COURSE PROPOSAL

Course Name: Choreography Practicum 
Course Prefix: DANC
Course Number: 3520
             Submitted by (Name & E-Mail):  Amanda Sowerby, asowerby@weber.edu

Current Date:  1/27/2012
College: Arts & Humanities
Department:   Performing Arts                              
From Term: Fall  2012 

Substantive

change 

Current Course Subject DANC
Current Course Number 3520

DANC *3520. Choreography Practicum (1) Supervised experience choreographing a dance for public performance. Arranged through cooperative effort of student and supervisor. Prerequisite: DANC 3510 and approval of instructor. May be repeated for credit.

New/Revised Course Information:

Subject:  DANC            

Course Number: 3520

 Check all that apply:
    This is for courses already approved for gen ed.
    Use a different form for proposing a new gen ed designation.
DV  CA  HU  LS  PS  SS 
EN  AI  QL  TA  TB  TC  TD  TE

Course Title: Choreography Practicum

Abbreviated Course Title:

Course Type:  LAB

Credit Hours:  2  or if variable hours:    to

Contact Hours: Lecture   Lab 5   Other

Repeat Information:  Limit 3   Max Hrs 6 

Grading Mode:  standard

This course is/will be: a required course in a major program
a required course in a minor program
a required course in a 1- or 2- year program
elective

Prerequisites/Co-requisites:

Prerequisite: DANC 3510 and approval of instructor.

Course description (exactly as it will appear in the catalog, including prerequisites):

DANC *3520. Choreography Practicum (2)
Supervised experience choreographing a dance for public performance. Arranged through cooperative effort of student and supervisor. Prerequisite: DANC 3510 and approval of instructor. May be repeated for credit.

Justification for the new course or for changes to an existing course. (Note: Justification should emphasize academic rationale for the change or new course. This is particularly important for courses requesting upper-division status.)

This change is long overdue and reflects an update in keeping with the Curriculum Policy and Procedures Manual.

This course provides preparation for thesis work and requires students to rehearse dancers and produce a dance work for our main-stage production. Closer observation of Choreography Practicum students has shown that they work six to eight hours a week on their dance works (four hours of rehearsal; two to four hours on preparations). Two credit hours will be commensurate with student efforts.

UNIVERSITY CURRICULUM COMMITTEE POLICY AND PROCEDURES MANUAL
SECTION 5 - CREDIT HOURS/SUBSTANTIVE COURSE PROPOSALS
Revised: 6-9-10
CREDIT HOURS - The unit by which an institution may measure its course work. The number of credit hours assigned to a course is usually defined by the number of hours per week in class and the number of weeks in the session. One credit hour is usually assigned to a class that meets fifty minutes a week over a full semester; in laboratory, fieldwork, drawing, music, practical arts, physical education, or similar type of instruction, one credit hour is assigned for a session that meets two or three hours a week during a full semester.
CREDIT RATIOS - Academic credit is a measure of the total time commitment required of a typical student in a particular course of study. Total time consists of three components: (1) time spent in class; (2) time spent in laboratory, studio, fieldwork, or other scheduled activity; (3) time devoted for reading, studying, problem solving, writing, or preparation. One full-semester credit hour is assigned in the following ratio of component hours per week devoted to the course of study: (1) lecture courses – one contact hour for each credit hour, (two hours of outside work implied); (2) laboratory or studio course – at least two contact hours for each credit hour, (one hour of outside preparation implied); (3) independent study – at least three hours of work per week for each credit hour.



Please note: there will not be an attachment of old AND new syllabus as course will not change. The increase in credit hour is changing to reflect the rigor the course already possesses.

INFORMATION PAGE
for substantive proposals only

1. Did this course receive unanimous approval within the Department?

true

If not, what are the major concerns raised by the opponents?

2. If this is a new course proposal, could you achieve the desired results by revising an existing course within your department or by requiring an existing course in another department?

N/A

3. How will the proposed course differ from similar offerings by other departments? Comment on any subject overlap between this course and topics generally taught by other departments, even if no similar courses are currently offered by the other departments. Explain any effects that this proposal will have on program requirements or enrollments in other department. Please forward letters (email communication is sufficient) from all departments that you have identified above stating their support or opposition to the proposed course.

N/A

4. Is this course required for certification/accreditation of a program?

no

If so, a statement to that effect should appear in the justification and supporting documents should accompany this form.

5. For course proposals, e-mail a syllabus to Faculty Senate which should be sufficiently detailed that the committees can determine that the course is at the appropriate level and matches the description. There should be an indication of the amount and type of outside activity required in the course (projects, research papers, homework, etc.).

