SiMON FRASER UNIVERSITY
MEMORANDUM
Si
/12
0"
..
To ?
I
Proposal for a Major and
Subject.1Y10.tP.
for a Minor in
the•
Dance.
From
....
R
...]y•1..ch.jrrnan
...
Senate Committee on
•ç
J n
...
gx-i 1
.
.Stuies
Date.... 15. .N.ociejubex. .19.7.8.......................
Action taken by the Senate Committee on Undergraduate Studies
at its meeting on November 14, 1978 gives rise to the following
motion:
MOTION
That Senate
approve and recommend approval to the Board
of Governors
the proposal for a major in Dance and the
revisions to
the Minor in Dance as outlined below and
detailed in
S78-142:
(1) ?
Major
Program in Dance, including
(i)
Lower Division Requirements as Pre-
requisites
(ii)
Upper Division Requirements for a
Major in Dance
(iii)
Additional requirements for the degree
. ? (2)
?
Changes in Requirements for a Minor in Dance, including
(1)
Lower Division Requirements as Pre-
requisites
(ii)
Upper Division Requirements for a
Dance Minor
(3) ?
New Courses:
(i)
FPA.
?
122-3, Contemporary Dance I
(ii) FPA.
?
123-3, Contemporary Dance II
(iii)
FPA. ?
125-3, Structural Approach to Ballet
(iv)
FPA. ?
225-3, Ballet for Modern Dance
(v)
FPA. ?
423-4, Directed Studies in Choreography
(vi) FPA. ?
426-3, ?
Dance Analysis
(vii)
FPA. ?
429-5, Directed Studies in Dance Research
(4)
?
Concomitant changes arising frm Major in Dance
(i)
Changes in course titles, credits, vectors,
statement, ?
FPA. ?
320, ?
321, ?
420, ?
421
(ii)
Changes in Minor
FPA.
120 - prerequisite statement
FPA. ?
121 - prerequisite statement
FPA. 220 - title change
FPA. 221 - title change
p..-
.
?
?
N.R. Reilly
/kb
SIMON FRASER UNIVERSITY
?
f
7J'-
'F
MEMORANDUM
To
?
Mr. H. M. Evans, ?
J. ?
.Lancnet,e.recary or me
Faculty of Interdisciplinary
Re.gist.r.ar ...Secre.tary of SCUS.
?
Studies Undergraduate Curriculum
Committee.
Subject
?
I.S.C. 78-26.,.,
Dance Major.
. ?
.... ?
.., Qc,t,qbe.r2,7/7,8,.
Revised. ?
Proposal-,(
The attached Major in Dance proposal presented by the Centre
for the Arts was approved on October 24/78 by the Faculty of
Interdisciplinary Studies Undergraduate Curriculum Committee
Would you please place this item on the agenda for the next
meeting of the Senate Committee on Undergraduate Studies.
.,1 ?
.
Janet Manchet.
Attachments.
fl
1-
Chairmen,
Curriculum Committees
?
Evan Alderson, Director
?
.
•sS distribution below
?
Contra for the Arts
Dance Major Proposal
?
October 26, 1978
1'1)
I am distributing to you the Centre for the Arts' proposal for a
dance major. Because the major will involve some new courses, your
committees should have the opportunity to consider
any
questions
regarding course overlap. Please note that the program and the
courses are not to be introduced until 1980. The material is coming
forward at this time so that we may seek Universities Council approval
and emergent program funding.
FJt/yn
c.c.: Faculty of Arts Curriculum Committee
L••
Faculty of Education Curriculum Committee ?
:.
ft.................
.'i4_•(_.(
Q.-
Faculty of Science Curriculum Coittes '
Lj
P.
Carry Evans, Registrar
S
2
a,
?
DANCE MAJOR PROPOSAL
Prologue:
The
The Centre for the Arts proposes a Bachelor of Arts Degree with Major in Dance
It follows approval in principle of the CENTRE FOR THE ARTS PROGRAM
DEVELOPMENT document presented to Senate in January 1978
in
which a
proposed Dance Major was outlined. The major program detailed here follows
that document in all essentials. Included here also is a co-related revision
of the existing Dance Minor.
Background:
Dance has been an innovative part of the Simon Fraser University curriculum
since the University opened in 1965. It grew and flourished with the
early experiments of the Centre for Communications and the Arts, and successful
.
?
credit courses were offered through the Physical Development Centre (more
recently the Kinesiology Department). In 1975, Dance was consolidated within
the credit program of the newly established Centre for the Arts.
Since the
beginning, the impact of Dance at Simon Fraser University contributed
to the
mushrooming of the development of contemporary dance In British Columbia1
which coincided with a rapid growth of the art in Canada and the United States.
We are now In the midst of what has been referred to as a "dance boom" in
North America. What was formerly considered an elite and esoteric art form
has gained acceptance with the general public. Recent
cover stories and
feature articles in national magazines attF
'
to this phenomenon.
Although Dance has been part of the curriculum in
universities in the
U.S.
.
?
since 1921, the first dance major in Canada appeared at York
University In 1970.
1
Zimmer, Elizabeth. "How Not To Seethe Wood For the Trees: Recent Dance
Developments in Vancouver, An Annotated Chronology 1963-1978".
Dance in Canada Magazine. Summer 1978.
?
3
- .) -
Other Canadian universit ies are in the process of developing courses
of study in Dance, but York remains the only university to date to place
Dance within the context of the other Fine and Performing Arts. Simon
Fraser University is the only university in British Columbia with a Dance
Program.
A sequential and integrated Program as outlined herein will benefit the
professional Dance community and upgrade the standards of Dance teaching
in the public schools.
Despite the limitations of non-credit workshops and few credit courses,
a number of dance students from Simon Fraser University have made their
careers in the dance world. Our limited program has necessitated their leaving
the University to obtain intensive
p
re-professional training elsewhere,
and the pressure to develop a dance major here has grown with each passing
year. While the Dance Minor (19.76). has improved the offerings available to
students, the nature of the art requires the Dance Major in order for students
to receive the training and background needed to pursue their work in a
highly specialized field.
Emphasis of the Program:
From the outset,dance training at Simon Fraser has concentratedon a sound
technical training with creative opportunities for students to learn and:
produce their own compositions and choreography. Visit-ing artists and
dance companies have enriched, aesthetic development and the academic environment
has provided intellectual breadth. The presence and experience
afforded
by
- ?
