Tap I Beginning Tap
Approved by Faculty Senate March 30, 2009
THAD 253-01 JAZZ II (2 S.H.)
Winona State University Course Syllabus Spring 2008
MW 1-2:30 p.m.- Phelps Dance Studio
Instructor: Dustyn Martincich Email:
Office : PAC 250 Phone: 507-454-5780
Hours: T 11-Noon, 2-5 p.m., R 11-Noon, 2-5 p.m., F 9-10, 11-12
*Also by appointment
UNIVERSITY STUDIES
This course satisfies the Fine and Performing Arts Core of WSU’s University Studies program. It includes requirements and learning activities that promote students’ abilities to:
- Explore the language skills and materials of an artistic discipline;
- Use methods of an arts practitioner to actively engage in creative processes or interpretive performances;
- Understand the cultural and gender contexts of artistic expression;
- Engage in reflective analysis of their own art work or interpretive performance and respond to the work of others.
*Course activities and assignments that address these Fine and Performing Arts Requirements will be identifies in the syllabus by letter (a), (b), (c), (d).
CATOLOGUE COURSE DESCRIPTION
A continuation of Jazz Dance I with more extensive techniques, terminology, history, and music, emphasizing the refinement of skills in contemporary jazz dance. The course will deepen conceptual understandings in various jazz styles and will include elements of performance and choreography. Prerequisite: Jazz I or instructor's permission. May be repeated once for credit. Grade only.
COURSE OBJECTIVES
1) To further study jazz dance technique, including vocabulary, body positions, isolations, and a variety of stylistic movement unique to certain jazz choreographers. (a), (b)
- 2) To deepen the understanding of jazz dance and its relationship to music; to further develop a close connection with the rhythms of music and the influence it has on the development of jazz as a art form and as an off shoot of social dance. (a), (b), (c)
- 3) To create and perform jazz choreography, while collaborating with fellow students, incorporating concepts and movements from class and independent research including improvisation, call and response, and “get down”. (a), (b), (d)–
4) To further develop an understanding of jazz dance, and its cultural and historical significance, appreciating its changing roles and styles through the 20th century and its influences from African and Latino movement traditions, and presence in contemporary and musical theatre genres. (c)
5) To explore personal style in movement in class exercises as well as choreography. (b), (c), (d)
-6) To articulate through writing and discussion, reflections and responses to jazz performances, in process and product. (d)
COURSE CONTENT AND STRUCTURE
Developed and preserved as an American tradition, jazz dance will be explored in its cultural contexts in this class. Primarily, students will focus on what makes jazz movement unique from other dance genres, particularly in body positions, isolations, grounded-ness, and relationship to rhythms and music. Material is presented by means of demonstration and supplemental resources, such as video and music clips. Creative movement composition will be a large part of the final performance project.
*Physical contact with your fellow students is part of this course. If you have reservations or discomforts regarding this, please let me know.
COURSE OUTLINE
- Warm-Up
- Finding connection of body and rhythms (breath, music, heartbeat, etc.)
- Isolations, body awareness and placement
- Exploring weight change and simple movement through space.
- Stretching and conditioning
- Plies, tendues, degages
- Jazz adagio- emphasize control and musicality
- Traveling phrases
- Movement through space in parallel and turned out emphasizing grounded-ness, smoothness, and coolness.
- Allegro- footwork emphasizing clarity and alignment
- Rhythmic phrasing, movement connecting with musical elements of staccato, legato, etc.
- Turning combinations
- Grande Allegro- jumping, leaping
- Center work
- Phrase work emphasizing musicality, technique, and style
- Improvisation
- Peer audiences to emphasize roles of performer and audience; to further develop the critical and appreciative eye; to further experience the opportunity to perform
- Additional learning experiences
- Viewing and discussing videos of jazz choreographers and musicians
- Defining jazz dance by examining its history and evolution as a dance form
- Exploring emerging issues and styles of jazz dance
- Creating original jazz dance compositions considering technique, compositional elements, music and rhythm, and historical influences
COURSE REQUIREMENTS
Attendance: Attendance is mandatory. This is a performance-based course where much of the work requires your active participation in class. Attendance and participation means you are in class ON TIME, properly dressed, and fully engaged in the day’s activities. You are allowed TWO absences before your grade drops. Every absence after two will lower your attendance grade by FIVE points, and will also lower your TOTAL class grade. All absences, excused and unexcused, are counted, including illness even with a doctor’s note. **Students are responsible to notify the instructor via email of an absence and to review class material missed with peers before the next class. Email will not be checked between 10 p.m. and 8 a.m.
