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MEMORANDUM 

S,

............................

SENATE 

.........

?

.......

............... ............. ?

.........................

..................

SENATE COMMITTEE ON UNDERGRADUATE 

?

From ? 

• STUDIES 

........................ ............. 

.

?

................................... 

................

KIN.. ... 244-3.... - 

CONTEMPORARY - 

DANCE ..................................................... 

...... 

............................... 

................ 

............ 

TECHNIQUE AND THEORY 

?

Subject.......KIN:.....310-3...HISTORYOFDANCE..........................Date 

?

RUARY ? 

.,127.5

?

MOTION: ? 

"That Senate approve, and recommend approval to 

the Board of Governors, as set forth in 

S.75-46,

the new course proposals for KIN. 

244-3 -

Contemporary Dance Technique and Theory, and 

KIN. 310-3 - History of Dance." 

If the above motion is approved, 

?

MOTION: ? 

"That the normal two semester time lag requirement 

be waived in order that KIN 310-3 may be first 

offered in the Fall semester 1975." 

SiMON FRASER UNIVERSITY

S-7.5-49

MEMORANDUM

............. . ...

SENATE

..........................................

Subject .......

...iology244.3:eiipcary 

Dance Technique Theory 

and K1iies1o1o y

310-3:

i-Ilstor 

y

or uai 

SENATE CCM1ITEE ON

From

..................................................................................... 

?

UNDERGRADUATE STUDIES 

Date

......... 

fbruary12, 1975 

?

.

At its meeting of the 4th of February, the Senate Committee on 

Undergraduate Studies considered the attached proposals for Kinesiology 

244-3: Contemporary Dance Technique. and Theory and Kinesiology 310-3: 

History of Dance. These proposals are now forwarded to Senate, with the 

Committee's recommendation that they be approved. 

In response to questions, the Dean of Interdisciplinary Studies 

and the proposer of these courses indicated that they had been produced 

in response to considerable student demand for courses in Dance and that 

Kinesiology 244, in particular, was designed to supplement Kinesiology 

144-3: Esthetic Forms of Human Movement. It was also emphasized that 

these courses were designed to provide broader coverage of this field 

. ?

and would be reviewed for inclusion in or substitution by courses in any 

future program in Design and Performing Arts. 

I. Mugri ge 

jeh

att. 

SiMON. FRASER UNIVERSITY

SCUS

7s-

(40

/001*

................................................................

Se cretary

of the Senate Committei

on Undergraduate Studies.

Subjed ...... . ... .

lKines.iol.o.gy..244-3.... ...... .... .......... .... ...... ............

CnnfemoorarV Dame Technique

Theory.

From..... ........J

................................

Facultyof Interdisciplinary

Studies

Undergraduate Curriculum Committee.

Date........ .....

January ... 22/75... .... ................. ....... ......... .... ..............

The attached new course proposal has been approved

by the Faculty of Interdisciplinary Studies Undergraduate Curriculum

Committee, and is now forwarded to you for consideration by the Senate

Committee on Undergraduate Studies. Would you please place this item

MEMORANDUM

• . 

?

'r••• 

.

?

S4ATh (X)OtITTEE ON UIDERGRADUATE STUDIES 

NEW COURSE 

COURSE PROPOSAL 

FORM

• ? 

1.

?

Department: 

KINESIOLOGY

Calendar Information 

Course Number_ 24" 

?

Credit Hours 

?

Vector:QQ.?6 

Abbreviation Code: kIN. 

Title 

course: Contemporary Dance Technique and Theory 

Calendar D..CttPti0D of Course: 

,Studio work designed to expand movement vocabulary and acquaint the student 

with various forms and styles of contemporary dance 

HaLt re of Course 

?

Laboratory 

Prerequisitea (or specai instructions): 

Kin. 14 or equivalent, 

What course (courses). 

if. any, is

being dropped from the cal2ndar if this iour: 

approved: None 

2.du1t!& 

110w frequently will the. course be offered? 

?

1 per year 

Semester in which the course will first be offered? 

j _- Sp$'

Which of your present faculty would be available to make the proposed offering 

possible? 