4-
-3-
.
the other arts of theatre, film, music, and visual arts have extended
the range of artistic opportunities beyond that which private dance
training offers. Performancexperiences for students are extremely beneficial
and are relatively rare in other training situations.
When the Dance Minor was developed, the strengths of the original program
were expanded and the framework of the Dance Major was established. The
academic courses in the Centre for the Arts have been designed to build a
foundation for students in all artistic fielin the historical and critical
aspects of the arts. This enables the student to pursue his or her own
artistic interestswithin the context of the other arts and the society In
which they exist. The Dance Major will also include more intensive work In
• ?
dance technique, theory, composition, and production. Students will have
the opportunity to become adept at all aspects of technical and production
work.
Most
?
of the required courses in the Dance Major are the studio courses
which build and develop the dancer's technique and compositional skills.
Experience in the actual performance of dance is deemed essential as a
basib
upon which all other knowledge will be related and integrated. Even student,,
who will eventually become dance teachers, writers, historians, etc. wil
tHd
this technical base in order to fully understand essential theories and
vocabulary of the dance.
The parallel development of the craft of dance with compositional and
choreographic experiences in the studio courses is a unique feature of
this program. Such training is not usual in professional dance schools,
which may account for the dearth of significant Canadian choreographers.
5
There are other options possible within a University Dance Major which
?
9
have deliberatel
y
been eliminated either for reasons of financial constraint
or philosophical bias. Contemporar
y
dance was chosen as the technical base
for concentration because of its relevance as a contemporary art form.
Dance training can become very unfocussed in attempts to incorporate ballet,
jazz, character, folk
etc.,
each of which is a specialization in its own right.
Nothing can be accomplished if everything is attempted. The contemporary
dance is more agreeable to a university setting its goals have more application
to other fields of university study, and more can be accomplished in four years
than in forms such as the classical ballet. This is not to imply that other
forms will never be included in the dance major study... only that they will
be supplemental and not all will he initiated at once.
Areas such as dance notation, anthropology of dance, dance therapy perhaps
can be added when expansion of the Major is financially possible. These
areas are offered at the graduate level at other Universities and the
present Dance Major Proposal will provide a base for further study in these
specialized fields. Students will he encouraged to work out related programs
of study in other departments tIiriui
i an advisory system.
.Em
ployment Opportunities:
Students who prepare for a career as artists are rarely guaranteed jobs at
the best of times. Perseverance, talent,and luck, as well as training, will
determine their future success. Nevertheless, although dancers are the lowest
paid artists in North America, they are also usually very resourceful at
pursuing their art while maintaining a frugal but satisfying lifestyle.
T ?
.
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6
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Teaching generall y
sustains the professional contemporary dance artist in good
times and in bad times. While the performance aspects of dance are stressed
in the Dance Major, it is net neessari1y the aim to produce professional
dancers.
?
Dance is stilL in its embr y onic
stages
of development in Canada
and there are needs for:
1.
dance writers
2.
dance critics
3.
public school teachers
4.
dance historians
5.
dance administrators.
A number of our former dance students who pursued their careers in dance
while majoring in other subjects in university have become active in small
professional contemporary dance companies. A widely educated person is
required to handle all of the administrative and artistic skills required
in these small operations.
Within the professional dance world in Canada, the lack of development of
choreographers is a serious problem. Practically all dance training institutions
ignore the art of choreography and professional dance companies do not take
the financial risks or the time to develop inexperienced talent. The University
is the ideal place to encourage experimentation and to provide students
choreographic experience in performance environments that are suitable to their
level of ability.
Duplication:
None of the three Universities in British Columbia offers a Dance Major.
The University of Victoria and U.B.C. have indicated they are very willing
to have Simon Fraser University undertake this challenge. York University and
7
- 6 -
the University of Waterloo have Dance Major Programs. Several other
Universities in Canada have dance courses within their Physical Education
Departments and there have been indications that Dance Majors are being
planned in Quebec and possibly Alberta. Consultation has occurred with
members of the faculty of the Dance Departments of York University and the
University of Waterloo. The emphases of the three programs is sufficiently
different to provide alternatives to the various interests of students.
Simon Fraser is quite likely to attract students from out of the province.
A limited enrollment with a small faculty augmented by visiting artists and
Sessional Instnct-s is planned. In addition,first
y
ear courses for the
general student who wishes to elect dance studio courses are available.
Various academic courses are
available
for electives for the general student
within the dance offerings. Students may enter the first year studio courses
for dance majors by audition before registration. Opportunities for entering
the second
y
ear dance studio oiirscs will be open to students by audition as
well.
A maximum number of 275 places
is available
to students in the lower level
courses. A maximum of JO dance majors is n!ticipated at the upper level.
Naturally, if the Program is expanded by the addition of more faculty
positions in the future , thc number
of
majors may he increased. However,
we see an advantage in keeping the maximum at 3() during the initial phase
of the Major Program.
.
8
L
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.1inor in Dance
With the implementation of the proposed Dance Major, structural changes
in the existing Dance Minor are necessary. Courses have been added since
the Dance Minor was established. Senate requested that the Dance Minor be
retained (Januar
y
1978) when the Program Development was approved which
included the Dance Major.
In reconsidering the focus of the Dance Minor it seemed wise to allow for
division
maximum flexibility at the upper
?
while retaining the dance studio core
courses at the lower
division.
This
would enable students to obtain a foundation
in dance technique and theory equivalent to the present minor requirements while
permitting opportunity to pursue the historical and critical direction or to
continue
?
performance oriented course work at the upperd1V10J A combination
is also possible. The hours required at the
iower d11
?emains the same.
One context course has been removed from the requirement and two new studio
division
courses have been added. The upper
?
studio course requirement has been
removed while the hours required have been changed to 16 from 17. The number
was reduced onl
y
because it allows more flexibility in combining 5 credit and
3 credit courses
0
-5-
With the addition of one new studio space in the Education
Complex allotted to the Centre for the Arts in 1979, the
present space is adequate to incorporate the proposed Dance
Major. The present space allotment includes:
Teaching
3 studios for teaching and rehearsing;
1 very small studio for rehearsal and class preparation.
.
RESOURCES
Space:
Theatre;
Informal studio theatre which will be shared on occasions with
the Theatre Program.
Staff:
?