Injury Policy: Credit for all technique classes is contingent upon participation. If a student has or incurs an injury in the course of study resulting in more than a 1 week layoff from dancing, it is the student’s responsibility to consult with the instructor as to creative options for the learning process of withdrawal from the course.
Tardiness: Each tardy less than 10 minutes equals ½ an absence. If you are more than 10 minutes late without having notified the instructor in advance, it will be counted as a full absence. **Be sure to check with the instructor after class if you are late to be sure your attendance was recorded. *If you leave more than 5 minutes early without notifying the instructor, it will count as a ½ absence.
Active Observation Without Participation:You are responsible for assessing your own state of health in consultation with your doctor. If you are unable to dance, you may actively observe 2 classes without participating. This active observation may include notating movement, drawing floor patterns, giving peer feedback, journaling, etc. The written document should be handed to the instructor after class.
Make-up Classes and Extra Credit: Students are encouraged to notify an instructor if a class is to be missed. Students are allowed 2 make-up classes in another dance style or section. Arrangements must be requested via email through outside instructors ahead of time, and cleared by your instructor of this course. Be sure to introduce yourself to the instructor of your make-up class and explain your intention for attending. Obtain a signature from the make-up class instructor with the date of attendance, and hand it in with a 1-2 page typed written summary of what you experienced in class, and how stylistically it compares to your studies in jazz dance. Both the signature and the paper are due one week after the make-up class is attended until April 16. Extra credit includes attending a non-required performance, lecture, jazz club, and writing a 1-2 page response. Check with the instructor. Each extra credit is worth 1 point, for up to 2 points that will be counted toward your final grade.
Assignments: Occasional assignments may be given through the half semester. These assignments are counted under your participation grade. Emailed assignments are NOT accepted.
Written Response to Live Performance: Attendance is required at Dancescape 2008, February 14-16 at 7:30 p.m. and February 16 at 2 p.m., in WSU’s PAC mainstage. Choose ONE jazz piece to discuss. See Performance Response Guidelines posted separately.
*Paper is due Wednesday, February 20th.
Performance Projects: Presentations will be videotaped for archival purposes.
Midterm Project: In groups of 3-5, collaborate to choose a dance style from the early 20th century, until the 1960s. Create a 2 minute piece (minimum) influenced by this dance form. Be prepared to briefly discuss the cultural, social, and political influences of this dance form, and why you chose it. Music in accordance to the dance style is required. Hand in a bibliography.
*Project Proposal due Wednesday, January 30th. Include names of group members, why you wish to research this style, and two sources.
*Project due Wednesday, February 20th and Monday, February 25th.
Final Project: In duos or trios, collaborate to create a 2-3 minutes dance work combing the influences of a jazz choreographer with your own style. Be prepared to present information about the choreographer and his/her style and repertoire, as well as how his/her style relates to your own. Music of your choice is required. Hand in bibliography.
*Project Proposal due Wednesday, March 26th. Include names of group members, why you wish to research this style, and two sources.
*Project due Wednesday, April 16th and Monday, April 21st.
Performance Evaluations: A midterm and final combination will be taught in class and performed on the given days. These assignments give you a chance to perform material learned in class for your peers, as well as give the instructor an opportunity to assess your progress in the class. The combinations will be taught a few weeks prior, but it will be your responsibility to practice outside of class. Evaluations will be based on execution of the combination, effort, and improvement, as well as personal style and performance.
*Midterm: Wednesday, February 27th
*Final: Wednesday, April 23rd.
Project/Self Assessment: You will write a written assessment of your progress through the course. Highlights should include a reflection on your project processes, a reflection on what you learned and how your view of jazz dance has been altered/broadened (if it has), and what perhaps has peaked your interest for the future. The paper should be 2-3 pages maximum, 12 pt., Arial or Times New Roman, 1 inch margins around. Due Wednesday, April 23rd.
ACADEMIC HONESTY: All work produced by a student must represent that student’s personal effort, unless the instructor specifically permits or requires that it be done by a group. Papers and other work which a student prepares for class will contain only the student’s own words or, if the material originated with someone else, will enclose the quoted words in quotation marks and supply the complete bibliographical information in a footnote or endnote. Summaries or paraphrases of the words and ideas of other people must also be documents in this fashion. Work that does not exhibit these characteristics is a form of academic dishonesty known as plagiarism. This will result in strict sanctions including an automatic F for the course.
