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Cover

Course Prefix
DNCE
Course Number
67
School Identifier
Course Suffix
C
Open Entry
No
Schools
IFA - Arts
Department
IDNC - Dance
Subject
DANCET - Dance Technique
Program
DANCET - Dance Technique
Course Title
Dance Rehearsal and Performance-Solos to Various Groups C
Short Title
Solo and Group Work
Course TOP Codes should be aligned with the program. Career Education must use an occupational TOP Code. Please check the TOP Code manual or consult with the Curriculum Specialist for assistance.
CB03 TOP Code
100810 - Commercial Dance
CB04 Course Credit Status
D - Credit - Degree Applicable
California Classification Code (CB11)
Y - Credit Course
Effective Implementation date of new/revised course
Fall 2016
Catalog Course Description
This course is designed to emphasize the creative process of solos, duets, and other small groupings as well as ensemble work within the choreographic works. It focuses on the technical and interpretive skills necessary to perform in these formats within three dance pieces. A performance and informal showing/s are included. Various in-progress showings will determine the final performance format and any additional performance opportunities. This course also includes completion of production tasks inherent in a dance concert. Performance limited to a total of four rehearsal and performance courses (DNCE 65A/B/C, 66A/B/C, and 67A/B/C) for a maximum of 7.5 units.
Class Schedule Course Description
Designed to develop solo, duet, ensemble and small group techniques within the rehearsal process and performance experience of three dances. Includes completion of production tasks inherent in a dance concert.
Justification of Need
This will resolve student and college scheduling needs without increasing costs of rehearsal and performance courses.
Material Fee
0.00
Is this a cross listed course? No

Units/Hours

CB04: Credit Status
D - Credit - Degree Applicable
CB10 Course COOP Work Exp-ED
N - Is not part of a cooperative work experience education program.
This course is variable No
This course is approved for lab workload (1.0) No
If no hours per category enter zero.
Weekly Faculty Contact Hours Lecture Min
1.00
Weekly Faculty Contact Hours Lecture Max
Weekly Faculty Contact Hours Lab Min
3.00
Weekly Faculty Contact Hours Lab Max
Weekly Faculty Contact Hours Learn Ctr Min
0.00
Weekly Faculty Contact Hours Learn Ctr Max
Weekly Faculty Contact Hours Total Min
4.00
Weekly Faculty Contact Hours Total Max
CB07 Min Units
2.00
CB06 Max Units
2.00
Total Min Unit Calculation
Lecture Lab Learn Ctr Total
Weekly Faculty Contact Hours1.003.000.004.00
Total Contact Hours16.6049.800.0066.40
Lecture Hour Equivalent1.002.500.003.50
Full Time Equivalent Faculty6.6716.670.0023.34
Units1.001.000.002.00
Outside of Class Hours33.20
Total Student Learning Hours99.60
Total Max Unit Calculation
Lecture Lab Learn Ctr Total
Weekly Faculty Contact Hours0.000.000.000.00
Total Contact Hours0.000.000.000.00
Lecture Hour Equivalent0.000.000.000.00
Full Time Equivalent Faculty0.000.000.000.00
Units0.000.000.002.00
Outside of Class Hours0.00
Total Student Learning Hours0.00
Maximum Enrollment 15
Anticipated Enrollment 10
Maximum WFCH
60.000
Average WFCH
40.000
Open Entry
No
Grading Method
Letter Grade or Pass/No Pass

Repeatability

Only select YES if non-credit or a qualified KNES Course
Repeatable
No
The Functionally Identical or Fractional Courses are editable by admin only.
Functionally Identical or Fractional Courses
Repeatability Group Information
If this course is part of a Repeatability Group, click the checkbox below.
This course is part of a Repeatability Group No
Repeatability Group

Distance Education

Each mode of instruction for an existing course intended for delivery by Distance Education (DE) shall be separately reviewed and approved by the Curriculum Committee prior to being offered. DE mode of instruction includes any regularly scheduled work that replaces otherwise scheduled class (“face”) time. [per Education Code 55378]
This course is/or proposed for DE