Additional part-time accompanist for the new studio courses.
Approximate incremental cost: $5000.
Faculty:
?
- One new full-time Assistant or Associate Professor will be
?
.
required to implement the Major.
- One Lecturer has been allotted for 1979/80 consolidating
Sessional recuirements and will need to be retained.
- 3 Additional Sessional appointments will be required (one for
each semester). Approximate cost $10,200.
- It is hoped, but not required, that sufficient flexibility
will remain to appoint occasional one semester visiting faculty.
.
10
Libry:
?
The library holdings are presently adequate to implement
the Dance Major. Additional copies of some holdings would
ease the pressure and a continual upgrading as new titles
become available is essential.
Audio Visual: Slides and films have been purchased but additional film
purchases would be useful but not crucial.
.
.
11
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PROPOSED CALENDAR ENTRY
PROGRAM WITH A MAJOR IN DANCE
The Centre for the Arts offers a Bachelor of Arts Degree with a Major in Dance
for students wishing to soeciaLize in contemporary dance. The Dance Program
consists of courses in technique, improvisation and composition, an opportunity
for performing, choreographic, and production work. Historical and critical
study of the arts will be included and dance students will be encouraged to
take courses within other artistic disci
p
lines in the Centre for the Arts (Theatre,
Film, Music, Visual Art). This program is designed for students who wish to
pursue the study of dance within an academic environment which encourages explor-
ation and integration of the stimuli from other artistic and academic disciplines.
General Requirements
1.
For a general degree with a Major in Dance students must complete a total of
120 semester hours.
2.
Entry into the Major will be contingent upon acceptance into the first upper
division studio course (FPA.320).
3.
Auditions will be held prior to registration for entry into studio courses
requiring departmental permission (FPA.122, 220,320) for students initially
entering the Department. Contact the Departmental Office for information.
4.
To complete a general degree with a Major in Dance students must complete 24
credit hours outside the Department as part of degree requirements.
.
.
12
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1oweL Division
_
R
C qu.ire!itefltS
-
as prerequisites
At least 30 hours in FPA courses including 21 required hours as listed:
Required Courses: FPA 122-3
?
CONTEMPORARY DANCE I
?
123-3 *
?
CONTEMPORARY DANCE II
?
125-3 ?
STRUCTURAL APPROACH TO BALLET
?
220-3
?
CONTEMPORARY DANCE III
?
221-3
?
CONTEMPORARY DANCE IV
* (120 and 121 may be substituted for 122 and 123)
S
.
and at least one of the following
FPA 110-6
THE ARTS
IN CONTEXT:
The Renaissance
113-6
THE
ARTS
IN
CONTEXT:
European Romanticism
1146
THE
ARTS IN
CONTEXT:
The Modernist Era
116-6
THE
ARTS IN
CONTEXT:
North American Styles
Suggested Courses: FPA 104-3
170-3
150--3
151-3
160-3
132-3
225-3
FUNDAMENTALS OF MUSIC
INTRODUCTION TO TECHNICAL THEATRE
BASICS OF THEATRE
INTRODUCTION TO ACTING
INTRODUCTORY STUDIO IN VISUAL ART I
INTRODUCTION TO FILM-MAKING
BALLET FOR MODERN DANCE
L
13
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Upper
Division Requirements
1.
For
?
a ?
Major in Dance
?
students must complete at
?
least 29-31
hours in (lance
courses, distributed as follows:
Required courses - all of:
?
FPA.320-5
?
CONTEMPORARY DANCE V
321-5
?
CONTEMPORARY DANCE VI
420-5
?
CONTEMPORARY DANCE VII
421-5
?
CONTEMPORARY DANCE VIII
326-5 ?
HISTORY OF DANCE
324-3 ?
DANCE COMPOSITION
Any one of: ?
FPA.429-5 ?
DIRECTED STUDIES IN DANCE RESEARCH
423-5
?
DIRECTED STUDIES IN CHOREOGRAPHY
424-5 ?
DIRECTED STUDIES IN DANCE PERFORMANCE
425-5
?
INTENSIVE STUDIES IN DANCE
426-3 ?
DANCE ANALYSIS
2.
In addition, for the general degree students must include 7-9 additional
hours in
FPA. courses which may include general electives in dance but must
inc1uc€one of:
?
FPA.382-3 ?
AESTHETICS OF PERFORMANCE
384-3 ?
CRITICISM OF PERFORMANCE
3.
For any general degree program an overall minimum of at least 45 hours of
upper division credit is required.
In
selecting courses to fulfil the minimum requirements for the degree of 24
credit hours outside the Department students may either choose freely or seek
departmental advice on courses related to the study of dance. ?
In particular,
the
Department recommends the following courses:
KIN.100-3
?
INTRODUCTION TO HUMAN STRUCTURE AND FUNCTION
KIN.110-3 ?
CURRENT TOPICS IN HUMAN NUTRITION
KIN.241-3 ?
SPORTS INJURIES, PREVENTION AND REHABILITATION
KIN.326-3
?
FUNCTIONAL ANATOMY
CS258-3 ?
EXPLORATIONS IN SOUND TAPE RECORDING
4
?
1
I'
CNNS259-3
?
ACOUSTIC DIMENSIONS OF CO?IIJNICATIONS
.
?
-13-
The Department encourages students to develop coherent programs of study related
to dance through course work in other departments.
Students wishing to do so should seek denartmental advice at an early stage.
MINOR IN DANCE
Students seeking a Minor in Dance will complete 21 hours of lower
division credit, as prerequisites, distributed as follows: FPA.120-3, 121-3,
125-3, 220-3, and 221-3 (FPA. 122 and 123 may be substituted for 120 and 121),
plus one of FPA.110-6, 113-6, 114-6 or 116-6.
For the Minor in Dance students will complete 16 hours of uPper division credit
selected from the following: FPA.320-5, 321-5, 324-3, 326-3, 382-3, 384-3,
420-5, 421-5, 423-5, 424-5, 425-5, 426-5, 429-5
.
15
5. Approval
Date:J
?i
/7'
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26a/-7&
Dean
Chairman,
SC
_
Department Chairman
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16
-- ?
SENAjI: Ctt
?
(IN'
?
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!;:
1'K(),tU.IO1U1
i:w
Department: Centre for the Arts
Credit Hours: _
3
?
Vector:
0-0-8
1
?
alendar Information
'Abbreviation Code:
FPA.
