University of Wisconsin-Whitewater Curriculum Proposal Form #4 Change in or Deletion of an Existing Course Type of Action (check all that apply) Course Deletion Requisite Change Course Revision Repeatability Change Description Change* Diversity Option Title Change General Education Option Number Change area: GP *** Contact Hour Change and or Credit Change Computer Requirement Grade Basis Writing Requirement Add Cross-listing Other: * Use Form 5, if only a Description Change *** Note: For the Gen Ed option, the proposal should address how this course relates to specific core courses, meets the goals of General Education in providing breadth, and incorporates scholarship in the appropriate field relating to women and gender. Effective Term: 2103 (Summer 2010) Current/Old Course Number: Cross-listing: New Course Number: PEGNRL 209 Cross-listing: Current/Old Course Title: New Course Title: AMERICAN PARTNER DANCE: Lindy, Latin, & Night Club 25-Character Abbreviation (if new title): AMERICAN PARTNER DANCE Sponsor(s): Denay Trykowski Department(s): HPERC College(s): Education Revised 10/02 1 of 29
Transcript
University of Wisconsin-WhitewaterCurriculum Proposal Form #4
Change in or Deletion of an Existing Course
Type of Action (check all that apply)
Course Deletion Requisite Change Course Revision Repeatability Change Description Change* Diversity Option Title Change General Education Option Number Change area: GP *** Contact Hour Change and or Credit Change Computer Requirement Grade Basis Writing Requirement Add Cross-listing Other:
* Use Form 5, if only a Description Change*** Note: For the Gen Ed option, the proposal should address how this course relates to specific core courses, meets the goals of General Education in providing breadth, and incorporates scholarship in the appropriate field relating to women and gender.
Effective Term: 2103 (Summer 2010)
Current/Old Course Number: Cross-listing:
New Course Number: PEGNRL 209 Cross-listing:
Current/Old Course Title:
New Course Title: AMERICAN PARTNER DANCE: Lindy, Latin, & Night Club
25-Character Abbreviation (if new title): AMERICAN PARTNER DANCE
Sponsor(s): Denay Trykowski
Department(s): HPERC
College(s): Education
List all programs that are affected by this change:
If programs are listed above, will this change affect the Catalog and Advising Reports for those programs? If so, have Form 2's been submitted for each of those programs? (Form 2 is necessary to provide updates to the Catalog and Advising Reports)
NA Yes They will be submitted in the future
Proposal Information: (Procedures can be found at http://acadaff.uww.edu/Handbook/Procedures-Form4.htm) I. Detailed explanation of changes (use FROM/TO format)
Diversity Components:1. Understanding that American society has been and continues to be shaped by the interaction of diverse groups.
2. Understanding or knowledge of cultures other than one’s own.
3. Ability to reflect on one’s own perspectives and how these relate to others who we perceive as different from ourselves.
4. Understanding of how group differences are expressed, including cultural practices as well as differences in power or access.
5. Skill/facility/experience working with people who are different from oneself.
As the United States’ population becomes more diverse, popular social forms of dance and music associated with the diversifying of culture become more important to understand and appreciate. Through this course, university students will receive instruction in the African-American social dance jazz form known as Lindy Hop, in several Latin dances with roots in the Caribbean islands and Africa, and in a newer American partner dance that emerged from 1950’s Rock-N-Roll novelty line dancing. These unique dance forms have and continue to shape American Social Dance. Diversity is reflected by: Swing dances from the eras of Black Segregation, the Depression, and women’s suffrage; American Latin dances that emerged during times of the African slave trade in the Caribbean; and a 1950’s partner dance that expresses the American slow ballad, yet borrows and re-invents American Latin dance patterns.
This elective course will reflect diversity in the United States through American partner dance content that enriches students culturally, socially, musically, and kinesthetically. By experiencing ethnic diversity within the course content, students gain a better understanding of the ways in which similar and different emotions are expressed by different cultures through music and partner dance, thus reducing prejudice and stereotypes about cultures other than their own. Students will also learn that what they might have thought was a recent American invention actually evolved from African slaves in both the U.S. and the Caribbean islands.
The course movement activities, lectures, discussions, and off-campus experiential assignments support a learning environment whereby students interact with persons of different skills, career goals, gender orientations, cultural backgrounds, ages, and economic resources. The course lead-and-follow activities support a
Revised 10/02 2 of 22
learning environment whereby students discover that gender roles in a traditional dance partnership possess equal power, and are equally important.