DANCE 3520, Fall 2012

Choreography Practicum

Instructor: Erik Stern

Credit hours: Two (2)

Meeting Time: TBA

 

Syllabus

 

Goal:

This course provides students with the opportunity and support to choreograph produce and stage concert dance.

Concert dance (also known as performance dance or theatre dance) is dance performed for an audience. It is frequently performed in a theatre setting, though this is not a requirement, and it is usually choreographed and performed to set music.

 

Learning Outcomes:

The following areas are assessed through in-class performance, peer feedback, written mid-term and end-of-semester showings.

1.    Have a kinesiological understanding of the body with an ability to identify, analyze and resolve specific physical problems such as muscular imbalances and individual differences.

2.   Gain proficiency in the principles of dance technique.

3. Are able to critically evaluate and assess what they and others have created.

4. Are proficient in verbal and written communication as they relate to both academic and creative topics.

5.   Have an historical context in dance including its relationship to society, culture and history.

6. Have a practical working knowledge of how to organize and produce a dance concert, including artistic and technical considerations.

7. Are aware of dance as a way to enliven communities and are able to organize and facilitate community events and mobilize community involvement.

8.Are able to converse with artists in related fields, including music as it relates to the choreographic process.

9. Have a practical working knowledge of how to use technology in creative and academic projects.

 

Dance 3520 is designed to give dance students who have completed the choreography series (DANCE 3500 & 3510) an opportunity to choreograph for a WSU Dance Program Orchesis Concert. Students enrolled in Dance 3520 must also enroll in Dance Production (DA 3810). Together these two courses will support and inform students as they choreograph for Fall Orchesis Concert.

The process is similar to the final project in DANCE 3510 in that enrolled students must create a completed work. In this case, the dance is conceived and completed for Orchesis, which is a formal, advertised concert, making DANCE 3520 a more involved effort. This means that students now will be required to work with a lighting designer & costume coordinator, a sound engineer, publicist, tech schedule, mid-point showings, production meetings, technical and spacing rehearsals, and other aspects of the production.

 

Students will rehearse four hours per week, beginning the second week of school.  It is preferable that rehearsals are broken into two two-hour blocks.  To assure students are prepared for rehearsals, they will prepare a detailed rehearsal plan before each rehearsal.  Initial plans will be shown to the mentor for feedback.  These plans should take two to four hours to prepare per week.  Total time per week then is six to eight hours.

 

Students will write an initial description of their dance, must keep a roll and a journal. They will also be receiving feedback throughout the process. Please have one notebook for Choreography Practicum and Dance Production in which you can place all related papers: notes from meetings, articles, papers, journal entries, etc. The notebook will be collected towards the end of the semester.

 

Each student choreographer will be assigned an advisor/mentor from the three dance faculty. For more about advisor/student responsibilities see below.

 

Design and Technical Aspects of Dance. Fortunately we have a concert with technical support: lighting and costume design, sound technician, directors, stage managers, crew, publicist, etc. For many of you, these are new things to consider. To help with these new areas, there will be short assignments.

 

Lighting. The concert will have a designated lighting designer. This semester it is Van Tinkham. In the coming weeks you will be required to reprint an article about lighting design. This article is designed to get you thinking in terms of simple lighting designs, so you will be prepared come technical rehearsal time to be clear and succinct. Remember that the lighting design in Fall is modest, just a few cues, and needs to be done in about an hour. You will be required to write short responses to the article as it relates to the dance you are creating.

 

Costume. The costumes for Fall Orchesis are coordinated by Jean Louise England, Costume Studio Manager. She will be pulling all costumes for student works from the costume shop and altering them for the particular dances. In the coming weeks you will be required to reprint an article about costume conception and/or design. This article will get you thinking in terms of simple costume designs. You will be required to write a short response to the article as it relates to the dance you are creating. It is important that you be respectful of Jean Louise's time. Do not just show up expecting a discussion or costumes. Pay attention to notices about meeting times with Jean Louise, and be respectful of all early costume ideas. As with your dances, beginning ideas need time to improve and are not necessarily complete or ready for the stage. Be attentive to costume fitting schedules and make sure your dancers are aware of their responsibilities regarding fittings.

 

Sound. A sound technician will be making a master CD for the concert. If you have special needs for your dance or require a mix for rehearsal, this must be communicated early. Your advisor will also help with discussion and choosing sound for your dance.