-
Coure Number:122
Title of Course:
CONTEMPORARY DANCE I
Calendar Description
of Course:
First studio course in a series designed for students intending to major in
Dance. The course will include work in technique, composition and improvisation
and will introduce theoretical approaches to modern dance.
Nature of Course
?
Studio
Prerequisites (or special
instructions)
Written permission of the Department is required in advance of registration.
Students who have completed FPA.120 may not take this course for further credit.
What course (courses), if
any, isIcing dropped from the calendar if this course is
approved:
None
2. Scheduling
Row frequently will
the course be offered? Once a year
Semester in
which the course will first be offered? 1980-3
Which of your present faculty
?
be available to make the proposed
offering
possible?
Santa ALOI/Iris GARLAND
iObjectives of
the Course
To develop basic disciplines in dance through technique, improvisation and
composition leading toward fundamental understanding of the elements of time,
rhythm, energy and dynamics; to introduce various aspects of the dance field
through introduction of the literature.
4. Budgetary
and Space Requirerents
(tor
information only)
What additional resources will
tie
required in the following areas:
Faculty None
Staff ?
Accompanist ?
Library None
Audio Visual
?
None
Space
?
None
Equipment ?
None
.
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
.
VPA. 122-3 ?
CONTEMPORARY I)AN(:i: 1.
FF'A . 123-3
?
CONTEMPORARY l)ANCE 11
RATIONALE:
These courses are designed :is the first courses in a sequence of
studio courses for the Dance Major. They are designed to take the
same approaches as FPA.120-3 and 121-3, but in more depth, and will
require students to have had previous dance experience.
Entry to the courses will he determined by a placement class prior to
registration. FPA. 120-3 and 121-3 will continue to be available for
students who have had little or no previous experience in dance.
S
The groundwork for the program which is sequential is laid in the
first year courses. FPA. 122 and 123 will introduce the principles and
theoretical approaches to modern dance to students who can advance more
rapidly because of previous training or exceptional talent and motivation.
Thus, these courses will provide a foundation in greater depth than can be
accomplished with heterogeneous groupings in 120 or 121.
Previousl y
, students with significant dance training have been combined
with novices in 120-3, where the work is necessarily simplified. Thus,
the potential of these students is not fully explored, and the challenge
is limited. Alternativel
y
, students have been allowed to take 220-3, with
the prerequisite waived. However, then the principles and basic approach
are missed. Also, it is important for a major student to have the practical
S ?
aspect of studio work every semester if he or she is to develop skill as a
dancer. Four years of continuous studio work is a necessity for the dance
major. Therefore, the introduet ion of FPA. 122 and 123 will enable the more
17
2
cxtriented die ?
tiidtni
t'
rc '
&ivt' t.hi I undiIII( ut.al (onrtpts wh i
ft
he app! ic,
j t ions
01
t ht'S( ('oIlit'pl ?
I I-C g1lF0(I
in i more comp) ox manner
It is
possible
that some st (ident
S ,
having taken F1'A. 120 and 121
will have demons tra ted an except i ii 1 talent and interest in dance and
will wish entrance to the 2(R) level courses. Such students will he
permitted to enrol, with the permission of the 1)epartment,and FPA. 120 and
121 will be counted toward the I)aiitt Major in I Len of 1'PA. 122 and 123.
It is not foreseen that the introduction of these two courses will
add any cost to the Program as fewer sections of FPA.120 and 121 will
he needed when the students with significant. previous training are
directed into 122 and 123.
The vector has been increased over 120 and 121 to allow more time
for intensive practical. work and more discussion of directed readings
which will serve as a foundation for further study in dance.
The total time commitment required of students at the different levels
of experience should not differ significally.
S
- ?
18
3
.
FPA. 122-3
?
CON'l EMI'ORARY DANCI" I - Course Outline
Preparation
?
Technique - a variety of exercises designed to work towards
developing the ability to direct the flow of
energ
y
through the body with maximum efficiency.
Attention is given to placement, articulation
balance, development of strength and flexibility.
Combinations -
?
work towards the application of technique to com-
bination of movements with particular emphasis
on phrasing, rhythm and dynamic control. The aim
is to refine kinaesthetic perception and to develop
the ability to translate that perception into
accurate execution.
Themes -,
?
Isolation and exploration of the various elements
of (lance.
1.
Time: slow, fast tempo; gradations and
variations
2.
lhvtIim: pulse, meter, accent variation,
dividing heats, syncopation
3.
Energy: exploring the ranges of force
and intensity
4.
D
y
namics: qualities of movement energy
(swinging, sustained, percussive,
lyrical, etc.); the use of
breath and weight
5.
Locomotion: seven basic locomotor steps
on which combinations are
based.. .combinations and
19
variations.
4
Improvisation -
?
extemporaneous movement studies based on ?
0
themes.
Composition - ?
movement studies set and choreographed for
individuals or groups emerging from improvi-
sational problems.
Classes will consist of the above listed elements, normally focussed around
a theme which is explored through combinations, improvisation, composition
and selected readings. Compositions will be discussed, with the aim of
building critical vocabulary.
Directed Readings and Discussion of topics such as:
1)
Facets of Dance Education
2)
The Development of Dance as a modern art form
3)
Dance as a therapeutic tool
4)
the Role of Dance in early societies.
Evaluation:
Students will be evaluated on the basis of understanding and application
of the principles of technique, improvisation and composition. Movement
problems will be the basis for several compositions of an individual
or group nature. A written critique of a dance performance and a final
essay based on the readings will be assigned. Practical work will be given
the most weight in grading.
Laban, Rudolf Van. MODERN
MacDonald
EDUCATIONAL
& Evans, 1975.
DANCE, 3rd edition. London:
?
40
20
Hindemith, Paul. ELEMENTARY TRAINING FOR MUSICIANS. Shoti Music
Corporation, Now York.
Wink, Richard C. FUNDAMENTALS OF MUSIC. Ohio State University, 1977.
Creston, Paul. PRINCIPLES OF RHYTHM. Franco Columbo Inc., N.Y. 1961.
Ellfeldt, Lois. DANCE FROM MAGIC TO ART.
.
[I
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21
SENATE COMMIt 1 [F ON t:I)i:}wA1mAn: iTUDIFS
-
?
NEW (;o1s:;P1
.
OJ'A.L 10kM
alendar Information
?