Course justification:
1. “VIRTUAL SOCIALIZING”, such as relying on internet personal web spaces, blogs, email, text messaging, cell phone usage, etc. for everyday human communication, has the potential to lead to social isolation. The rapid way that people are assimilating virtual means of communication has the potential to reduce opportunities for real social interaction. This course can serve to counterbalance such effects. In group social dance lessons, students learn appropriate ways to touch, to look, and to respond to other human beings in a healthy, fun environment, that promotes real social interaction with others on a 1-to-1 basis, and in a community group scene.
2. At a time when television and computer media are attracting large audiences to view partner dance competitions, many students are interested in having an opportunity to get started with such dance forms, but cannot afford the high prices charged by commercial ballroom dance studios, nor can they fit those regular lessons into their university schedules. This course allows students to access these dance styles.
3. The areas of partner dancing that appeal most to college-age students are those that are currently popular in the clubs, and also made popular by the media. They include the upbeat dance genres of SWING, LATIN, and NIGHT CLUB dances. It is to the students’ advantage to have access to these types of lead and follow dances through an elective course that enriches them socially, musically, culturally, and kinesthetically.
Relationship to program assessment objectives:
This course will contribute to fulfilling the following programs’ assessment objectives for the Department of Health, Physical Education, Recreation and Coaching.
1. This course will serve the mission of the department of HPERC in preparing students for careers in Health, Physical Education, and Recreation, and in contributing to the General Studies Program for undergraduate students. It will serve the university community, and contribute to the health, fitness and well-being of UW-W students.
2. The objectives of this course in the HPERC Physical Education General program will be assessed via written evaluation instruments that include tests, reflective narratives, and student demonstrations. The course will also be assessed with Student Evaluation questionnaires.
Budgetary impact:
Revised 10/02 3 of 22
Formerly a Special Workshop, this course will be offered for the first time as a New Course in Spring, 2010. The Dept. of HPERC will adjust internally to accommodate teaching of this course.
Course description: (50 word limit)
Students enrolling in this course must register with a partner. Students practice partner dancing that evolved from interactions of Americans with African-Americans, Afro-Cubans, and other Caribbean Cultures. American Lindy Hop, Night Club Two Step, Cha Cha, and Mambo/Salsa dances are presented for beginners. Cultural-historical backgrounds, musical accompaniment, gender role expectations, and partnering dance skills are introduced through practice, readings, community outreach, lecture, and assignments.
If dual listed, list graduate level requirements for the following: NA
1. Content (e.g., What are additional presentation/project requirements?) 2. Intensity (e.g., How are the processes and standards of evaluation different for graduates and undergraduates? ) 3. Self-Directed (e.g., How are research expectations differ for graduates and undergraduates?)
Course objectives and tentative course syllabus:
Students will:1. Gain awareness and appreciation of historical, cultural, and diversity points of view
about American partner dancing in both a social and performance context, through lecture, discussion, hands-on, community outreach, internet assignments, and reflective written assignments.
2. Distinguish separate and equal gender roles in the task of applying beginner-level lead or follow techniques, connection, and style, specific to the dances practiced, from a contemporary American social dance viewpoint, for continuous lifelong learning.
3. Increase awareness and appreciation for the aesthetics of partner dancing in a social context, and for a variety of points of view about partner dancing and its performance.
4. Appreciate and identify musical accompaniment, rhythm, and timing specific to the dances practiced.
5. Participate in an out-of-class social dance lesson as community outreach for acquiring additional self-enrichment and self-confidence in applying partner dance skills to cultural/social dance events, whereby students work cooperatively with people of different ages and cultural backgrounds.
6. Practice and perform selected American rhythm partner dances at a beginning level
Revised 10/02 4 of 22
to show acquisition of movement skills, dance patterns, frame, posture, footwork, lead or follow responsibility, timing, and musical interpretation, acquiring a foundation for acquiring more complex dance skills.
7. Appreciate the value of partner dance movement as a means to mental and physical health and well being.
8. View the value of partner social dance as a brand new interest, a complement to their chosen profession, a complement to their personal lives, or as a career path in itself.