?

iris Garland 

W ?

3. Objectives 

the Course . 

- to increase technical abilities 

- to apply anatomical principles of proper alignment to Increasingly more 

difficult movement combinations. 

- to further utilize the movement possibilities of space, time, energy, 

motion and shape. 

4. BudpstUY_ and Space Requirements (for information only) 

What additional resources will be required in the following areas: 

Faculty ? 

Nonø . 

Staff ? 

None 

Library ? 

None 

Audio Visual None 

Space ? 

A guarantee that the dance floor in theatre maybe used. 

Equipment None 

5. Approval 

Date: 

/flti74

i/j_

Chairman, 

Department Chairman 

?

Dean 

SCUS 73-34b:- (When completing this form, for inetructiotib see Memorandum SCU . - 

'

Attach course outline). 

COURSE 

OUTLINE

Kin. 244-3 - CONTEMPORARY DANCE 

TECHNWJE

AND

THEORY

Calendar Description: 

Studio work designed 

to

expand movement vocabulary and acquaint the 

student with various forms 

and

styles of contemporary dance. 

Rationale: 

Kin. 244 is designed as a sequel to Kin. 144-3 - Aósthetic Forms of 

Human Movement. 

Every semester there are many student requests for more advanced courses 

to follow Kin. 144. Whereas Kin. 144 is a general introduction to dance 

technique, 

theory, 

and composition, the proposed Kin. 244 would be a continuation 

of the technique of contemporary dance forms with emphasis on depth rather than 

breadth. A critical analysis of the selected techniques and attention to body 

mechanics involved in dance forms will be the theoretical base. Creative dance 

theory and elementary composition are dealt with in 

Kin. 

344-3 Theory of Creative 

Movement. 

Projected Student Enrollment: 30 

Content: 

I ?

Mastery of 

the

Spatial Aspects of Movement 

Changes in the quality of the spatial focus or attention through 

experiences in: 

A.

Dimensional Aspects by manipulating planal movement (frontal 

sagittal, and transverse) and axial movement (transverse, sagittal, 

and longitudinal). 

B.

Definition of spatial structures by creating peripheral tracings 

with body extremities and experimentation with altering the 

volume of space around the body. 

C.

shifting focus and direction by moving the body in space through 

permutations of body parts through: 

a.

forward 

b.

backward 

c.

sideward 

d.

up

e.

down 

f.

diagonal 

g.

peripheral 

.p-

2

Sej

A.

B.

C.

D.

sing and Proj 

Symmetrical 

Asymmetrical 

Oppositional 

Sequential - 

?cting Shape (The form of the movement) 

- The body in balances stability. 

- The body off balances unstable 

- The body joints operative in angular, jagged 

appearance. 

The body in a continuous curve. 

E. Permutations of the above. 

• ? 

F. Sculptural handling of transitional material.. 

iii ? 

Dynamics of Movement "effort" 

(Changes in the quality of the exertion of movement.) 

A. Effort flow - The visible continuity of the movement or the quality of 

the flow of tension within the body. 

a.

bound - tension developed between agonists and 

antagonist muscles. 

b.

free flow - minimal tension ("going along with the movement") 

B. Weight - The force behind a movement. 

IV ? 

Control and Liberation of the Body for Movement 

A.

Convert alignment on a stable and moving base. 

B.

Flexibility for expanding the movement vocabulary. 

C.

Strength for balance and control. 

D.

Awareness of proper muscle action for movement. 

E.

Body - part articulation. 

V ?

Rhythm 

Practice in movement to increasingly complex musical structures. 

A.

duration - fast and slow 

B.

accent -.emphasis within the metric structure. 

• ,.. ? 

C. mixed meter 

Syncopation 

B. counterpoint in movement 

• S

Bibliography: 

Gelabart, Raoul. Anatomy for the Dancer 

Sweigard, Lulu E. Human Movement Potential: Its Ideokinetic 

Facilitation. N.Y.:Dodd, Mead & Company, inc. 1974. 