General Education/Transfer

Degree Transfer Applicability
Proposed Transfer Types
Acceptable to CSUC, UC or Private
Explanation
UC Transferable Course
L - UC credit limitations (see UC list)
General Education
UC Approval Date 08/19/2016
CSU Approval Date 02/09/2016
CSU GE Approval Date 08/01/2016
IGETC Approval Date
Local GE Approval Date
Comparable SC/IVC Courses
680070.00
Description DANC 11 Active
Subject
Course
680070.05
Description DANC 11 Active
Subject
Course
Comparable Transfer Courses
Dance Production
Course Number
Dance 167
Articulation College System
UC
4-yr Institution
UC Riverside
Dance Performance
Course Number
Dance 180 A
Articulation College System
CSU
4-yr Institution
CSU Long Beach
Course Number
Articulation College System
4-yr Institution
SC/IVC Code No
CSU GE Yes
E - Lifelong Understanding and Self-Development
CSU AI Areas No
IGETC No
Cal-GETC No
CID

Requisites

Course Requisites
Recommended Preparation
Requisite Comment
Prior dance technique courses equivalent to beginning/intermediate level and dance science courses
Parenthesis
Condition
Parenthesis
Limitations on Enrollment
Requisite Comment
By audition only
Parenthesis
Non Course Requirements
Condition
Parenthesis
Conditions of Enrollment Catalog View
 

Requisite Validation

Legacy Requisite Validation

Learning Objectives



Bloom's Taxonomy

Students participating in this class will:
Analyze and make differential use of dynamics, focus, accents, transitions, phrasing, genre specific stylizations and physical and emotional projection required for the performance of three different pieces as related to professional standards.
Use movement exploration and improvisational skills to collaborate with a choreographer in the development of a solo, duet, small group, and/or ensemble work.
Exhibit progress in utilizing the body as an expressive instrument for each of three pieces, including demonstration of: a.Technical abilities including body alignment, coordination, strength, flexibility, relaxation. b.Detailed accuracy in relation to space and directions, movement shape and sequences, gestures and musicality. c.Ability to effectively communicate ideas,story and emotions by verbal and non verbal means, including projection of energy and focus.
Demonstrate the ability to complete dance production technical requirements.
Analyze the differing choreographic processes in the development of a solo, duet, small group and ensemble work.
Improved assessment of areas needing improvement and achieved progress as an individual and/or for the group/s based upon standards in the profession for each piece.
Demonstrate improved time management skills required for demands of three pieces and other school/work/personal commitments.
Demonstrate various collaborative relationships for solos, duets, small groups and/or ensembles within three dance pieces.
Demonstrate improved use of awareness, dynamics, transitions, momentum, physical strength partnering synergy and other factors involved in basic partnering.

Content

If no fields are showing on this tab, the Lecture and Lab fields on the Units/Hours tab are 0
Course Lecture Content (Use outline format)

