Intermediate Modern Technique & Pedagogy
MPADE-GE-2040.001:
Fall 2015
Tuesday, 5:00 p.m.-8:00 p.m.
35 W. 4th St., Studio 305
Dance Ed. Program, Dept. of Music & Performing Arts Professions
Steinhardt School, New York University
Instructor: Deborah Damast, BFA, MA
Telephone: 212-998-5865 (office)
E-mail: [email protected]
Mailbox: 10th floor MPAP office, 35 W. 4th Street
Accompanist: Brad Wentworth
Course Description: This course focuses on developing conceptual, experiential, and
pedagogic knowledge in five historical dance education traditions: Graham, Hawkins,
Dunham, Horton, and Taylor, and 2 modern fusion techniques that incorporate working
with differently abled populations. The course will introduce students to the theories and
kinesthetic ideas of each of these choreographer/educators, and students will work closely
with the accompanist to learn techniques of accompaniment for these styles. Students will
investigate the concepts and constructs of a dance “technique” and what purpose
technique classes serve to the dancer and choreographer, including the use of technology
and assessment to enhance student experience and understanding.
Learning Outcomes:
Students will gain experiential knowledge of the structure and development of technique
classes in the dance education traditions pioneered by Martha Graham, Erick Hawkins,
Catherine Dunham, Lestor Horton, Paul Taylor, and adaptive modern and ballet
technique class for wheelchair dancers.
From assigned readings, video viewings and classroom discussions, students will
understand the teaching philosophy, developmental teaching theory, school curriculum
design, lesson plan design, and approach to class format and musical accompaniment of
each tradition; and
Students will understand the core concepts, and reasons behind the development of the
techniques of these choreographers.
Students will begin to understand how to develop their own technique class format that
correlates and supports their own choreographic voice and will have the instructor
demonstrate how she developed her own technique class to support her choreographic
form, with knowledge of lineage and background.
Class Content:
Technique: Studio classes will model introductory classwork in the Graham, Hawkins,
Dunham, Horton, Taylor, and wheelchair adaptive approaches to dance education, and
include fusion technique class by Deborah Damast. Within this progression, students will
gain experiential knowledge of various movement principles and artistic and pedagogic
values characteristic of each tradition;
and will be able to identify core concepts integral to those techniques. Students will also
develop skills in working with a live musician and will interact directly with class
accompanist.
Required Readings: Students will be assigned chapters from the 2 required texts. (The
required texts will be available at the bookstore, on reserve at the Bobst Library, and on
amazon.com)
Legg, J. (2011). Introduction to Modern Dance Techniques. Hightstown,
NJ: Princeton Book Company.
Diehl, I., & Lampert, F. (Eds.). (2011). Dance Techniques 2010 Tanzplan
Germany, Leipsig, Germany: Henschel Verlag in der Seemann Henschel
GmbH
Suggested Readings:
Gardner, H. (1993). Creating Minds: An Anatomy of Creativity Seen
Through the Lives of FREUD, EINSTEIN, PICASSO, STRAVINSKY, ELIOT,
GRAHAM, AND GANDHI. New York, NY: Basic Books.
Penrod, J., & Plastino, J.G. (2005). The Dancer Prepares (5th Ed.). New
York, NY: McGraw-Hill.
Brown, J.M., & Mindlin, N., & Woodford, C.H. (Eds.). (1998). The Vision
of Modern Dance In the Words of Its Creators (2nd Ed.). Hightstown, NJ:
Princeton Book Company.
Graham, M. (1991). Blood Memory: An Autobiography. New York, NY:
Doubleday.
Taylor, P. (1999) Private Domain: An Autobiography. Pittsburgh, PA:
University of Pittsburgh Press.
Limon, J. (2001): Jose Limon: An Unfinished Memoir. Wesleyan University
Press.
Laban/Bartenieff
Laban, Rudolf. “The Work of the Art of Movement Studio.” Journal of Physical
Education, March 1954, Vol. 46, No. 137, pp. 22-30.
Miranda, Regina. “Irmgard Bartenieff: Movement Innovator.” Dance Teacher,
September 2008, pp. 144-146.
Thornton, Samuel.“Laban the Man.” Laban’s Theory of Movement: A New Perspective,
Plays, Inc.: Boston, 1971; pp. 12-22.
Duncan
Bardsley, Kay. “Isadora Duncan’s First School: The First Generation Founders of the
Tradition.” Dance Research Collage, Dance Research Annual X [Patricia Roe &
Ernestine Stodelle, Eds.], CORD 1979, New York; pp. 219-249.
Duncan, Isadora. “Beauty and Exercise,” “Education and the Dance,” and “Youth and the
Dance”. The Art of the Dance [Sheldon Cheney, Ed.], Theatre Arts Books: New York,
1928; pp. 80-83, 88-89, 97-98.
Hawkins
Brown, Beverly. “Training to Dance With Erick Hawkins.” Erick Hawkins: Theory and
Training, The American Dance Guild, Inc.: New York, 1979; pp. 8-27.
Hawkins, Erick.“The Principle of a Thing.” The Body Is a Clear Place: And Other
Statements on Dance, Princeton Book Company: Princeton, 1992; pp.120-139.