Davis, Martha. Understanding Movement 

Todd, Mabel. The Thinking Body. 

SiMON FRASER UNIVERSITY

7-S-7

.............................Mr. H.Evans,

Re g......and

Secretary of the Senate Committe

.on .........atetudies.

Subject.......... ....

........... .....................

Faculty of Interdisciplinary Studies

Date

...................ry221,7,5.

................ .....

...

The attached new course proposal has been approved

by the Faculty of Interdisciplinary Studies Undergraduate Curriculum

Committee, and is now forwarded to you for consideration by the Senate

Committee on Undergraduate Studies. Would you please place this item

MEMORANDUM

ON

UNDERGRADUATE STUDI4.

C 7,-..

.. ?

NEV

,

Abbreviation Code: 

KIN.1 

Course 

Numbers _

210 ? 

Credit

hours 

?

Vector:._L1

• ? 

Title of Course: 

?

HISTORY OF DANCE 

Calendar Description of Course; 

Survey of the Function

and

Form of 

Dance from

Primitive Culture to 

its

Present Art Form with Emphasis

on Westei7j 

Civilization.

NaLuto of Course 

?

L*dv#u.

ii,sp'

P

erequisite s 

(or special 'inetructione) 

None 

What course (courses), if 

any,

is being dropped from the calendar if this our 

approved: 

?

-

2.

dulin 

How frequently will the course be offered? 

Once 

per Year

Semester in which the course will first be 

offered? 

Sept. 

1.975

Which of your present faculty would be available to make the proposed offerin 

possible? 

?

Iris Garland

.,

3, Objectives of the 

Course

1. To 

provide background knowledge

for students 

who

wish to increase 

their

appreciation of dance as an 

art form.

4. Budgetar 

y

and

Space 

Requiremefl

(for information only) 

What additional resources will be required in the following areas: 

-.Faculty ? 

None 

Staff 

?

None 

• Library ? 

Perhaps to keep up with literature in the

field 

• Audio Visual 

Film 

rentals of pertinent 

films

Space ? 

None 

Equipment 

?

None 

5. Approval 

Date;_____________ 

<

A

^

'^^

Department Chairman 

— ? 

Dean

Chairman, CU 

SCUS 73-34b:- (When completing 

this

form, for 

igttuCtiOfl$

see Memorandum SCU 3— 

Attach 

course 

outline).

COURSE OUTLINE

IC1N. 310-3 - 

HISTORY OF DANCE

Calendar Description: 

Survey

of the 

function

and

form of

dance 

from 

primitive culture

to its 

present art form with 

emphasis on 

western 

civilization. 

Rationale: 

The

credit courses in aesthetic and creative movement in

the

Jcineaioiogy 

Department

and

the non-credit courses in the ARTS CENTRE have attracted

many,

students to dance. In fact

dance 

along with film is the fastest

growing 

art

form in Canada today. This proposed

dance

history course is designed to provide

background in the development of

dance

as an

art

form

and

also, to analyze the

state of

the

art

in the present. It will be valuable to dancers,

students

the dance, choreographers,

and

the

general education student. In the event of a

fine arts

program 

being developed at S.F.U., this course would be easily

transferable. Meanwhile, the interest of students must

somehow

be

met.

The

proposed professor taught History of Dance

at the

University of 

Washington for 

2 yrs

and

studied with dance writers

and

historians

Selma Jean

Cohen, 

John Martin,

and Walter Sorell.

011_1^ 

Projected Student Enrollment: 50

Content: 

I General Introduction to the Course

Definition of dance

Significance of dance history

Main purposes of dance in society

II

Dance

in Primitive

Culture 

A.

Purposes of dance in primitive cultures 

B.

General types of dance (Sachs classification) 

C.

Content 

and

ceremonies 

D.

Types of movement 

and

formations 

H. Relationships of cultural 

patterns to 

dances 

F. Present day analogies (debutant balls, senior 

C. Rhythmical accompaniment

III Egyptian Dance (myth and drama)

General characteristics of the culture

Sources (reliefs, etc)

Purposes of dance

Types of

movement 

IV Greek Dance

and

Theatre

General characteristics of the culture 

Purposes of the dance

Sources 

(art 

works, etc.) 