  1. Orientation
    1. Class requirements and grading criteria
    2. Review of rehearsal and performance class policies
      1. Communications and commitment to a group and performance
      2. Semester schedules
      3. Time management - planning for juggling workload involved in being in multiple pieces as related to the standards within the profession, including::
        1. rehearsal preparations for three pieces
        2. class and production requirements
        3. work and other school commitments
        4. personal commitments and health
      4. Record-keeping for each of three pieces within journals
        1. growth and development in techniques related to solos and duets
        2. movement patterns and sequences
        3. video review to indentify areas needing improvement
        4. reflections on challenges in fulfulling roles and expectations
        5. corrections and feedback
      5. Mental and physical preparations and practice before, during and in-between rehearsals
      6. Increased leadership expectations as related to level and as a soloist or principal dancer
  2. Review of Class Procedures, Audition and Rehearsal Code of Conduct as Related to the Profession
    1. Production procedures
      1. Load in
      2. Technical and dress rehearsals
      3. Strike
      4. Clean-up of back of house
      5. Set-up and clean-up of front of house
    2. Rehearsal etiquette
      1. Punctuality
      2. Staying focused during rehearsals
      3. Respect for faculty mentors, choreographers, and production staff
      4. Adaptability, being open to various choreographic methods and changes throughout the process
    3. Theatre and performance code of conduct
      1. Security protocosl
      2. Costume and prop protocols
      3. Performance do's and don'ts
      4. Theater - House rules
  3. Creative Processes in Development of Solos, Duets, Small Groups and Ensembes for Each of Three Dances including:
    1. Collaborative discussions with the choreographer
    2. Definition of the emotional landscape and arc of the dance
    3. Research to further understand the historical and cultural context of the dance
    4. Identifying the movement vocabulary/dance style best suited for the expression of the main idea of the solo and/or other groupings
    5. Rhythmic, movement, and spatial accuracy involved in unison work
    6. Basic partnering other principles for duets, small groups and ensembles
      1. Physics of partnering
      2. Awareness of self, partner/s and others in proximity
      3. Personal and shared space
      4. Trust development
      5. Weight transfer
      6. Groups shapes
      7. Strength, endurance, and coordination
      8. Use of improvisation
      9. Use of alternative points of physical connection
      10. Duet, small group, and ensemble relationships beyond physical connections
  4. Study of Music Accompaniment including:
    1. Silence
    2. Compositions
    3. Noises and sounds including:
      1. Accuracy of rhythmic patterns
      2. Overall musicality in relationship to choreographer goals and focus for three dances
  5. Development of "Presence" Associated with Solos, Duets, Small Groups and Ensembles for Each Dance including:
    1. Projection in space
    2. Energy and intensity
    3. Comedic timing
    4. Dramatic expression
    5. Task-oriented energy and expression
  6. Development of Collaborative Abilities Associated with Solos, Duets, and Groups of Various Sizes, for Each Dance, including Defining the Collaborative Relationshipsand Interactions betweenthe Dancer and:
    1. Their use of space and negative space
    2. Sharing or contrasting movements and gestures
    3. Their use of energy - giving and responding to another's energy and/or movement
    4. Music, silence or sound
    5. Use of props
  7. Development of Interpretive Abilities as Related to Solos, Duets, Small Groups and Ensembles for Each Dance
    1. Character development relative to arc of the dance
    2. Identifying relationship to audience
    3. Study of the emotional content of the dance to infer effects on characterization and interpretation
  8. Development of Interpretative Abilities as Related to the Profession for Three Dances
    1. Character development relative to the arc of a dance
    2. Establishing the defined relationship(s) to the audience
    3. Study of the emotional content of the dance to infer effects on characterization and interpretation of choreographer's intent
    4. Fulfillment of higher technical and artistic expectations as a soloist and/or principal dancer within a larger piece
  9. Basic Analysis and Evaluation of a Dance Performance for use in a Written Dance Critique
    1. Overview of the dance critique structure
    2. Idea presentation comparing and contrasting the use of solos, duets, small groups and/or ensembles within three pieces
    3. Formulating opinions
    4. Providing specific examples from what was presented to support ideas and opinions
  10. Final Self-Evaluation of Performance/s within the Context of Course Concepts and Expectations of Self and Others
    1. Individually
    2. Overall piece for each of three dances