9. Practice body awareness exercises at a beginner level for dance posture & physical connection to partner.
These course goals provide breadth by supporting General Education goals # 1, 3, 5, 7, 8, and 9, as students will:
#1: Think critically and analytically, integrate and synthesize knowledge, and draw
conclusions from complex information.#3: Understand and appreciate the cultures of the U.S.A. and other countries, both
contemporary and historical: appreciate cultural diversity; and live responsibly in
an interdependent world.#5: Communicate effectively in written, oral, and symbolic form with an appreciation
of aesthetic and logical considerations in conveying ideas.#7: Appreciate the importance of the fine and performing arts.#8: Develop the ability to use the computer when appropriate#9: Understand the factors and habits that are essential for continual mental and
physical health and well being, and evaluate the information and advice offered
on these topics.
Tentative course outline:
I. LECTURE with DISCUSSIONS
A. CULTURAL BACKROUND/HISTORY of selected vernacular, popular, regional, and fadsocial dances
1. video illustrations, assigned viewings2. instructional and lecture notes3. web-based assigned readings, viewings
II. BASIC SKILLS
Revised 10/02 5 of 22
A. Connection concepts for partner dancing
1. dance posture
2. hook & wall/leverage, compression, and weight (gravity)
3. open and closed hand & body positions, dance frames
4. lead and/or following technique through the dance center or frame
B. Basic dance patterns at the beginner level for each dance genre introduced
C. Timing & phrasing of dance movements with music
D. Ballroom dance foot positions (optional at beginner level)
E. Latin hip motion (optional at beginner level)
F. Stylistic differences at the beginner level for each dance genre introduced
G. Footwork for beginners
III. PROGRESSIVE INSTRUCTION
A. simple to complex instruction for 3 American rhythm dance genres:
1. Night Club Two Step (simplest form)2. Lindy Hop (earliest Swing form)3. Cha-Cha (skills build on previous skills)4. Mambo/Salsa (skills build on previous skills)
IV. CAMPUS OUTREACH (based on availability)
A. Attendance at Irvin Young Auditorium performances related to popular or social dance and dance music or culture as designated by instructor, only when appropriate, and when available. Written reflection paper required.
V. COMMUNITY OUTREACH
A. Attendance at off-campus or out-of-class partner dance beginner lessons based on availability, proximity, as determined by instructor. Written reflection paper required.
B. Attendance at off-campus or out-of-class practice dances based on availability, proximity, as determined by instructor. Written reflection paper required.
VI. WRITTEN EVALUATIONS
A. 1 written test, to evaluate understandings of cultural diversity and history of dances introduced in course, and of other course content as listed above under course objectives
VII. SKILL EVALUATIONS (“SUCCESS CHECKS”)
A. Authentic assessment of students by instructor as they perform dance movements in partnership
Revised 10/02 6 of 22
and/or
B. Authentic assessment of students by instructor as they perform dance movements individually.
VIII. WRITTEN ASSIGNMENTS
A. Students will document their personal insights relating to required outside dance lessons in relation to course content in a written paper.
B. Students will reflect upon and document their outside-of-class required practices on log sheets.
C. Students will reflect and document their personal insights relating to outside dance performances, when and if assigned, in a reflection paper.
D. Students will reflect and document their web reading assignments and video documentaries on worksheets or questionnaires.
Bibliography: (Key or essential references only. Normally the bibliography should be no more than one or two pages in length.)BOOKS:
Aparicio, Frances R. LISTENING TO SALSA: Gender, Latin Popular Music , and Puerto Rican Cultures.
Hanover and London: Wesleyan University Press/University Press of New England, 1998.Austerlitz, Paul. MERENGUE: Dominican Music and Dominican Identity. Philadelphia, PA: Temple
University Press, 1997.Carpentier, Alejo. MUSIC IN CUBA. Minneapolis: University of Minnesota Press, 2001.Fernandez, Raul A. FROM AFRO-CUBAN RHYTHMS TO LATIN JAZZ: Music of the African
Diaspora. Berkley: University of California Press, 2006.Flores, Juan. FROM BOMBA TO HIP-HOP: Puerto Rican Culture and Latino Identity. New York: Columbia
University Press, 2000.Fuentes, Leonardo P. FACES OF SALSA: A Spoken History of the Music. Washington, D.C.: Smithsonian
Institution Press, 2003.Haskins, Jim. THE COTTON CLUB. New York: Random House, 1977.Manning, Frankie and Millman, Cynthia. FRANKIE MANNING: Ambassador of the Lindy Hop. Philadelphia:
Temple University Press, 2007.Miller, Norma and Jensen, Evette. SWINGIN’ AT THE SAVOY: The Memoir of a Jazz Dancer.
Philadelphia: Temple University Press, 2001.