Types 

of dance

proms) 

A.

B.

C.

D.

F.

Types of movement (chieronmia)

7 ?

. ?

-2-

?

V ?

The Roman Theatre 

A.

General characteristics of the culture 

B.

Sources (writings, etc) 

C.

Purposes of dance 

D.

Types of dance 

Types

of movement 

?

VI ? 

The Roman Christian Church and the Middle Ages 

A.

Negation of the corporal and emphasis of the spiritual 

B.

Development of the Mass 

C.

Development of guilds 

D.

Cultural manifestations related to dance 

E.

Influence of 

feudalism

?

VII ? 

Renaissance Foundations and the Renaissance Period 

A. 15th and 16th Centuries 

1.

General characteristics of the period 

2.

Cultural centers 

3.

Important people influencing growth of dance 

4.

origins of ballet and development of Ballet 

Cour 

5.

Parallel 

developments

in

related 

arts 

B. 17th Century 

1.

General characteristics of 

the

period 

2.

Cultural 

centers 

3.

Important 

people

influencing dance 

Developments

in dance 

S. Parallel 

developments

in related arts 

C. 18th Century 

1.

General characteristics and events 

2.

Cultural 

centers 

3.

Important people influencing dance 

4.

Developments in dance 

5.

Parallel developments in music 

D. 19th Century 

1.

General characteristics 

2.

Cultural centers 

3.

Important people influencing dance 

4.

Developments in dance 

5.

Parallel developments in music 

VIII 

?

Early Development of Dance in North America (18th and 19th centuries) 

A.

General characteristics of the period 

B.

Cultural centers 

C.

Important people influencing the dance 

D.

Developments and events in dance 

- ? -3- 

IX ? 

Developments of the 20th century 

A.

General characteristics of the period 

B.

Cultural centers 

C.

Directions in dance and art 

D.

Development of ballet 

1. ? 

1900-1930 

2. ? 

1930-1940 

3. ? 

1940-1960 

E.

Development of the Modern Dance 

1. ? 

1900-1910 

2. ? 

1910-1920 

3.

?

1920-1930 

4. ? 

1930-1940 

5.

?

1940-1960 

6. ? 

1960-1970 

F.

Parallel developments in Related Areas 

1. ? 

Psychology - Freud 

2. ? 

Science 

3.

?

Music - Schoenberg 

4.

?

Art

5. ? 

Architecture - Frank Lloyd Wright 

G.

The Development of Dance in Canada 

1. ? 

The National Ballet 

2.

?

The Royal Winnipeg Ballet 

3. ? 

Les Grand Ballet Canadiens 

4. ? 

The Rise of Modern Dance 

Bibliograph y 

Kirstein, Lincoln. Dance. New York. Putnam, l93 

Sachs, Curt. World History of the Dance. New York: Norton, 1937 

Cohen, Selma J. Dance As a Theatre Art: Source Readings in Dance History 

from 1581 to the Present. New York: Dodd, Mead & 

McDonagh, Don. The Rise and Fall and Rise of Modern Dance. 1972 

McDonagh, Don. Martha Graham: 

_A Biography 

Sorel 1, Walter. Hanya Holm 1971. 

Cohen, S.J. Doris Humphrey: An Attist First. Wesleyan University 

Press 1972. 

4

History of Dance - Selected Bibliography 

PHILOSOPHY OF ART 

Edman, 1. Arts and the Man. New York: W. W. Norton and Company, Inc., 1939. 

Read, Herbert. 

philosophy of Modern Art. London: faber and Faber, 195. 

Tolstoy, Leo. What is 

?

Oxford: The Clarendon Press, 1935. 

RELATED ARTS 

BarraUlt, Jean Louis. Reflections of Theatre. London: 

Rockliff, 

1951- 

Bauer, Marion. Twentieth Centur 

y

Music. New York: G.P. Puthaflt'S Sons, 1933. 