 

Communication. Since a dance concert is a decentralized affair, communication is essential. Much of what works and what doesn’t work in a concert is based on everybody knowing what is happening, when it should happen, and why it’s happening. Just as dancers in Orchesis are graded in a large part on attendance, being willing to participate, and energy, DANCE 3520 students will be graded on their responsible and consistent handling of rehearsals, and how they meet the communication requirements. Be proactive. You are required to check email and respond to issues from the advisor, stage manager and other related personnel twice a week. You are required to attend production meetings, or, if the time of the meeting is not compatible with your schedule, you must actively seek information that was discussed in that meeting. If you have any special needs, changes in cast or rehearsal time, conflicts, issues with your dancers, or other problems, you must let the appropriate person (director, advisor, designer, technical director, dancer, stage manager) know. Lastly, you must keep your dancers informed about fittings, spacing rehearsals, technical rehearsals, and other preparations such as laying the marley, hang and focus, etc. Ask questions. John Bizzell is the TD. Feel free to ask him or others questions.

Rehearsals. Once you have been assigned a rehearsal space and schedule, and have cast your dancers, you are expected to meet all of the time. You must let the directors and stage managers know if you cancel a rehearsal. It’s easy to want to back away from a rehearsal if you are unsure where to go next, or if one dancer is ill, or if you forget the music, etc. but this is discouraged. Go over old material, try improvisations, discuss the process, work on technical challenges, and brainstorm. The studio is your laboratory, so use it.

 

Advisor. In addition to being the hub for communications for DANCE 3520, your advisor will read your dance description, be available for discussions about your process, and will be viewing some of your rehearsals. Advising can be quite time consuming, especially attending rehearsals. You are required to give the advisor least two weeks advance notice when you want him/her to attend your rehearsal. The advisor may need to schedule a day other that the one you requested, or even, in extreme cases, may need you to schedule a different rehearsal time. The advisor must see your work in progress at least twice, although you are welcome to request more viewings/feedback sessions. The showings, where all dances are seen, can be one of those viewings. In addition, you will have one outside viewer come to a rehearsal to give you feedback. This outside person can be either another dance faculty member, or a student choreographer enrolled in 3520. If you choose to have a student give you feedback, that student must write down his/her comments and hand them in to the advisor.

 

Group Discussions. Some of the best help you’ll get during the process is from your peers, the other student choreographers. These group discussions work when everyone is present. Please make sure you attend all class meetings.

Final Feedback Session. After Orchesis a meeting will be scheduled for all the student choreographers and the mentor. During that meeting you will be asked to reflect on your process and on the product. You are expected to speak clearly and critically. This sort of self-critique is essential to the choreographic process.

 

On the first day of rehearsal, Make Sure Your Dancers Have:

• Enrolled in Rehearsal And Performance, DANCE 4910, and in a WSU Dance Program technique class (ballet, modern or jazz). They will be removed from your dance if they do not.

• Read the technical schedule thoroughly. If they fail to attend a rehearsal, spacing or technical rehearsal, not only will their grade be lowered, but they may be removed from the concert.

 

Mid-point Showings. At the mid-point showings it will be determined by the dance faculty if your dance will appear in the Fall Orchesis Dance Concert. Though it rarely happens, if a dance is not selected to be performed in the concert, this does not mean that the process is over or that you have failed in any way, shape or form. You will still receive credit for DANCE 3520 if you continue rehearsals and complete the dance. An alternate forum to show such a dance will be found, such as the end of the semester technique class showings.

 

ACADEMIC HONESTY: As specified in PPM 6-22 IV D, cheating and plagiarism violate the Student Code. Plagiarism is "the unacknowledged (uncited) use of any other person’s or group’s ideas or work." Students found guilty of cheating or plagiarism are subject to failure of a specific assignment, or, in more serious cases, failure of the entire course.

CORE BELIEFS According to PPM 6-22 IV, students are to “determine, before the last day to drop courses without penalty, when course requirements conflict with a student's core beliefs. If there is such a conflict, the student should consider dropping the class. A student who finds this solution impracticable may request a resolution from the instructor. This policy does not oblige the instructor to grant the request, except in those cases when a denial would be arbitrary and capricious or illegal. This request must be made to the instructor in writing and the student must deliver a copy of the request to the office of the department head. The student's request must articulate the burden the requirement would place on the student's beliefs."

DISABILITY ACCOMMODATION: PPM 3-34 notes: "When students seek accommodation in a regularly scheduled course, they have the responsibility to make such requests at the Center for Students with Disabilities before the beginning of the quarter [semester] in which the accommodation is being requested. When a student fails to make such arrangements, interim accommodations can be made by the instructor, pending the determination of the request for a permanent accommodation."

EMERGENCY CLOSURE: If for any reason the university is forced to close for an extended period of time, we will conduct our class as a hybrid, meaning we will complete core components online using our course website, Weber email, and possibly Blackboard.

USE OF ELECTRONICS IN CLASS: Please turn your phone to silent during the class hour.