WRITING CENTER INFO: Call 457-5505 or email for appointments and information and visit the WritingCenter website for writing resources and the “Online Tutor” service.
DISABILITY ACCOMODATION: If you have a documented disability and wish to discuss academic accommodations, please contact the instructor as soon as possible.
CLASS ATTIRE AND CONDUCT
Appropriate attire is to be worn to every class. This includes: leotard, tights, t-shirts, tank tops, comfortable pants (that do NOT touch the floor), capris or shorts. Clothing should allow freedom for movement and allow visibility of the body line. Jazz or ballet shoes may be worn, or cotton socks. No street shoes will be allowed. Hair should be secured away from your face. Little to no jewelry should be worn. No gum chewing.
Participation will be based on attitude in class as well. Be supportive of other students. Having an open and patient mind with the material and the varying levels of students is a must. Students are responsible for tracking their own attendance, and all content covered in class, including retention of material from week to week. Be prepared for class by practicing material before you arrive. When you arrive to class, warm-up and ask your peers or instructor any questions about the material. Once class begins, maintain a focused and attentive concentration on material, participating fully in every aspect of class (exercises, written assignments, projects, and discussions.)
GRADE BREAKDOWN
Attendance/Participation50
Midterm Project10
Final Project10
Midterm 5
Final10
Response Paper10
Self Assessment5
______
100
PHELPS STUDIO USE GUIDELINES
As a member of this class, your name will be sent to WSU security for studio clearance on evenings and weekends to practice and rehearse projects. Reserve space by signing up on the studio doors (Phelps and PAC 127). Call 457-5555 15 MINUTES BEFORE your time slot to unlock your doors. When you call, give your name, this class information, and your scheduled rehearsal time.
WSU THAD Phelps Studio Space USER AGREEMENT
- Please keep the volume on the stereo LOW and doors shut while the space is in use. Do not exceed the volume level marked on the volume control, and do a sound check to assure that your source is kept at a low playing volume. Please keep the “loudness” button in the “off” position at all times. There is a live animal research lab above the studio, and excessive sound destroys the data.
- Please- no street shoes on the dance floor.
- Please keep the space cleaner than your found it. Use waste receptacles, mops, and brooms as needed.
- Please turn the stereo and lights off before you leave.
- Please LOCK THE DOORS before you leave to keep equipment safe.
*When you sign up and reserve studio space, you are responsible for abiding by this User Agreement. Thank you and enjoy the space.
COURSE SELECTED BIBLIOGRAPHY
Emery, Lynn Fauley. Black Dance in the U.S. from 1619 to 1970. Palo Alto, CA: National Press Books, 1972.
Giordano, Gus. Jazz Dance Class. Hightstown, NJ: Princeton Book Company, 1992.
La-Pointe-Crump, Janice. Discovering Jazz Dance: America’s Energy and Soul. Dubuque, IA: William Brown Communications, Inc., 1992.
Kraines, Minda. Jump Into Jazz. Mt. View, CA: Mayfield, 1983.
Luigi, Kriegel, Lorraine Person, and Roach, Francis James. Luigi’s Warm Up. Pennington, New Jersey: Dance Horizons, 1997.
Stearns, Marshall and Jean. Jazz Dance: The Story of American Vernacular Dance. New York: Schirmer Books, 1968.
COURSE CALENDAR
**This is a tentative outline of the semester. All things are subject to change. You will be notified in advance of any alterations to this schedule. I give you the schedule so that you may add the necessary assignments as they come.
M Jan. 14
W Jan. 16
M Jan. 21NO CLASS- MLK Jr. Day
W Jan. 23
M Jan. 28
W Jan. 30DUE: Project Proposal
M Feb. 4
W Feb. 6
M Feb. 11
W Feb. 13
*Dancescape 2008 February 14-16
M Feb. 18
W Feb. 20DUE: Dancescape Paper
DUE: Midterm Projects
M Feb. 25DUE: Midterm Projects
W Feb. 27Midterm
March 3, 5NO CLASS- Spring Break
M Mar 10
W Mar. 12
M Mar. 17
W Mar. 19
M Mar. 24
W Mar. 26DUE: Project Proposal
M Mar. 31
W Apr. 2
M Apr. 7
W Apr. 9
*WSU Spring Senior Dance Concert, April 11-12
M Apr. 14
W Apr. 16DUE: Projects; Last Day for Make-Up
M Apr. 21DUE: Projects
W Apr. 23DUE: Self/Project Assessment
Final