Beach, Joseph. Twentieth Centur 

y

Novel. New York: The Century Company, 1932. 

Bentley, Eric. In Search of Theater. New York: Vintage Books, 1954. 

Copland, Aeron. Our New Music. New York: McGraw Hill, 1941. 

Copland, Aeron. What to Listen for in Music. New York: McGraw Hill, 1939. 

Draw, Elizabeth. Directions in Modern Poetry. New York: w.w. Norton and Co. 1940. 

Fergusson, F. Ideal of a Theatre. Garden City,N.Y: Doubleday Anchor Books, 1949. 

Freedley, G. and J. Reeves. Histor 

y

of the Theatre. N.Y.: Crown 

p

ublishers, 1955. 

Jones, I. Designs for Masques and Pla 

y

s at Court. Oxford: University Press, 1924. 

Laban, Rudolf. The Master 

y

of Movement on the Stag. London: Macdonald & Evans, 1951. 

Nettl, P. The Stor 

y

of Danc e 

Music. New York: Philosophical Library, 1947. 

Sachs, C. Commonwealth of Art. New York: w.w. Norton and Company, 1946. 

Wright, F.L. Frank Llo 

yd

Wright on Architecture. N.Y.: Duell, Sloan, & Pearce, 1941. 

TRIBAL CULTURES AND RITUAL 

Frazer Sir J.G. The Golden Boug 

h

. N.Y.: Macmillan, 1935 (new abridged ed., 1959). 

-- -- ? 

..,.,. 

?

i.. r.,

hr1i

d ed. 1959 

Frazer, Sir J.G. Magic and Religion. 

?

t*JSCJILI.L.LWJ,

------- -. .

combined with above.) 

Corer, C. Africa Dances. London: John Lehman, 1949. 

Harrison, J. Ancient Art and Ritual. N.Y.: Henry Molt and Compan 

y

, 1913. 

Mead, M. Coming of Age in Samoa. New York: Blue Ribbon Books, 1934. 

Mead. M. Growing up in New Guinea. New York: Morrow, 1935. 

Mead, K. Sex and Temperament. New York: Morrow, 1935. 

Ridgeway, W. Dramas and Dramatic Dancing. Cambridge: university Press, 1915. 

Sachs, Curt. World History of the Dance. N.Y.: w.w. Norton and Company, Inc., 1937. 

Spence, L. Myth and Ritual in Dance, Game and Rhyme. London: Watts, 1947. 

Wissler, C. Indians of the U.S. New York: Doubleday, Doran & Company, 1940. 

,

?

N.Y.: 

Benedict, R. Patterns of Culture. New York: Houghton Mifflin Company, 1934. 

Boas, Franz. Mind of 

p

rimitive Man. 

n

New York: Macmillan a 

d Company, 1916. 

Boas, Franz. Primitive Art. New York: Capitol Publishing Company, 1951. 

EGYPT 

Fraser, Sir. J.G. The Golden 

Bough. N.Y.:

Macmillan, 1959 (new abridged edition). 

Oesterly, William. The Sacred Dance. New York: Macmillan, 1923. 

Ridgeway, W. Dramas and Dramatic Games. Cambridge: University Press, 1915. 

ROME AND EARLY CHRISTIANITY 

Beare, W. The Roman Stage. London: Methuen, 1950. 

Nicoll, Allardyce. Masks, Mimes and Miracl 

es

. London: Jiarrap, 1931. 

Young, K. The Drama and the Medieval Church. Oxford: The Clarendon Press, 1933. 

5

MEDIEVAL 

Huizinga, J. The Waning of the Middle Ag 

Sachs, C. World History of Dance. N.Y.: 

Taylor, H.O. The Medieval Mind. Lonaon: 

Warren, F. The 

Dance

of Death. London: 

es. N.Y.: Doubleday and Company, 1956. 

W. W. Norton and Company, 

Inc.,

1937. 

Macmillan, 1938. 

Oxford University Press, 1931. 

RENAISSANCE - 16th and 17th CENTURY 

Arbeau, Thoinot. Orchesograp1g. New York: Kamin Dance Publishers, 1948. 