Revised 10/02 7 of 22
Morales, Ed. THE LATIN BEAT: The Rhythms and Roots of Latin Music, from Bossa Nova to Salsa
and Beyond. New York: De Capo Press, 2003. Orovio, Helio. CUBAN MUSIC from A to Z. Durham, NC: Duke University Press, 2004.Pacini, Deborah. BACHATA: A Social History of a Dominican Popular Music. Philadelphia, PA: Temple
University Press, 1995.Roberts, John Storm. THE LATIN TINGE: The Impact of Latin American Music on the United States. Oxford: Oxford University Press, USA, 1979.Rondon, Cesar Miguel. THE BOOK OF SALSA: A Chronicle of Urban Music from the Caribbean to
NYC. University of NC Press, 2008Rushing, Shirley, and McMillan, Patrick. BALLROOM DANCE AMERICAN STYLE: Smooth, Rhythm
and Latin. Dubuque, Iowa: Eddie Bowers, 1997.Salazar, Max. MAMBO KINGDOM: Latin Music in New York. Schirmer Trade Books Pub., 2002.Selmon, Simon. LET’S LINDY. Princeton, N.J.: Princeton Book Company Pub., 1994.Stearns, Jean and Marshall. JAZZ DANCE. New York: Schirmer Books, 1979.Sublette, Ned. CUBA AND ITS MUSIC: From the First Drums to the Mambo. Chicago: Chicago review
Press, 2004.Wright, Judy Patterson. SOCIAL DANCE: Steps to Success. Champaign, IL: Human Kinetics, 1992.
ONLINE RESOURCES and WEB SITES:
D2L online support of coursewww.dancedancedance.comwww.frankiemanning.comwww.savoystyle.comwww.nyfolklore.org/pub/voices98/manning.htmlhttp://en.wikipedia.org/wiki/Shim_Shamwww.centralhome.com/ballroomcountry/www.lindyhopping.comwww.youtube.com
The Call of the Jitterbug Dance Time, Vols. I, II Ballroom Dancing for Beginners Dancing the Music, with Frankie ManningSavoy-style Lindy Hop, with Frankie Manning and Erin StevensBlack Artists of the Silver ScreenBob Rizzo’s Simply SwingBallroom Dancing: The International ChampionshipsDancing: Sex & Social DanceShim Sham with Frankie ManningJammin’ With the GreatsBuddy Schwimmer’s Night Club Two Step Instructional DVDsChristy Lane’s Complete Guide to Latin DancingLively LatinLatin DancesLatin Dancing
FILMS:
Strictly BallroomSwing KidsMalcolm X Queen of the Stardust BallSalsa – the motion pictureDirty DancingDirty Dancing: Havana StyleDance With Me
USA DanceNTA: National Teachers Association NewsletterAmerica in WWIILatin Beat Magazine
Notes:1. Contact the Registrar's Office (x1570) for available course numbers. A list of subject areas
can be found at http://acadaff.uww.edu/Handbook/SubjectAreas.html2. The 15 and 25 character abbreviations may be edited for consistency and clarity.3. Please submit electronically when approved at the college level - signature sheet to follow in
DIVERSITY COMPONENTS:As the United States population becomes more diverse, with African-American and Latin-American cultures on the rise, popular social forms of dance and music associated with the “diversifying” of culture are also more widespread and more visible on college campuses and in rural and urban communities. Through this course, university students will have access to instruction in the African-American social dance jazz form known as Lindy Hop, in several Latin dances with roots in the Caribbean islands and Africa, and instruction in a newer American partner dance evolving in the 1950’s that is replacing the Waltz as a slow dance. These dance forms have and continue to shape American Social Dance, from the roots of Swing dance in the eras of Black Segregation, the Depression, and women’s suffrage, from the roots of American Latin dancing in the African slave trade of the Caribbean islands, to a more recent addition out of the 1950s, a partner dance that expresses the American slow ballad, yet borrows and re-invents American Latin dance patterns.
This elective course will reflect diversity in the United States through American partner dance content that enriches students culturally, socially, musically, and kinesthetically. By experiencing ethnic diversity within the course content, students begin to understand better how similar and different emotions are expressed by different cultures through music and partner dance, thus reducing prejudice and stereotypes about cultures other than their own. Students will also learn that what they might have thought was a recent American invention, Salsa dancing, actually evolved from African slavery in both the U.S. and the Caribbean islands. Students will also become aware that there are Americanized versions of the Afro-Cuban partner dances that arrived in the U. S. during the 1930’s and 40’s, and that when on the dance floor, racial differences had a tendency to dissolve.