Course Lab/Activity Content

  1. Implementation of Rehearsal Etiquette and a Professional Work Ethic
  2. Collaboration with a choreographer to develop solo, duet, small group and ensemble movement material as related to the profession for three dances
    1. Movement exploration to create material unique to personal abilities and the choreographer's intent and artistic choices
    2. Contact improvisation exploring partner abilities, developing trust and indentifying physical possibilities 
    3. Implementing historical and cultural context/s
  3. Practical rehearsal of solo, duet, small group and ensemble work for three different pieces:
    1. Movement material in relationship to self and/or others:
      1. Development of accuracy of body shapes, movement and gestures
      2. Lines of the body
      3. Accuracy of spatial orientations
      4. Style and emotional energy
      5. Physical strength, endurance and coordination
      6. Practice of jumps, lifts, support, and turns 
      7. Practice of timing, transitions, and execution
    2. Practice of partnering 
      1. Awareness of self and partner/s
      2. Places of physical connections
      3. Trust development
      4. Weight transfer
      5. Use of improvisation
      6. Traditional and contemporary partnering techniques with in various genre including ballet, jazz, modern dance, and ballroom
      7. Collaborative relationships with for the soloist, duet, small group or ensemble in terms of interactions between dancer/s and:
        1. Prop or costume 
        2. Physical environment
        3. Negative space
        4. Music, sound, or silence
        5. Audience
      8. Physics of timing and execution of partnering movement
        1. fluidity and timing of movement
        2. use of momentum
        3. effects of interia
        4. transitions
      9. Development of partner synergy
        1. matching lines of the body
        2. accuracy of spatial orienttion
        3. unity of style and emotional energy
        4. giving and responding to another's energy
    3. Musicality and emotional rhythm of the piece
  4. Practice of interpretive Abilities Associated with Solos, duets, and groups of other sizes for each piece
    1. Character development according to the arc of the dance
      1. Comedic timing
      2. Dramatic expression
    2. Development of "presence"
    3. "Movement for Movement Sake" - task-oriented pieces focused on the design elements:
      1. musicality complexities
      2. spatial complexities
      3. movement simplicity or intricacies
  5. Transposing Solo Choreography to the Stage for each of three pieces: 
    1. Spatial adjustments
    2. Adapting to light design, set, costumes, and other typical variables requiring modifications in the profession
    3. Planning locations available for mental and physical warm-up
  6. Participation in and Assessment of a Public Performance: Informal or Formal for each of three pieces
    1. Fulfillment of solo, duet, small group and/or ensemble work within three dance pieces synthesizing technical improvements, accuracy in movement and rhythms, and artistic interpretations as related to a choreographer's vision
    2. Ability to make differential use of energy, focus, acents, transitions, phrasing, genre specific stylizations, and projection
    3. Completion of entire cast warm-up essential to prepare the physical body and mind for techniques needed for performance and entire performance week including technical and dress rehearsals
    4. Ability to develop a focus and preparation specific to the performance of solo/s, duets, small groups or ensemble work within each dance and:
      1. Stress level assessment-psyching up versus out
      2. Application of stress management techniques
        1. Breathing
        2. Relaxation techniques
        3. Use of creative visualization with or without music
        4. Distraction techniques
      3. Individual/duet or group warm-up: finding a location
  7. Completion of production technical requirements utilizing proper prcedures including:
    1. Load in
    2. Theater/House rules
      1. Punctuality
      2. Signing in and out each time
      3. No costumes or make-up in the front of house
      4. Respecting individual variance in preparation styles in dressing room
      5. Feet on the floor in seating areas
      6. Respecting quiet times and locations
      7. Protocols for entering and exiting stage areas
    3. Props and costume protocols
    4. Strike
    5. Dressing room and green room maintenance
    6. Publicity 

 

 

 

 

 

 

 

 

 

Assignments

Typical Outside-of-Class Assignments
Reading Assignments
a. Reading from periodicals, textbooks, newspapers, internet,and other printed material regarding expectations development and review of expectations, and the development of solos/duets/small groups/ensembles, partnering work, historical and cultural background, role research and/or other class concepts.
Writing Assignments
a.Journal and self-evaluation of the rehearsal and performance process as related to profession standards for each of three pieces including: technical, artistic and leadership expectations, collaborative relationships, specific differences and challenges particular to each piece, corrections, and feedback, video review, preparations for rehearsal, and final performance assessment. b.Dance critique of a performance (live, video or internet) focusing on the use solos, duets, or other groupings within a larger work.
Oral Assignments
a. Review of videotaped rehearsals to assess areas needing improvement. b. Review other examples of related art works in order to observe the use of solos, duets and other groups within the choreography of the dance piece including the historical and/or cultural background at the time the piece was created. c. Review and practice of movement material applying changes, corrections and feedback, artistic interpretation and proper technique.
Other Assignments
Class discussion as well as student-instructor question and response throughout the semester to evaluate students ability, work ethic and preparations for rehearsal and performance/s including research, protocols, individual and group corrections.

Method of Evaluation

Legacy Methods of Evaluation

Instructor evaluation of weekly rehearsals and in terms of rehearsal etiquette, work ethic, as related to the profession including punctuality and mental and physical preparations,  abilities and progress in various techniques, improvisations,  demonstrated application of corrections and feedback, movement accuracy and artistic interpretations.