Department:Centre for the Arts
'
Abbreviation Code:
FPA.
?
Course Number:
?
123 ?
Credit Hours: 3
?
Vector:
0-0-8
Title of
Course:CONTEMPORARY DANCE II
Calendar
Description of Course:
This course is a continuation of FPAJ22 with the introduction of more
complex combinations and more abstract improvisation and composition
problems.
Nature
of Course ?
Studio
Prerequisites (or special instructions):
FPA.122-3 or Permission of the Department. Students who have completed FPA.121
may not take this course for further credit.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
None.
2. Scheduling
How frequently will the
course be offered?
?
Once a Year
Semester in which the course will first be
offered? ?
1981-1
Which of your present faculty
?
be available to make the proposed offering
possible?
?
Santa ALOI/Iris GARLAND
i Objectives of the Course
To further develop aspects of technique begun in FPA.122, with greater emphasis
on the role of the spine; to work creatively with kinetic motivation, shape and
form, direction and dimension in space, and the notion of abstraction; to
introduce the literature of aesthetics and criticism in dance.
4. Budgetary and Space Requirements (for. information only)
What additional resources
will be required in the following
areas:
r
Faculty
None
Staff
?
Accompanist
Library None
Audio Visual None
Space ?
None
Equipment None
5. Approval
DateL
''9
£..-.-
Department Chairman
22
6OcF7
\7 )
?
, £
5
Dean
?
Chairman,
41
SCIJS 73-34b:- (When completing this form, for instructions se Memorandum SCUS 73-34a.
Attach course outline).
0
FPA.123-3
?
CONTENIORARY DANCE Ii - Course Outline
This course will focus on developing in depth the aspects of technique
explored in 122-3 with more emphasis given to the placement, articulation
and movement possibilities of the spine. Combinations will be more complex,
and more abstract improvisation and composition problems will be introduced.
As in 122-3, classes will consist of preparation and technique, combinations,
improvisation and composition problems usually focussed around a theme.
Themes to be explored in this course will include:
1. Articulation of body parts: isolation and motivation from a
particular part of the body, sequential impulses and connections.
. ?
2. Shape and form: creating shapes with a single body; moving through
shapes, creating group forms and movements, through group shapes.
3.
Direction and space: the body as a vector in space. Creating
spatial patterns.
4.
Dimension and space: using the body and parts of the body to
create volume and soat:ial texture.
5.
Abstraction: exploration of gesture, line or movement beyond the
literal. Variation, accumulation, simplification.
Work in the above themes will assume the student's familiarity with
possibilities of time, rhythm, energy and dynamics explored in 122-3.
Critiques of compositions will be on-going. Discussion will take into
account directed readings in the following areas:
.
?
1. the Nature of Dance - aesthetics
2. the language and literature of dance
3. Dance and the other arts
?
23
4. Dance Criticism
2
Evaluation: ?
0
S.- ?
Students will be evaluated on the basis of understanding and application
of the principles of technique, improvisation and composition. Several
practical assignments, a final group composition, a short written critique
and term essay will be given and evaluated. Practical work will be assigned
the most weight in grading.
Nadel, M.H. and Nadel, C.G. THE DANCE EXPERIENCE.. New York: Praeger,, 1970.
Cohen, Selma Jean. THE MODERN DANCE: SEVEN STATEMENTS OF BELIEF.
Todd. THE THINKING BODY. Dance Horizon Inc., New York.
McDonagh, Don. THE RISE AND FALL AND RISE OF MODERN DANCE.
S
24.
.
?
sENAi: xi.'! :i i
?
ON u::::cAo1J,vri: ;Tvr
FS
NEW
c:.is: PKOI'OALioiui
1 ?
alendar
Information
?
Department Centre for the Arts
Abbreviation Code:_
FPA. Course Number:
?
125 ?
Credit Hours:
3
?
vector:.
0-0-6
Title of Course:
STRUCTURAL APPROACH TO BALLET
Calendar Description
of Course:
The purpose of this course is to develop technique and placement through
awareness and application of structural principles as they apply in basic
ballet. Students intending to major in Dance should take tMs.course
concurrently with FPA.123.
Nature of Course
?
Studio
Prerequisites (or
special instructions):
FPA.122-3 or Permission of the Department.
What course (courses), if
any, is being dropped from the calendar
if this course is
approved: ?
None
2.
Scheduling
How frequently will the
course be offered?
?
Once a year
Semester in which
the course will first be offered? 1981-1
W
hich of your present faculty
?
be
available to make
the proposed offering
ossible?
?
Santa ALOI
3.
Objectives of the Course
See
attached Rationale and Course Outline.
4.
Budgetary
and Space Requirements (for information only)
What additional
resources will be required
in
the following areas:
Faculty ?
1/4 FTE faculty or Sessional appointment
Staff
?
Accompanist
Library
?
none
Audio Visual none
Space ?
none
Equipment
Skeleton
5.
Approval
Date: ?
'
/ 7 - ?
6
Qc/& 72
?
f,
/
. ?
Department Chairman
?
4Qt
Dean
Chairman, SCU
25
SCUS
73-34b:-
(When completing this form, for instructions
see Memorandum SCUS
73-34a.
111A. 125-3
?
STRUCTURAL APPROACH TO BALLET
?
.
OMM
RATIONALE:
The purpose of this course is to work in a concentrated way on
developing technique and
p
lacement through awareness ajid application
of structural principles as they apply in basic ballet. In spite of
the original rejection of bal Let technique by the early moderns, the
evolution of contemporary forms necessitated the re-introduction of
ballet fundamentals, a training for the dancer which has developed
over the past four centuries, and which develops the strength, flexi-
bility and articulation necessary for contemporary dance. It is the
cross fertilization of modern forms and classic principles which
gives
the contemporar
y
dancer such a vital range of movement and expression.
The work in this course will, be both experiential and theoretical.
It will consist of (1) a floor harre designed to improve placement and
technique b
y
allowing for isolation and relatively independent action
of feet, legs, pelvis, spine, arms and head through work in non-weight
bearing positions, (2) specific relaxation exercises using imagery to
relieve stress and thereby facilitating proper alignment, (3) work in
basic ballet vocabular
y
to increase strength, range, flexibility and
control, (4) discussion of selected readings in anatomy for the dancer.