Horst, L. Pre-Classic Dance Forms. New York: The Dnce Observe 1937. 

Sachs, C. World History of Dance. New York: W.W. Norton and Company, Inc., 1937. 

Weisford, Enid. The Count Masque. Cambridge: The University Press, 1927. 

BALLET - 18th CENTURY 

Rameua, Pierre. The Dancing Master. London: C.W. Beaumont, 1931. 

BALLET - 19th CENTURY 

Beaumont, C. A Short History of the Ballet. London: C.W. Beaumont, 1933. 

BALLET - 20th CENTURY 

Amberg, George. Ballet. New York: The New American Library, 1949. 

Balanchine, G. The Complete Stories of the Great Ballets. New York: Doubleday, 1954. 

. ?

De Mille, A. Dance to the Piper. Boston: Little 

Brown

and Company, 1951. 

Goode, G. The Book of Ballets. New York: 

Crown

Publishers, 1939. 

Haskell, Arnold. Diaghilev. 'New York: Simon and Schuster, 1935. 

ICarsavina, T. Theatre Street. New York: E.P. Dutton and Company, 1931. 

Magriel, Paul. Nijinsky. New York: Henry Holt and Company, 1946. 

Martin, J. The World Book of Modern Ballet. Cleveland: Worlding Publishing Co., 1952. 

GENERAL DANCE HISTORY AND PHILOSOPHY 

Chujoy, Anatole. Dance Encyclopedia. New York: Barnes, 1949. 

Ellis, Havelock. Dance of Life. Boston: Houghton-Mifflin, 1923. 

Horst, Louis. Pre-Classic Dance Forms. New York: Orthwine, 1951. 

Hutchinson, Ann. Labanotation. New York: New Directions, 1954. 

Kinney, Troy and M. Dance -Its Place in Art and Life. Fred. A. Stokes Co., 1935. 

Kirstein, Lincoln. Dance. New York: Putnam, 1935. 

Laban, Rudolf von. The Mastery of Movement. London: MacDonald & Evans, 1950. 

Langer, S. Philosophy in a New Key. Cambridge: Harvard University Press, 1942. 

Magriel, P'.D.' Ctironicles of the American Dance. New York: Henry Holt, 1948. 

Martin, J. America Dancing. New York: Dodge Publishing Company, 1936. 

Martin, J. The Dance. New York: Tudor, 1947. 

Martin, J. Introduction to the Vance. N.Y.: W.W. Norton and Co. 

Inc.,

1939. 

Martin, J. World Book of Modern Ballet. Clevelent: World Publishing Co., 1952. 

Sachs, C. The Commonwealth of Art. New York: Norton, 1946. 

Sachs, C. World History of the Dance. New York: Norton, 1937. 

Selden, E. Dancer's Quest. Berkeley: University of California Press, 1935. 

Shawn, Ted. Every Little Movement. New York: Ted Shawn, 1954. 

Sorell, W. The Dance Has Many Faces. Cleveland : World Publishing Company, 1951. 

6

• MODERN DANCE 

Armitage, M. Martha Graham. Los Angeles, California: N. Armitage, 

1937.

Duncan, Isadora. Art of the 

Dance.

New York: Theatre Arts, 

1928.

Duncan, Isadora. My Life. New York: Liveright, 

1927.

H'Doubler, M. Dance - A Creative Art Experience. New York: Crofts, 

1940.

H'Doubler, M. Dance and Its Place in Education. New York: Harcourt Brace, 

1925.

Horst, L. and C. Russell. Modern Dance Forms. San Francisco, Calif. :Impulse, 1962. 

Humphrey, D. The Art of Making Dances. New York: Rinehart, 

1959.

Magriel, Paul. Isadora Duncan. New York: Holt, 

1947.

Morgan, B. Martha Graham. New York: Duell, Sloan & Pearce, 1941. 

St. Denis, Ruth. An Unfinished Life. New York: Harper, 

1939.

PERIODICALS 

Dance Magazine 

Dance Observer 

Impulse 

Theatre Arts 

.

0,-' 