Video: Students will view and discuss video chronicling philosophic, educational and
artistic aspects of each tradition.
Final Group Presentation: In groups (each group representing one tradition of modern
dance), students will lead their peers in a movement experience based on a core
movement concept, principle, or practice characteristic of their given tradition
Assessment:
Attendance: 25%
Participation in technique classes and class discussions: 25%
Reading responses 10%
Midterm presentation 15%
Final Group Presentations: 25%
Course Guidelines:
Attendance: You are expected to attend every session of the course. One excused absence is permitted
with a doctor’s note or other acceptable evidence. If you are going to be absent please send an email to the
instructor. Additional absences will decrease the cumulative grade by one letter grade increment.
Late arrivals/Early departures: Being on time and staying throughout the duration of the course is to be
expected. Three late arrivals, three early departures, or any three combinations of late arrivals and/or early
departures to/from class will equate to an absence. A late arrival or early departure of more than 15
minutes will be counted as an absence. An unexcused absence will decrease the cumulative grade by one
letter grade increment.
Grading:
Letter Grade
A
AB+
B
BC+
C
CD+
D
F
Number Grade
94-100
90-93
87-89
84-86
80-83
77-79
74-76
70-73
67-69
65-66
0-64
Legend
Exceptional
Excellent
Extremely Good
Very Good
Good
Satisfactory
Satisfactory
Nearing Satisfactory
Minimum Passing Grade
Minimum Passing Grade
Failure
Incomplete Grading: Incomplete grades are not a grading option. Under exceptional circumstances, such
as those with a serious illness or other emergency, and at the discretion of the course instructor, an
incomplete grade may be granted, based on the student's performance throughout the course of the
semester.
Special Accommodations: Any student attending NYU who needs an accommodation due to a chronic,
psychological, visual, mobility and/or learning disability, or is Deaf or Hard of Hearing should register with
the Moses Center for Students with Disabilities located at 240 Greene Street, phone: 212.998.4980, or
website address: HYPERLINK "http://www.nyu.edu/csd" www.nyu.edu/csd.
Schedule
Note: The schedule is subject to change.
Sept. 8:
Introductory technique class; DD. introductions. Lineage maps finish with
Alonzo King in Mexico speaking
Sept. 15:
Modern class; DD, discussion on pedagogy, revisit lineage maps
Sept. 22:
Modern warm up class; DD, Brad teaches music class
Sept 29:
midterm presentations (8 students)
Oct. 6:
midterm presentations (8 students)
* chapter 2 Legg reading for 10/20
No class scheduled 10/13- Classes meet on a Monday schedule
Oct. 20:
Graham technique class; DD. Videos, analysis and deconstruction
* chapter 4 Legg reading, Hawkins and Limon for 10/27
Oct. 27:
Guest Master class with Cynthia Reynolds - Hawkins technique
* chapter 3 Legg reading, Dunham and Horton for 11/3 and 11/24
Nov. 3: Guest Master Class with Patricia Dye - Dunham technique
Nov. 10:
Peridance Ensemble visits * chapter 6 Legg reading, Taylor for 11/17
Nov. 17:
Guest Master Class with Robert Kleinendorst- Taylor style
Nov. 24:
Guest Master class with Alison Manning - Horton technique
Dec. 1:
warm up class and prep for finals
Dec. 8:
Final Presentations (2 Groups)
Dec 15:
Final Presentations (2 groups)
MIDTERM TEACHING EXPERIENTIAL:
Each student must prepare a 5-minute class activity to teach to peers. This section of class
can be either
1.
2.
3.
4.
a warm up activity
a small motor activity (development of skills or one concept)
a large motor activity (jumping, traveling)
combination/ phrase
Each student must hand in a rationale describing the purpose and rationale of the activity,
and how and where it would fit in and relate to a whole class format. A written
description of the activity should be included.
Also describe key concepts and themes addressed in your activity, and link to your
lineage.
FINAL PROJECT: (to be detailed by participants and instructor)
As a group, create an abbreviated class in the style of one of the choreographer/teachers
outlined in the Joshua Legg book and teach to your peers.
The class should be 40 minutes in duration total and each member is responsible for
teaching a section of the class.
Concentrate on teaching through the philosophic lens of that choreographer/teacher.
You will also have 15 minutes to present the philosophy, conceptual underpinnings of the
choreographer/teacher and historical context surrounding the life of the artist that
influenced their work.
*The group will hand in an outline of the presentation describing what each member
contributed to the project.
Included will be class outline, information on choreographer/teacher and ideas for
creative imagery to teach inherent concepts
For this project you can:
Take classes in the style of the choreographer/teacher
Research documents, journal writings, books, and articles and reference.
Study videos of the choreographer/teacher teaching and/or their choreography
Deconstruct key concepts from the choreography of the choreographer/teacher.
Create a written score for one or more of the combinations
Assessment topics for student teaching:
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Content, timing, pace pre-planned
Working with musician thoughtful and clear
Clear and articulated demonstration of material
Attention to students in the class
Look for problem areas and address them
Think about anatomical preparedness
Whole body/mind involvement
Peer mentoring or noticing
Adaptations for injuries or differently abled-bodies
Warm and welcoming demeanor