The principles of structure and function will be used as the basis for
all the above, though no attempt will be made at extensive anatomical
analysis of any given movements. Anatomy and structure will he used,
rather, as a means of understanding and visualizing the possibilities
of the body in movement.
?
0
26
2
FPA. 125-3
?
STRUCTURAL APPROACH TO BALLET - Course Outline
Note: anatomical and structural readings will take place concurrently
with the following exporio(co-or tented work and will he used as
reference and basis for visualization.
1. Floor barre series integrating anatomical principles to the require-
ments of ballet technique with the aim of developing strength, flexi-
bility and awareness of efficient muscle usage.
a)
the spine: exercises to improve alignment through involvement
of abdominal support; work to release tension in the lower back
as a result of poor postural habit and/or of extraneous tension
resulting from extension and rotary leg movements;
b)
locating the hip joint through particular movements and with
•
?
reference to readings, diagrams and skeleton; movements designed
to isolate action from the hip joint and to find its range of
action in the individual's body; the concept of 'turn out' and
placement of the leg in relation to the pelvis;
c)
the knee: flexion and extension as in Plie without extraneous
involvement of pelvis;
d)
positions of Passe and attitude, front, side and back;
e)
flexion and extension of tog
(the
lever as machine for movement),
front, side and back;
f)
rotary movements (Ronds de Jambe);
g)
isolation of feet, arms, head.
2. The Barre, the fundamental system in ballet for training correct
articulation, piacemon t , promo i ing strength and flexibility.
a) positions of feet,
. ?
b)
c)
Tndus
?
27
d)
Ronds de Jambe
3
e)
Passs, attitudes and dcve 1opps
f)
Rattements
g)
Port de Bras
Ii) Stretches.
3.
Centre
a)
simple Adagio, incorporating work on floor and bre; intro-
duction of body facings (Croise and Efface)
b) Turns
c)
Allegro
d)
Jumps.
4. Readings and discussion -
References: Gelehert, Raoul. ANATOMY FOR THE DANCER
Vaganova, Agrippina. BASIC PRINCIPLES OF CLASSICAL BALLET.
Sweigard,
]A1I.u.
HUMAN MOVEMENT POTENTIAL.
Sparger, Cecelia. ANATOMY AND BALLET. Theatre Arts Books
New York, 1971.
Discussion of readings in relation to practical work will be held on
a regular basis.
5. Evaluation:
Students will he evaluated on the basis of their progress in
application of principles to
technique
and by a written examination
based on the literature.
.,.
• -
?
SENATE CoMM Lii v ON t
i
ln;R1k\uuA'ri:
TUDE
ES
NEW CO •RS F
PRO1'USAL FORM
•'-.
Calendar Information
?
Department:CENTRE FOR THE ARTS
Abbreviation Code:
FPA
?
Cource Number:225 ?
Credit Hours:
?
-
?
Vector:_j_ci...in
Title of Course: BALLET FOR MODERN DANCE
Calendar Description of Course:
This
course is designed to develop skills in the
practice
of classical ballet technique. Emphasis will be placed on techniques that
are relevant to the vocabulary of the modern dance.
rM
Nature of Course
?
Studio
Prerequisites (or special instructions): FPA.1253 or permission of the Department.
What course (courses),
if
any, is being dropped from the calendar if this course is
approved:
none
2. Scheduling
Row frequently will the course
be
offered?
?
once a year
Semester in which the course will first be offered?
?
1981-2
•
which of your present faculty
?
be available to make
the
proposed offering
possible? ?
none
Objectivesof the Course
1.
To increase
knowledge and practical skill in performance of classical ballet technique.
2.
To gain a basic vocabulary useful for all dance forms.
4. Budgetary
and
Space
Requirements
(for information only)
What additional resources will be required in
the following areas:
Faculty ?
Sessional Instructor appointment needed.
Staff
?
Accompanist
Library ?
None
Audio Visual None
Space ?
None
Equipment
?
None
5. Approval
Date;
?
^24',_
/
7 ,
• _____
Department Chairman
--16
Orl'- 7(Y
Dean
?
Chairman,
S^
CUS
SCLJS 73-34b:-
(When completing this form, for instructions see
Memorandum
SCUS
73-34a.
FPA.22
5-3B4LLET FOR MODERN DANCE
RATIONALE
This is a second course emphasizing ballet material for the modern
dancer. Following FPA.125, which concentrates on placement, this
-a
course extends the practice of ballet vocabulary and style. The
presentation of terminology and conceptual material will continue.
The content of the course will be selected with a view to its relevancy
to the modern dance.
This course is not a part of the major requirements but is intended for
students desiring further work in ballet. It will normally be taught
during the Summer Semester, when there are few other dance offerings.
.
.
30
FPA.225-3 BALLET FOR XODERN DANCE - Course Outline
1. Barre
a)
plies
b)
battements
c)
Rond de Jambe
d)
Releves
2. Centre Work
a)
adagio
b)
connecting and auxiliary movements
c)
port de bras
d)
pirouettes and turning movements
3. Allegro
a) Jumps
1. changement
2, pas echappe
3. pas assemble
4. pas jete
5. sissone
6. soubresaut
7. rond de jambe en 1 'air saute
8. pas de chat
9. pas chasse
10. glissade
11. cabriole
12. pas enboite
b) Beats
1. pas battus
2. entrechats
a)
royal
b) entrechat-quatre
3. Brise
r
31
[1
Karsavina, Tamara. Classical Ballet: The Flow of Movement.
New York: Theatre Arts Books.
Maynard, Olga. The American Ballet. Philadelphia: MacRae
Smith Co., 1959.
Priddin, Deirdre. The Art of the Dance in French Literature.
London: A. and C. Black, 1952.
Sparger, Celia. Anatomy and Ballet. New York: Theatre Art
Books, 1976.
Anderson, Jack. Dance. New York: Newsweek Book, 1974.
Balanchine, George. Complete Stories of the Great Ballets.
New York: Garden City Publishing Co., 2nd edition.
Denby, Edwin. Looking at the Dance. New York: Curtis Books,
1949.
EVALUATION
Students will be evaluated on their progress in the practical
work presented.
Daily work will be considered along with practical examination of
specific knowledge.
Students may be asked to perform phrases of movement and to
demonstrate their knowledge of ballet concepts presented during
the semester.
They may also be asked to write a critique of a local ballet
performance.
1 14-1
?
W]
32
S FN A ?