Instructor evaluation of the student's participation in the development of the work through creative discussions and choreographic experimentation.

Instructor evaluation of student's completion assigned production aspects of the dance concert including proper procedures and protocols.

Instructor assessment of journals the growth and challenges specific to the development and performance of each of three pieces including: increased technical, artistic and leadership  expectations specific to choreographic goals, collaborative relationships, perceived corrections and feedback, video review and practice/preparations for the next rehearsal.  

Instructor assessment of written dance critique that contrasts the use of solos, duets, small groups, and/or ensemble stating whether these add to or detract from student's perceived interpretation of the choreographic goals of the works. Evaluation criteria includes clarity of ideas and opinions with specific descriptions and examples to support presentation, in terms of class concepts and techniques. 

Instructor assessment of student self-evaluation analyzing individual and group performance relative to artistic goals for three dances demonstrating the student's ability to assess their own performance and progress accurately according the professions standards as well as their feedback on the overall success of each piece. 

Instructor assessment of final performance week in terms of achievement and synthesis of class concepts, adherence to class policies and procedures including mental and physical preparation before, during, and in-between performances, technical and dress rehearsals.

Instructor will evaluate quality assigned dance production duties related to proper procedure and protocols.

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Student Learning Outcomes

Outcome Text
Student will develop an ability to interpret a specific emotion/state of being as required by the choreographer with enough intensity to project to the audience and maintain character throughout the performance of the dance.
Outcome Text
Recognize and participate in the format and procedures for auditions and casting processes of a dance concert.
Outcome Text
Demonstrate collaboration skills in choreography projects of various dance genres.
Outcome Text
Retain and embody movements and movement qualities given by choreographers.
Outcome Text
Participate in selected concerts and presentations on-campus and in the community.
Outcome Text
Analyze and critique movement through oral, visual and written forms.

Required Texts

Specify Formatting Style
APA
Textbook (Minimum of 1 Required)
Recommended Yes
Condition and/or
Author(s) Franklin, E.
Title Dance Imagery for Technique and Performance
Edition 2nd
City
Publisher Human Kinetics
Year 2013
Rationale
ISBN # 0736067884
Textbook Transfer Data
Manual
Periodical
Software
Other Learning Materials

Library

Resource Needs
Library electronic resources will support this class No
N/A No
I recommend we add No
Materials in the Library support this class No
Other No
Legacy Additional Resources

Attached Files

Attach any required or supporting documents here. Supported file types include Word, PDF, Excel, and other similar file types.

Attached File
SLOs DNCE 67 2 units

Codes/Dates

Dates
School Approval
10/02/2014
Curriculum Committee Approval
02/09/2016
Board of Trustees
03/28/2016
State Approval
08/01/2016
Technical Change Comment
Originator Milostan Egus, Kathryn
Origination Date
2014-09-22
Implement Date
2016-02-26
Instructional Services
Effective Implementation date of new/revised course Fall 2016
Classification and Codes
Division IFA - Arts
Department IDNC - Dance
Program DANCET - Dance Technique
Subject DNCE
Suggested Catalog ID
993168.00
The auto-generated Catalog ID can be copied from the "Suggested Catalog ID" field above and pasted here. It can then be edited as necessary by Administrative user(s) only.
Catalog Id 14395.05
CB03 TOP Code
100810 - Commercial Dance
CB00 Course Control Number
CCC000575586
CB04 Course Credit Status
D - Credit - Degree Applicable
CB05 Course Transfer Status
A - Transferable to both UC and CSU.
CB08 Course Basic Skill Status (PBS Status)
N - Not Basic Skills
CB09 SAM Code
C - Clearly Occupational
CB10 Course COOP Work Exp-ED
N - Is not part of a cooperative work experience education program.
CB11 California Classification Codes
Y - Credit Course
CB13 Special Class Status
N - Course is not a special class.
CB21 Course Prior to College
Y - Not applicable
CB22 Non Credit Course Category
Y - Not Applicable, Credit course
CB23 Funding Agency Category
Y - Not Applicable (funding not used to develop course)
CB24 Program Course Status
Not Program Applicable
CB25 Course General Education Status
CB26 Course Support Course Status
CB27 Course Upper Division Status
CIP Code
Soc Code
Course Accounting Method
C - Census
Material Code
Required Prereq
No
Conditions of Enrollment Catalog View
Prereq Code
Prereq Earned
Required Coreq
No
Coreq Key
Coreq Course(s)
Admin Use Only