Through the off-campus experiential learning component in an opposite-gender dance environment, students will cooperate with students and non students who are different than themselves in age, culture, ability, physical, and social maturity. The partnering relationships reflect an equal but different power distribution between male and female roles, with neither being less important than the other. The course movement activities, lectures, discussions, and experiential assignments support a learning environment whereby students interact with persons of different gifts, career goals, gender, cultures, and economic resources. The course lead-and-follow activities support a learning culture whereby students discover that their gender roles in a traditional dance partnership have equal power, and are equally important. The roles of “leading” and “following”, “directing” and “responding” take on new meanings for both male and female students.
III. Syllabus/outline (if course Revision)
Revised 10/02 11 of 22
UNIVERSITY OF WISCONSIN-WHITEWATERDepartment of Health, Physical Education, Recreation and Coaching
SPRING 2010 SYLLABUS
PEGNRL 209: AMERICAN PARTNER DANCE: Lindy, Latin, & Night Club
WC 182 (dance studio) 3 CREDITS
ATTENTION: Students must register with a partner Not for Audit or S/NC
Students enrolled in this course are responsible for having read the course syllabus. Enrollment in this class will be construed as acceptance of the course syllabus and
compliance with all of its specifications.
INSTRUCTOR: Denay Trykowski OFFICE: 115 Williams Center
OFFICE HOURS: ___________________________________________________, and by appointment.
Please let me know if you need any special accommodations in the curriculum, instruction, or assessments of this course to enable you to fully participate.
REQUIRED TEXT: None (readings are assigned from handouts and Internet).
Students are required to enroll with a partner for this course.
Use pencil and eraser for all work to be turned in for class, unless otherwise specified.Students should always bring note-taking supplies to class (electronic or other).
PLEASE TURN CELL PHONES OFF IN CLASS .
DESCRIPTION & PREQUISITES:
Students enrolling in this course must register with a partner. This course is for beginners; previous dance experience is not required. Students learn partner dancing that evolved from interactions of Americans with African-Americans, Afro-Cubans, and other Caribbean Cultures. American Lindy Hop, Night Club Two Step, Cha Cha, and Mambo/Salsa dances are presented. Cultural-historical backgrounds, musical accompaniment, gender role expectations, and partnering dance skills are introduced through practice, readings, community outreach, lecture, and assignments.
Revised 10/02 13 of 22
COURSE OBJECTIVES: Students will:
10. Gain awareness and appreciation of historical, cultural, and diversity points of view about American partner dancing in both a social and performance context, through lecture, discussion, hands-on, community outreach, internet assignments, and reflective written assignments.
11. Distinguish separate and equal gender roles in the task of applying beginner-level lead or follow techniques, connection, and style specific to the dances practiced, from a contemporary American social dance viewpoint, for continuous lifelong learning.
12. Increase awareness and appreciation for the aesthetics of partner dancing in a social context, and for a variety of points of view about partner dancing and its performance.
13. Appreciate and identify musical accompaniment, rhythm, and timing specific to the dances practiced.
14. Participate in an out-of-class social dance lesson as community outreach for acquiring additional self-enrichment and self-confidence in applying partner dance skills to cultural/social dance events, whereby students work cooperatively with people of different ages and cultural backgrounds.
15. Practice and perform selected American rhythm partner dances at a beginning level to show acquisition of movement skills, dance patterns, frame, posture, footwork, lead or follow responsibility, timing, and musical interpretation, acquiring a foundation for acquiring more complex dance skills.
16. Appreciate the value of partner dance movement as a means to mental and physical health and well being by engaging in all class activities and practices.
17. View the value of partner social dance as a brand new interest, a complement to their chosen profession, a complement to their personal lives, or as a career path in itself.
18. Practice body awareness exercises at a beginner level for dance posture and physical connection to partner, which also contribute to everyday body biomechanics, balance, and muscular control.
Revised 10/02 14 of 22
P. 2
Revised 10/02 15 of 22
HANDS-ON, PARTICIPATORY AND INDIVIDUALIZED ACTIVITIES:
Students will actively participate in dance activities while rotating partners for maximum learning and practice. Activities will also include hands-on opportunities for students to experience one-on-one coaching by the instructor. Students will be physically touching each other and touching their instructor during instruction. Students are expected to practice skills with and without a partner outside of class for maximum benefit.
When a student is absent, s/he is responsible for catching up prior to attending class. A list of class members “Buddy List”, will be distributed to class members only, with contact information for practice outside of class.