CO
L. ?
Ll•;i' ft1
?
l)RM
alendar
1.for:uitin ?
Depirt men
t:
Cnrr for rh
?
Arts
Abbreviation Code:
?
FPA ?
Cour.c Number :42.3
?
Credit ijoirs :5
?
Vector:
Title of Course:
?
DIRECTED STUDIES IN ('HORLI)CRAt'11Y
Calendar Description
of Course Directed project in choreography culminnt lug in
public performance. This course is designed
to
inab1e talented student choreographers
to Undertake intensive individual
stud.v.
Nature of Course
?
Directed Studs'
Prerequisites (or special
instruLions):
obtained prior to registration.
FPA.324.
Consent of the advisor is to be
What course (courses),
U any, t Ucing dropped from the calendar if
this course is
approved: ?
none
2.
Scheduling
How frequently will the course
beoffered? twice a year
Semester in which
the course
will
first he offered?
?
1980-3
ich of your
present
faculty VQU
I
d be available to make
the proposed offering
possible? Santa Alol,
Iris Garland
3.
Objectives of the Course
SEE ATTACHED
RATIONALE
4.
Budetary
and Space Requiremen
.
1 -
-
s tior information only)
What additional resources will be required in tIc following areas:
Faculty ?
none
Staff ?
none
Library ?
none
Audio Visual none
Space ?
none
Equipment none
5. Approval
Date:
2q
/7
.
Department
Chairman
60 ?
7
&JQY
Dean
Chairman,
SCUS
SCUS 73-34b:-
(Whcn completing this form, for instruct1O18
iCe
Memorandum SCUS 73-34a.
33
I)! Ri:(:1-: p
STUDIES IN CIIOEEOC;RAPIIy
RATIONALE
This course is designed as the &iInination of previous study in
composition and chorcograph' . St uden ts should he prepared to undertake
intensive independent work in choreography, which will he brought to the
point of public performance. The work may be shown on an individual or
shared program open to a student- and faculty audience, or in a more
formal production si mat ion. The student will be responsible for
organizing and rehearsing the work which will he presented. The mode of
presentation selected b
y
the adviser will be that which appears most
appropriately to guide the choreographil
r
learning process.
The conception of the work will bc documented throughout its evolution
and a coherent plan should he approved by an adviser before the s.rTIester
begins.
EVALUATION
Students will be evaluated on the basis of their awareness of the
choreographic process as documented throughout the term and on the
artistic integrity of the work as performed.
ZRIM
34
I
i t)K1
1 ?
a1endr
Iiforiation
?
Department: Centre for the Arts
Abbreviation Code:
?
- C'ur c Nu;rber:
__ Credit ilours:3
?
Vector:
0-3-0
Title of Course: DANCE ANALYSIS
Calendar Description
of ?
uric. A critical analysis of selected works of dance
?
choreography in live performance, on 1`
1
i In or video, or as reconstructed from
written materials.
rM
Nature of Course
?
Seminar
Prerequisites
(or special Instructions):
?
EPA.382-3 or 384-3, and FPA 326-3.
What course (courses),
If an", U; being dropped from the calendar if this course I
approved:
none
2.
Schedu1in
Row frequently will
the course be offered?
?
once a year
Semester in which the course will first be offered?
?
1980-1 or 1982-1
Wo icli
of your present faculty w
?
be available
10
m;tke the proposed
offering
ssible?
Iris Garland with Evan Alderson
3.
Objectives of the Course
See
attached rationale and outline
4.
Budgetary
and Space RequIrint'u
?
(fur informallun only)
What additional
resources will be required In the following areas:
Faculty ?
1/4 ETE faculty
Staff.
?
none
Library
?
none
Audio
Visual ?
purchase or rental. of a small rttiniher
of
additional dance films.
Space ?
none
Equipment none
S. Approval
Date:
,2óOc&7
?
•
S ?
.
SCTS
Department
Chairman ?
Dean ?
Chairman,
SCUS 73-34b:-
(When completing thit torn, for iniLructiunU
sc
Memorandum SCUS 73-34a.
F!'\.
4 2 6:3 ?
ft\NCF .\N.\I V
RATIONALE AND (OLRL oh F). iNh
This course will provide the opportun I t y for close study of selected
works of choreograph
y
, it is intended to advance the student's
historical knowledge and critical understand lug of dance beyond the
level obtainable through
FPA.
326
• 382 and 384.
Because dance as an art exists only in performance, dance scholarship
is a late-developing field. i);int'e history is often plagued by
over-generaiiat I n. dance criticism by impressionism. This course
will explore the concept of performed choreography as "text,
"
using
film, written reconstructions, and live performance (sometimes with
video tape replay) to examine both the integrity of the individual works
and its relations outward to dance conventions and social contexts.
In particular, the course wi I I focus on the interactions between
technique - the set of gestures, skills, and images which characterize
a given mode of dance training - and style - the dimensions of-kinetic
and s
y
mbolic expression which characterize the choreography of an
individual or a period. Questions in this area will be grounded in
specifics of dance history: How did Graham technique, for example,
enable the dance expression of themes common to the period of Martha Graham's
greatest creativity? Or, how (lid Merce Cunningham's aesthetic departures
from the Graham tradition lead to the development of Cunningham technique?
II-
.
36
.
The object ive of this approach is to consider dance analytically
from within its own terms and traditions, thus developing a critical
language appropriate to the art. Students should be prepared by the
course to bring increased powers of observation and critical expression
to dance performance and to deal perceptively with such fundamental
problems of dance aesthetics as the question of meaning and interpretation
in dance, relation of choreographic intention to performer and
audience, and the nature of form and symbol in dance.
The specific content of the course will vary from semester to semester,
based on coherent groups of work which raise particular issues, which are
available in recorded form, and which take advantage of live performance
.
?
opportunities or the direction of student interests. Ballet will not be
excluded, although emphasis will he placed on modern forms. The course
is designed for studentswho have substantial previous knowledge of dance,
although it should be accessible to non-dancers who are willing to undertake
intensive preparatory work at the beginning of the course. All students
will be expected to research and report on written background material.
Works to be selected in a given semester might include:
A.
Martha Graham
- El Penitente
- Night Journey
- Appalacian Spring
- Lamentation
B.
Jose Limon
- Moor's Pavane
- There is a Time
37
-
3 -
C . ?