Methods of Instruction

Method of Instruction
Methods of Instruction
L-L - Lecture/Lab Combination

ASSIST

Queue for ASSIST No
Last Request From Queue
Last Direct Request 08/19/2016

ASSIST Preview

Prefix DNCE
Course Number
67C
Content

  1. Orientation
    1. Class requirements and grading criteria
    2. Review of rehearsal and performance class policies
      1. Communications and commitment to a group and performance
      2. Semester schedules
      3. Time management - planning for juggling workload involved in being in multiple pieces as related to the standards within the profession, including::
        1. rehearsal preparations for three pieces
        2. class and production requirements
        3. work and other school commitments
        4. personal commitments and health
      4. Record-keeping for each of three pieces within journals
        1. growth and development in techniques related to solos and duets
        2. movement patterns and sequences
        3. video review to indentify areas needing improvement
        4. reflections on challenges in fulfulling roles and expectations
        5. corrections and feedback
      5. Mental and physical preparations and practice before, during and in-between rehearsals
      6. Increased leadership expectations as related to level and as a soloist or principal dancer
  2. Review of Class Procedures, Audition and Rehearsal Code of Conduct as Related to the Profession
    1. Production procedures
      1. Load in
      2. Technical and dress rehearsals
      3. Strike
      4. Clean-up of back of house
      5. Set-up and clean-up of front of house
    2. Rehearsal etiquette
      1. Punctuality
      2. Staying focused during rehearsals
      3. Respect for faculty mentors, choreographers, and production staff
      4. Adaptability, being open to various choreographic methods and changes throughout the process
    3. Theatre and performance code of conduct
      1. Security protocosl
      2. Costume and prop protocols
      3. Performance do's and don'ts
      4. Theater - House rules
  3. Creative Processes in Development of Solos, Duets, Small Groups and Ensembes for Each of Three Dances including:
    1. Collaborative discussions with the choreographer
    2. Definition of the emotional landscape and arc of the dance
    3. Research to further understand the historical and cultural context of the dance
    4. Identifying the movement vocabulary/dance style best suited for the expression of the main idea of the solo and/or other groupings
    5. Rhythmic, movement, and spatial accuracy involved in unison work
    6. Basic partnering other principles for duets, small groups and ensembles
      1. Physics of partnering
      2. Awareness of self, partner/s and others in proximity
      3. Personal and shared space
      4. Trust development
      5. Weight transfer
      6. Groups shapes
      7. Strength, endurance, and coordination
      8. Use of improvisation
      9. Use of alternative points of physical connection
      10. Duet, small group, and ensemble relationships beyond physical connections
  4. Study of Music Accompaniment including:
    1. Silence
    2. Compositions
    3. Noises and sounds including:
      1. Accuracy of rhythmic patterns
      2. Overall musicality in relationship to choreographer goals and focus for three dances
  5. Development of "Presence" Associated with Solos, Duets, Small Groups and Ensembles for Each Dance including:
    1. Projection in space
    2. Energy and intensity
    3. Comedic timing
    4. Dramatic expression
    5. Task-oriented energy and expression
  6. Development of Collaborative Abilities Associated with Solos, Duets, and Groups of Various Sizes, for Each Dance, including Defining the Collaborative Relationshipsand Interactions betweenthe Dancer and:
    1. Their use of space and negative space
    2. Sharing or contrasting movements and gestures
    3. Their use of energy - giving and responding to another's energy and/or movement
    4. Music, silence or sound
    5. Use of props
  7. Development of Interpretive Abilities as Related to Solos, Duets, Small Groups and Ensembles for Each Dance
    1. Character development relative to arc of the dance
    2. Identifying relationship to audience
    3. Study of the emotional content of the dance to infer effects on characterization and interpretation
  8. Development of Interpretative Abilities as Related to the Profession for Three Dances
    1. Character development relative to the arc of a dance
    2. Establishing the defined relationship(s) to the audience
    3. Study of the emotional content of the dance to infer effects on characterization and interpretation of choreographer's intent
    4. Fulfillment of higher technical and artistic expectations as a soloist and/or principal dancer within a larger piece
  9. Basic Analysis and Evaluation of a Dance Performance for use in a Written Dance Critique
    1. Overview of the dance critique structure
    2. Idea presentation comparing and contrasting the use of solos, duets, small groups and/or ensembles within three pieces
    3. Formulating opinions
    4. Providing specific examples from what was presented to support ideas and opinions
  10. Final Self-Evaluation of Performance/s within the Context of Course Concepts and Expectations of Self and Others
    1. Individually
    2. Overall piece for each of three dances