ATTENDANCE: Participation in movement activity constitutes attendance, and is the most important criteria for learning and evaluation in this course. Absences should be reserved for emergencies only. Excessive absences will negatively affect one's grade. In a semester course meeting 2 times per week, more than 2 absences is excessive.
Medical reasons for observing without participation (sitting out) are honored, AND will receive 1/2 attendance credit, or, students may ask to complete a class observation sheet to turn in at the end of class for full attendance credit. When absent, the student is responsible for initiating the making up of all missed work.
Students absent for religious observances and university-sponsored activities, such as field trips, university-sanctioned athletic events, must take the initiative to make up missed work. In order not to be penalized for absences, these students must bring an official notice from the sponsoring faculty member or coach at least 2 weeks prior to the absence. Religious observances must also be documented in writing to instructor, with date, time, and relationship to the service.
More than 2 late arrivals and/or early departures will be considered 1 absence. Students are responsible for maintaining the accuracy of their attendance record. If not present during roll call, you will be marked absent. Students must PERSONALLY inform instructor of arrival after attendance has been taken to have the absence removed and changed to a “late”.
ATTENDANCE ASSESSMENT:
Attendance points are subtracted from final numerical score, based on 100%.
1, 2 absences/emergencies = no points deducted (-0) ( absences for religious observances andfield trips are in a “separate account”.
3, 4 absences/emergencies = 5 points deducted for each emergency ( minus 5 for each absence) 5 or more emergencies: = 10 points deducted at the 5th absence and for each additional absence
beyond. Consider withdrawing from the course.
COURSE ASSESSMENT: Based on 100%, plus or minus Attendance, as follows:
48% 2 SUCCESS CHECKS: (#1=22 %; #2=26%) 2 dance demonstrations (25-45pts. each) based on class work, performed with a randomly-selected partner from your class.
20% WRITTEN ASSESSMENT (30 - 45pts): 1 comprehensive written test, to be announced during last 1/3 of course, based on class work, assigned video observations, and web site assigned readings.
20% OUTREACH (20 pts): Attend minimum 1 hour professional group PARTNER dance LESSON outside of class ( Off campus), earning up to 20 pts. May combine 2 separate ½ hour lessons. Attending a social dance does not fulfill this requirement – you must take a group lesson. See p. 4: OUTREACH REQUIREMENTS.
12% DOCUMENTED PRACTICES: 3 pts. ea. At least 4 one-hour practices outside of class with class partner.
P. 3
Revised 10/02 16 of 22
OFF-CAMPUS COMMUNITY OUTREACH: ( Costs vary from FREE to EXPENSIVE )1 off-campus BEGINNER social dance group lesson or workshop functioning on a drop-in basis, or one-time attendance. SEE BELOW. Lessons must be a minimum of 1 hour in length, or TWO ½-hour lessons. You may not join the middle of a series. Periodically check the bulletin board for posted announcements, dance web sites, etc. YOU MUST DO YOUR OWN SEARCHING ! You may not arrange for an instructor to teach a group from your section privately. You must attend a public class.
SOME SUGGESTIONS: Always phone ahead the .org/.com to confirm, before attending:
* Two ½-hour Beginner West Coast Swing lessons every Wed. PM in Madison at the
Badger Bowl, Exit from W. Beltline on S. Rimrock Rd., to 506 E. Badger Rd.MUST BE 21 YEARS OLD TO ATTEND. $3.00 charge includes a dance from 8PM to 10 PM., Madison West Coast Swing Club Hotline: 1-608-222-7750, www.MadisonWestCoastSwing.org.
* Beginner group lessons from “JUMPTOWN”, www.uwswing.com , UW-Madison.
* Beginner group lessons from www.ccswing.com or, www.jumpinjiveclub.com
* Beginner group lessons from The Right Step dance studio, 6424 Monona Dr. , Madison,
* Beginner group lessons from Dance Easy Studio, 6107 Odana Rd., Madison,
1-800-883-8837, www.danceeasy.com.
* Beginner group lessons from Milwaukee Rebels Swing Dance Club, www.geocities.com/milwaukeerebels. 414-442-8777.
* Beginner group dance lessons from UWMBDA, the University of WI Madison Ballroom
Dance Association. See www.uwmbda.org.
* Beginner group lessons from www.sociaollifedance.com, 3769 E. Washington Ave.,
Madison, WI 53704, 608-246-0780. * Beginner group lessons from www.tempodancemadison.com, 701 N. High Point Rd, Madison,
WI. 608 833-3320.
