
• Module 4 ACC Facilities/Equip/Tech/Licensure is required in Choreography (DANC-1301)
• Module 5 Technique Level Placement is required in all Jazz sections (DANC-1247/2247)

Please note that after completing a module with a grade of 70% or better, students are not required to repeat a module, even if they repeat a course. Also, students are able to work ahead and complete the modules before registering for the corresponding class.

To access the Dance Student Modules, please follow the steps below:

• Enroll by opening Google Classroom (classroom.google.com). Make sure you are logged into your ACC student account. Join the class using Class Code: 5x6sgbt.
• Once you’re in the class, navigate to the “Classwork” tab, and choose the Module assigned to you by your instructor. The modules do not need to be completed in numeric order.
• Read the directions and progress through the module materials and then complete the quiz and / or assessment. You can print materials or have them open in another window for reference while completing quizzes. 
• Upon completion, please submit the Student Feedback Form found below. This will allow us to continue to improve the Modules and better support students!

IMPORTANT: The information provided in this course is intended to give you knowledge about how to keep yourself healthy and productive during your studies with the ACC Dance Department. Should you receive guidance from a medical care provider that conflicts with any information provided here, you should follow the advice of your medical care provider.

Please see the link here

• Introduction: In this course, the use of generative AI (GAI) technologies is strictly prohibited to preserve academic integrity and ensure the development of student competencies. Using generative AI tools to substantially complete any assignment is not permitted. Using instructive generative AI to assist, edit, review, etc. any written assignments is on a case-by-case basis and under SAS guidelines.

• Rationale: The prohibition is in place to encourage original thought, manual problem-solving skills, and to maintain equity in educational opportunities and assessments. In this section of "World Dance,"  the student's personal perspectives, opinions, and insights are explored and centered in written assignments. All writing must reflect these elements through the student's unique use of subjective writing in active voice with personal insight clearly provided, unless the assignment states otherwise.

• Definition of GAI: Generative AI refers to artificial intelligence systems that can generate text, images, or other content based on minimal input. This includes chatbots, image generation tools, and code assistants that require some form of text or visual input in order to generate an output. Alongside generative AI are instructive GAI systems and programs. These systems and applications include Grammarly, Quillbot, Packback, Microsoft WORD Editor. Some programs have less obvious GAI elements that may rely on automated tools that correct and rearrange all human-written sentences, thus removing the need for students to think critically, individually review and edit their own spelling, grammar, punctuation, etc. alongside the traditional proofreading markers and suggestions. Further, these tools tend to edit and suggest text generations that are primarily objective and in passive voice, effectively eliminating the personal out of the content that a student is attempting to edit/proofread. However, these tools can also serve as examples of instructive AI that support student learning. This is where faculty discretion and SAS guidelines will come into play. GAI in the academic world is an ever-changing field with complexity for all involved; for more resources on the matter, see:

  • ACC's TLED GUIDE TO GENERATIVE AI

  • NYU's Generative AI and Large Language Models (LLMs)

  • TXST's Library Guide to Artificial Intelligence (AI).