Lab Content

  1. Implementation of Rehearsal Etiquette and a Professional Work Ethic
  2. Collaboration with a choreographer to develop solo, duet, small group and ensemble movement material as related to the profession for three dances
    1. Movement exploration to create material unique to personal abilities and the choreographer's intent and artistic choices
    2. Contact improvisation exploring partner abilities, developing trust and indentifying physical possibilities 
    3. Implementing historical and cultural context/s
  3. Practical rehearsal of solo, duet, small group and ensemble work for three different pieces:
    1. Movement material in relationship to self and/or others:
      1. Development of accuracy of body shapes, movement and gestures
      2. Lines of the body
      3. Accuracy of spatial orientations
      4. Style and emotional energy
      5. Physical strength, endurance and coordination
      6. Practice of jumps, lifts, support, and turns 
      7. Practice of timing, transitions, and execution
    2. Practice of partnering 
      1. Awareness of self and partner/s
      2. Places of physical connections
      3. Trust development
      4. Weight transfer
      5. Use of improvisation
      6. Traditional and contemporary partnering techniques with in various genre including ballet, jazz, modern dance, and ballroom
      7. Collaborative relationships with for the soloist, duet, small group or ensemble in terms of interactions between dancer/s and:
        1. Prop or costume 
        2. Physical environment
        3. Negative space
        4. Music, sound, or silence
        5. Audience
      8. Physics of timing and execution of partnering movement
        1. fluidity and timing of movement
        2. use of momentum
        3. effects of interia
        4. transitions
      9. Development of partner synergy
        1. matching lines of the body
        2. accuracy of spatial orienttion
        3. unity of style and emotional energy
        4. giving and responding to another's energy
    3. Musicality and emotional rhythm of the piece
  4. Practice of interpretive Abilities Associated with Solos, duets, and groups of other sizes for each piece
    1. Character development according to the arc of the dance
      1. Comedic timing
      2. Dramatic expression
    2. Development of "presence"
    3. "Movement for Movement Sake" - task-oriented pieces focused on the design elements:
      1. musicality complexities
      2. spatial complexities
      3. movement simplicity or intricacies
  5. Transposing Solo Choreography to the Stage for each of three pieces: 
    1. Spatial adjustments
    2. Adapting to light design, set, costumes, and other typical variables requiring modifications in the profession
    3. Planning locations available for mental and physical warm-up
  6. Participation in and Assessment of a Public Performance: Informal or Formal for each of three pieces
    1. Fulfillment of solo, duet, small group and/or ensemble work within three dance pieces synthesizing technical improvements, accuracy in movement and rhythms, and artistic interpretations as related to a choreographer's vision
    2. Ability to make differential use of energy, focus, acents, transitions, phrasing, genre specific stylizations, and projection
    3. Completion of entire cast warm-up essential to prepare the physical body and mind for techniques needed for performance and entire performance week including technical and dress rehearsals
    4. Ability to develop a focus and preparation specific to the performance of solo/s, duets, small groups or ensemble work within each dance and:
      1. Stress level assessment-psyching up versus out
      2. Application of stress management techniques
        1. Breathing
        2. Relaxation techniques
        3. Use of creative visualization with or without music
        4. Distraction techniques
      3. Individual/duet or group warm-up: finding a location
  7. Completion of production technical requirements utilizing proper prcedures including:
    1. Load in
    2. Theater/House rules
      1. Punctuality
      2. Signing in and out each time
      3. No costumes or make-up in the front of house
      4. Respecting individual variance in preparation styles in dressing room
      5. Feet on the floor in seating areas
      6. Respecting quiet times and locations
      7. Protocols for entering and exiting stage areas
    3. Props and costume protocols
    4. Strike
    5. Dressing room and green room maintenance
    6. Publicity 