* Beginner group lessons from www.casadidanza.com. 21415 W Greenfield Ave, NewBerlin, WI 53146, 262-446-7000, e-mail [email protected], New Berlin, WI
* Beginner group lessons from the Swing Dance Society at UW-M, [email protected].
TO RECEIVE CLASS CREDIT FOR OUTREACH: WRITTEN PAPER (UP TO 20 POINTS)
Paper is graded on following instructions for CONTENT (C), FORM (F) and EDITED STANDARD WRITTEN ENGLISH (ESWE), and is DUE no later than the 6th day after the lesson was taken. All outreach lessons must be completed during the 5-weeks between _____and______, 2010. Partners not needed. Students may make car-pool arrangements to outreach lessons.
CONTENT(C): Document your experience by typing/wp a short critical evaluation/reflection of your personal experience, to include date, time, place, instructors’ names, cost of lesson. Discuss how the lesson relates to, or does not relate to class work, which movements you learned, & describe how you participated, your comfort level, its effect on you.
FORM (F): Page length must have a minimum of 12 inches of text starting below the margin when you begin typing the first paragraph. Use page wrap. Side margins no wider than 1 inch!!!!, Use Page Layout ! Double-spaced, Font = 11, or 12-point). 0 to 20 points will be given for this outreach activity, and must adhere to the above formatting, or it will be returned as unsatisfactory, or receive partial credit.
EDITED STANDARD WRITTEN ENGLISH (ESWE): Use correct sentence structure, grammar, punctuation, spelling for written English. P. 4
Revised 10/02 18 of 22
FINAL EXAM: There is NO written final exam; however, class will meet during the scheduled2-hour exam period for final class work, Success Check #2. This exam class meeting counts toward the final attendance grade. You may not miss this class.
GRADING SCALE: Based on 100 points, plus or minus attendance points.
90 to 100 = A80 to 89 = B70 to 79 = C60 to 69 = Dbelow 60 = F
ATTIRE AND CONDUCT: PLEASE TURN CELL PHONES OFF IN CLASS Chewing gum, food, and drinks are not permitted in this activity class; however, breath mints, throat lozenges, etc. are allowed, if absolutely necessary. Students may get water at fountains in the hallways when needed during class, and may use the restrooms anytime, without asking.
Appropriate footwear is expected. Shoes are required. No bare or stocking feet. Thin-soled dance shoes, bowling shoes, jazz shoes, “oxfords”, “pumps”, dress shoes, ballroom dance shoes, some canvas tennis shoes, wrestling shoes, are acceptable. The following footwear is NOT appropriate for this course: platform shoes, boots, stiletto heels, ballet slippers, sandals, hiking shoes/boots, running shoes, cross-trainers, other thick-soled or stiff athletic shoes, & any shoe with a marking or scratching sole. Ladies, heels should be no higher than 1 inch. Both men and women must be able to point their toes in their shoes.
Shoes worn for this class should not be worn outdoors, until the course is completed. APPROPRIATE SHOES ARE REQUIRED BY _______, 2010. Carry your dance footwear with you, put it on in the studio, and remove it before leaving.
Hats, baggy pants, and baggy trousers are not permitted. Pants must not be dragging the floor, but should reach no longer than the middle of the heel. Pants with “baggy crotch”, be they shorts or trousers, are not permitted. Excessively baggy T-shirts are not permitted. T-shirts, if not tucked in, must not be longer than bottom of hip line. “GRUNGE” apparel is not appropriate in this class. Shorts and athletic apparel are permitted, if they meet the above criteria. Dress to sweat. Layering works best. Clothing that exposes arm pits, cleavage, buttocks, navel, and stomach is inappropriate for this class. Large dangling ear rings, finger rings, & nose rings are a safety hazard, and are not permitted.
PRACTICE! PRACTICE! PRACTICE!
WHERE? Anywhere there is an open smooth safe floor; however, the Williams Center Dance Studio has been especially reserved for YOU to practice alone or with a partner: (schedule posted, subject to change)
Studio hours are posted as “Dance Class Practice (Trykowski,)” and are open to ALL of Denay’s students, and are subject to change without notice. Students are expected to share the space, and bring their own audio equipment. Studio schedule is posted on outside of classroom door, and on studio bulletin board: OR . . . To reserve or schedule the dance studio for practice at other times, especially on the weekend, contact the office of Recreation Sports & Facilities at 472-1544.