Merce Cunningham
- Walk Around Time
- Rain Forest
D.
Twyla Tharp
- Sue's Leg
- Deuce Coupe
E.
Local Choreographer
(for a live performance and discussion by the choreographer)
Bibliographical references would be selected as appropriate to the
works
.
to be considered in a given semester.
EVALUATION
Students will be evaluated on essays,critiques and class discussion.
.
.
.
38
.:
SENATE COMMIT it:F ON u:1)ERcI(Aj)l;AT: TUUI ES
?
NEW C•RSEPROPC)AL
FORM
1 calendar Information
?
Department: Centre for the Arts
Abbreviation
Code:_ FPA ?
Cour;e Number: 429 ?
Credit Hours:5
?
Vector:_________
Title
of Course: ?
DIRECTED STUDIES IN DANCE RESEARCH
Calendar Description
of Course: Directed research in dance on a topic selected by
the student in consultation with a faculty advisor, leading to the completion of a
major essay.
Nature of
Course
?
Directed Study
Prerequisites
(or special instructions):
?
Consent of the advisor is to be obtained
prior to registration.
What course (courses), if any, is being dropped
from
the calendar if this course is
approved: none
2. Scheduling
How frequently will the course be offered? twice a year
Semester in which the course will first be offered?
?
1980-3
W
ich
of your present faculty wu' be available to make the proposed offering
ssible? E.Alderson, S. Aloi, I. Garland
3. Objectives
of the Course
1.
To permit students to pursue topics of special interest.
2.
To develop research skills in dealing with dance literature.
4. Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
?
none
Staff ?
none
Library
none
Audio Visual none
Space
?
none
Equipment none
5. Approval
1
Date; ? -
—1
6
Ocf
f-_
Department Chairman
?
Dean
?
Chairman,
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
?
39
FPA.429-5 DIRECTED STUDIES IN DANCE RESEARCH
?
0
S.-- ?
RATIONALE
This course is designed to meet the needs of students who have
developed a strong interest in dance research. It is expected that
appropriate topics may arise from work undertaken in FPA.326, 382,
or 426, or from a student's grounding in another discipline (e.g.,
Kinesiology, Anthropology, Communication, Psychology, Education).
Where the latter is the case, the Department will undertake to assure itself
that the student is adequately prepared in the other discipline
as well as in dance, and will seek a joint advisory relationship
with faculty in the relevant department.
I.—
?
.
1 ?
0
Grades will be assigned on the basis of completion of a major essay.
S
40
CHANGES IN COURSE TITLES, CREDIT HOURS AND VECTOR
The following substantive changes will he required in currently existing
courses:
i: rom:
FPA.320-3 Contemporary Dance Technique and Theory III (0-0-8)
FPA.321-3 Contemporary Dance Technique and Theory IV
?
(0-0-8)
FPA.420-3 Contemporary Dance Technique and Theory V
?
(0-0-8)
FPA.421-3 Contemporary Dance Technique and Theory VI ?
(0-0-8)
to:
FPA.320-5 Contemporary Dance V (0-0-12)
FPA.321-5 Contemporary Dance VI (0-0-12)
FPA.420-5 Contemporary Dance VII (0-0-12)
FPA.421-5 Contemporary Dance VIII(0-0-12)
RATIONALE
Course titles
The title changes will bring these courses into conformity with the series
of technique courses throughout the program
Credit and Vector
These upper level dance studio courses will now be the required core
• ?
studio work for the dance major, in technique, improvisation, and composition.
These areas are generally taught as separate courses in other institutions.
The intensive work required for the dance major necessitates more class time
to adequately cover the material and therefore, an appropriate increase in
the credit hours is justified.
These changes should take effect in 1980-3.
The additional resources required are approximately 1/3 FTE faculty and
modes increment in the costs of accompaniment.
Each calendar entry should include the following statement:
"Students who have completed this course under its former
title and credit designation may not take the course for
further credit."
41
MINOR CALENDAR CHANGES REQU [RED
?
.
FPA. 120 ?
- ?
add under prerequisites: "Students who have completed
FPA.122-3 may not take this course for further credit."
FPA.121
?
-
?
add under prerequisites: "Students who have completed
FPA.123-3 may not take this course for irther credit."
FPA.220 ?
- ?
Change course title to: CONTEMPORARY DANCE III
FPA.221
?
- ?
Change course title to: CONTEMPORARY DANCE IV
.
42
1-r
7--/
CHANGES IN COURSE TITLES, CREDIT HOURS AND
VECTOR
The following substantive changes will be required in currently existing
courses:
from:
f'PA.320-3
Contemporary
Dance
Technique and
Theory III
(0-0-8)
FPA.321-3
Contemporary
Dance
Technique and
Theory IV
(0-0-8)
FPA.420-3
Contemporary
Dance Technique and
Theory V
(0-0-8)
FPA.421-3
Contemporary
Dance
Technique and
Theory VI
(0-0-8)
to:
FPA.320-5
Contemporary
Dance V ?
(0-0-12)
FPA.321-5
Contemporary
Dance
VI
?
(0-0-12)
FPA.420-5
Contemporary Dance
VII ?
(0-0-12)
FPA.421-5
Contemporary Dance
VIII(0-0-12)
RATIONALE
Course titles
The title changes will bring these courses into conformity with the series
of technique courses throughout the program
Credit and Vect9r
These upper level dance studio courses will now be the required core
0
?
studio work for the dance major in technique, improvisation, and composition.
These areas are generally taught as separate courses in other institutions.
The intensive work required for the dance major necessitates more class time
to adequately cover the material and therefore, an appropriate increase in
the credit hours is justified.
These changes should take effect in
1980-3.
The additional resources required are approximately
1/3 FTE
faculty and
modes increment in the costs of accompaniment.
Each calendar entry should include the following statement:
"Students who have completed this course under its former
title and credit designation may not take the course for
further credit."
.
43
MINOR CALENDAR CHANGES REQUTREI)
FPA.120 ?
-
?
add under prerequisites: "Students who have completed
FPA.122-3 may not take this course for further credit."
FPA.121 ?
- ?
add under prerequisites: "Students who have completed
FPA.123-3 may not take this course for .further credit."
FPA.220
?
- ?
Change course title to: CONTEMPORARY DANCE 1111
FPA.221 ?
-
?
Change course title to: CONTEMPORARY DANCE IV
44
