Dance In Popular Culture The Ohio State University D357

dance in popular culture the ohio state university d357, 5 credit hours department of dance class meeting tuth 12:30-2:18 sheila marion, ph

Dance in Popular Culture The Ohio State University
D357, 5 credit hours Department of Dance
Class Meeting TuTh 12:30-2:18 Sheila Marion, Ph.D.
with recitation sections 1 hour Fridays
Dance in Popular Culture:
Embodying American Identities, Ideas and Cultures
I: Course Description
On stage, in film and video, and in community settings, Dance in
Popular Culture includes both performance and participation styles.
Ranging from ballroom to hip hop, from kicklines to Broadway jazz, and
from national dances to tap, the course will focus on popular dance in
the United States today, and the background of some of our current
dance styles over the last 50-75 years. Along with the historical
overview of each of the various styles, we will look at who dances,
how they move, and how movement constructs identity. Identification of
movement vocabulary and choreographic staging will lead to discussion
of how popular dance reflects and influences our perceptions of
gender, age, ethnicity, economic status and national origins.
II: GEC Statement
The goals of the General Education Course (GEC) requirements for the
undergraduate curriculum include “a broad understanding of the nature
of the world, of the human heritage, and the ways in which the
individual is part of the larger human community.” Arts and
Humanities, part of the GEC Intellectual Core, are “aimed at a close
analysis of texts and works of art.” By closely examining selected
popular dance forms in the United States as cultural representations,
responding and contributing to societal assumptions and beliefs, Dance
in Popular Culture will fulfill the third Arts and Humanities
requirement in “Cultures and Ideas.”
III: Social Diversity Statement
This course will also fulfill one of the three Social Diversity
requirements (cross listed). The study of Social Diversity is integral
to the study of popular dance in the United States. Through popular
dance, we embody the movements of various segments of our many-faceted
society. By examining representations and constructions of identity
(race, ethnicity, gender and class) through popular dance, this course
will foster an understanding of the pluralistic nature and values of
communities in the United States.
IV: Course Objectives
At the successful completion of the course, students will:
• have a broad knowledge of various popular dance styles and their
history within the U.S.
• be aware of the larger social and political context of popular
dances
• gain basic tools for analyzing dance
• understand issues related to diversity, as they are embodied through
dance
• understand how movement reflects community and identity
• gain conceptual tools to link these studies to other coursework and
situations
V: Course Content and Procedures
Dance in popular culture appears to be readily accessible, not only in
the sense that it is widely present in entertainment and social
venues, but also in that most people easily understand its meaning or
intention. It usually has a close connection to popular music and to
dances in which people participate in their communities. Dance in
entertainment often is embedded in a larger context, such as a musical
play or video, that relies on other media to help impart a message. In
addition, there is widespread appreciation for physical skills and
virtuosity in a culture that values athleticism.
Although popular dance may be accessible in terms of pleasure and
understanding, it is seldom examined for the larger cultural
understandings it may convey and reinforce. This course will use
visual media, texts, movement analysis and discussion to explore the
background of each of the styles and to examine what various dance
styles demonstrate in terms of physicality, gender presentation,
ethnicity or community markers. We will consider how a dance style
becomes part of popular culture as well as its political, social and
economic times. We will discuss the role of popular dance in creating
a sense of community and how dance may lead, reflect or follow the
times to maintain the status quo or contribute to social change.
Sample topics will include:
• From Kicklines to A Chorus Line, The Choreography of Spectacle: We
will examine the use of unison movement, geometrical patterning and
symmetry in such pre-WWII productions as the Ziegfield Follies, Busby
Berkeley films, the Rockettes, and the more contemporary musical A
Chorus Line. Discussion will center on massed bodies as an element of
spectacle, the relationship of individual to the group, as well as
implications of the traditionally female makeup of these groups.