ACADEMIC MISCONDUCT: The University of Wisconsin-Whitewater is dedicated to a safe, supportive and non-discriminatory learning environment. It is the responsibility of all undergraduate and graduate students to familiarize themselves with University policies regarding Special Accommodations, Misconduct, Religious Beliefs Accommodation, Discrimination and Absence for University Sponsored Events. (For details please refer to the Undergraduate and Graduate Timetables; the “Rights and Responsibilities” section of the Undergraduate Bulletin; the Academic Requirements and Policies and the Facilities and Services sections of the Graduate Bulletin; and the "Student Academic Disciplinary Procedures” [UWS chapter 14]; and the “Student Nonacademic Disciplinary Procedures” [ UWS Chapter 17]). PEGNRL AMER PTNR DAN Spring 10 Syllabus P. 5
Revised 10/02 19 of 22
SAMPLE LOG SHEET FOR OUTSIDE-OF-CLASS PARTNER DANCE PRACTICE
PRACTICE # 1: due during period _______ through ______, 2010 – no later than ______ . Please follow instructions: Practice will not receive full credit if instructions are not followed.
Practice LEAD/FOLLOW partnering skills, not individual drills like foot positions, core posture exercises, solo spinning, etc., which you can do on your own without a partner.
Log sheets must be turned in to instructor within 3 class days of the practice, not counting weekends. Use pencil with eraser – no ink. (use your eraser) Use Edited Standard Written English. (ESWE) DO NOT write the way you speak. Please use complete
sentences and capitalize proper names and pronouns and the beginning of each sentence. Please punctuate! For most success, document your practice ASAP when finished.
Each practice should be no longer than 60 min. and no less than 45 min., for up to 3 pts. If a practice goes longer than 60 minutes, it counts toward the same practice. Document it.
You must practice with a different student from your section for each of 4 total practices. You may not practice with different partners during the same logged practice (i.e. Switching)
If you want to use music, bring your own with a player. Music is not required to practice. Don’t procrastinate practicing before a Success Check. Don’t “goof off” on practices –
but DO have fun! Stay focused. If you want to practice with a 2nd partner during the 2-3-week practice period, document it during that practice
period only, for optional extra-credit of up to 1 point. ( 1 time only per period)______________________________________________________________________________****************************************************************************************************************NAME: ____________________________ Circle Section: _____________________________
I practiced with student (name) _______________________ from my class on (date) _________ from (beg. time _______AM, PM, to (end time) _______ AM, PM in the (circle) Williams Ctr. Dance Studio, or Kachel Center Dance Studio.
Report about yourself only, not about your partner, whenever possible. Describe what went well for you and why, and what was most challenging for you and why. Describe anything that was troublesome for you and how Denay might clarify it for you or help you. Please self-reflect on your leading or following abilities as they develop. Also identify which dance and dance movements or dance concepts you worked on during your practice. Continue on the back if you need more space._____________________________________________________________________________________
Absences beyond 5: ____________ - 10 points each Late arrivals, early departures: more than 2 count as 1 absence: ___________________
ESTIMATE: TOTAL POINTS PRIOR TO FINAL EXAM CLASS: _______
ESTIMATE: LETTER GRADE GOING IN TO SUCCESS CHK #2: ______
SUCCESS CHECK #2: (during final exam week; will not have this score in advance) = __?___ pts. 26
ESTIMATE . . . . FINAL LETTER GRADE: ______ “SELF ESTEEM COMES FROM DOING HARD THINGS WELL” . . .Susan Robison, Psychologist
P. 7
Revised 10/02 21 of 22
STUDENT STATEMENT OF COMPREHENSION
(Due before or on FEBRURARY 4, 2010)
I have read, and comprehend the requirements for this course andhave been informed of proper attire, attendance requirements, standards of behavior, outside-of-class practice, and grading methods used.
I understand that I am responsible for maintaining the accuracy of myattendance record. When arriving after attendance has been takenI must personally check with instructor to have my absence removed and changed to late.
I understand that I will receive ½ participation/attendance credit for observing class due to temporary medical infirmities. If I desire full attendance credit for “sitting out”, I must request an observation sheet from my instructor to complete and turn in at the end of class.
Information contained in the syllabus is subject to change over thecourse of the semester. I am responsible for knowing any changes.
I understand that if I sustain any injuries while enrolled in this course,or undergo an extended illness, that I should withdraw for medical reasonsin order to prevent further physical harm.
Use pencil to complete the following:
I would like clarification about . . . (please describe in the space below):