 

 

 

 

 

 

 

 

 

Course Description
This course is designed to emphasize the creative process of solos, duets, and other small groupings as well as ensemble work within the choreographic works. It focuses on the technical and interpretive skills necessary to perform in these formats within three dance pieces. A performance and informal showing/s are included. Various in-progress showings will determine the final performance format and any additional performance opportunities. This course also includes completion of production tasks inherent in a dance concert. Performance limited to a total of four rehearsal and performance courses (DNCE 65A/B/C, 66A/B/C, and 67A/B/C) for a maximum of 7.5 units.
Is Honors
No
Lecture Hours
16.6000
Lab Hours
49.8000
Outline Approval Date
2016-02-09
Outline Effective Date
2016-02-26
Prerequisites
Corequisites
Advisories
Recommended Preparation
Prior dance technique courses equivalent to beginning/intermediate level and dance science courses
Enrollment Limitations
Limitations on Enrollment
By audition only
Objectives
  • Analyze and make differential use of dynamics, focus, accents, transitions, phrasing, genre specific stylizations and physical and emotional projection required for the performance of three different pieces as related to professional standards.
  • Use movement exploration and improvisational skills to collaborate with a choreographer in the development of a solo, duet, small group, and/or ensemble work.
  • Exhibit progress in utilizing the body as an expressive instrument for each of three pieces, including demonstration of: a.Technical abilities including body alignment, coordination, strength, flexibility, relaxation. b.Detailed accuracy in relation to space and directions, movement shape and sequences, gestures and musicality. c.Ability to effectively communicate ideas,story and emotions by verbal and non verbal means, including projection of energy and focus.
  • Demonstrate the ability to complete dance production technical requirements.
  • Analyze the differing choreographic processes in the development of a solo, duet, small group and ensemble work.
  • Improved assessment of areas needing improvement and achieved progress as an individual and/or for the group/s based upon standards in the profession for each piece.
  • Demonstrate improved time management skills required for demands of three pieces and other school/work/personal commitments.
  • Demonstrate various collaborative relationships for solos, duets, small groups and/or ensembles within three dance pieces.
  • Demonstrate improved use of awareness, dynamics, transitions, momentum, physical strength partnering synergy and other factors involved in basic partnering.
Instruction Methods
Lecture/Lab Combination
Evaluation Methods
Other Texts
Assignments
  • Reading

    a. Reading from periodicals, textbooks, newspapers, internet,and other printed material regarding expectations development and review of expectations, and the development of solos/duets/small groups/ensembles, partnering work, historical and cultural background, role research and/or other class concepts.

  • Writing

    a.Journal and self-evaluation of the rehearsal and performance process as related to profession standards for each of three pieces including: technical, artistic and leadership expectations, collaborative relationships, specific differences and challenges particular to each piece, corrections, and feedback, video review, preparations for rehearsal, and final performance assessment. b.Dance critique of a performance (live, video or internet) focusing on the use solos, duets, or other groupings within a larger work.

  • Oral Assignments

    a. Review of videotaped rehearsals to assess areas needing improvement. b. Review other examples of related art works in order to observe the use of solos, duets and other groups within the choreography of the dance piece including the historical and/or cultural background at the time the piece was created. c. Review and practice of movement material applying changes, corrections and feedback, artistic interpretation and proper technique.

  • Other Assignments

    Class discussion as well as student-instructor question and response throughout the semester to evaluate students ability, work ethic and preparations for rehearsal and performance/s including research, protocols, individual and group corrections.