• Jazz Dance and the Broadway Stage: We will consider the influence of
African American and Latin social dance on the work of 1950s-’70s
choreographers such as Jerome Robbins and Bob Fosse. Discussion will
focus on the blend of influences in movement style and the polarized
gender images of male athleticism and female “vamp.” We will also
reflect on issues of “high art” versus “low art” in relation to
choreographers who worked on both concert and musical theater stages,
such as Robbins, Agnes de Mille, Hanya Holm, Helen Tamiris and Twyla
Tharp.
• “Cheek to Cheek,” Couple Dancing: We will investigate ballroom and
couple dancing in the films of Fred Astaire, contemporary tango
worldwide, ice dancing, Dance Sport, and The Ohio Star Ball.
Discussion will focus on the choreography of togetherness, leading and
following, and Europeanist influences on movement vocabulary.
• Tap Dance, Historical Roots and Contemporary Styles: We will look at
early “flash acts” such as the Nicholas Brothers and “class acts” such
as Coles and Atkins, as well as more contemporary artists such as The
Jazz Tap Ensemble, Stomp and Savion Glover. We will discuss rhythmic
virtuosity as an element of popular dance and consider the
predominantly male performers of this style.
• Staging National Identity, the Large Scale Production of Folk
Dances: We will examine the production of cultural dances and the
choreography of large group movement in examples such as Riverdance,
Ballet Folklorico and the staging of native American Indian Pow Wows.
Discussion will include issues of participatory versus presentational
dance, commodification of traditions, and connecting with diaspora
populations.
• Dance Films (You can be a Star!): We will look at films about
dancing as a profession, such as Save the Last Dance, Billy Elliot,
Flash Dance and Fame, with their metaphor of overcoming the odds to
dance/for success. We will discuss issues of expression and gender
presentation and consider the movement style of Lyrical Jazz.
• Hip Hop in Contemporary Culture: We will look at dance in music
videos and club dancing to consider issues such as presentation of
self and how moving as part of a group creates a sense of connection
and community. We will examine the movement vocabulary of Hip Hop as
it derives from a variety of sources, including African dance and the
martial arts, for its sense of strength and empowerment. We will also
look at its development through Break Dancing, Vogueing, Popping and
other related forms.
• Swing and the Lindy Hop, Then and Now: We will examine the roots of
the Lindy in the Savoy Ballroom and Harlem Renaissance, as well as the
1990s Swing revival. We will also look back at Disco and Rock and Roll
dancing for varieties and changes in couple dancing.
• The Dances We Dance, Styles and Venues: To conclude, we will
investigate the local dance scene for its variety of social dance
styles and places to dance, including Salsa, Swing, Western Line,
Ballroom, Hip Hop and Folk, and the various clubs and community
centers that support dancing. We will also consider the populations
that participate in these styles and at various venues.
The course will be based on guided viewing of slides, films and videos
with lecture and discussion regarding movement vocabulary,
choreographic devices and demographics of participants or performers,
with an overview of the larger political and social issues of the
times. Class discussion and examinations will incorporate required
readings as well as lectures and visual examples. The course will have
an active on-line component via Carmen. Daily lectures and some of the
visual resources will be posted on line.
• In addition to participation in classroom discussions, students will
be required to post at least one response to discussion questions
relating to each week’s topic and at least one response to another
student’s posting. (Carmen automatically monitors the number of
entries per student; the Professor and Graduate Teaching Assistants
for the course will monitor the quality of the responses.)
• Students must attend at least two social dance or dance performance
events.
• Four observation papers, two pages minimum in length, will be
required during the quarter. At least two must be from live events
(performance or participation) and two may be from video or film.
Students will be expected to cite movement evidence for their
interpretations in relation to issues of identity and community.
Guidelines will be posted for the assignments.
• Students will complete three quizzes about the movement
characteristics, performers, times, and background of the various
movement styles considered during the course.
• Students will complete a comprehensive final examination during the
regular, university-scheduled examination period.
VI. Disability Statement
Any student who feels s/he may need an accommodation based on impact
of a disability should contact the professor privately to discuss his
or her specific needs. Please contact the Office for Disability
Services at 614/292-3307 in room 150 Pomerene Hall to coordinate
reasonable accommodations for students with documented disabilities.
VII. Requirements and Evaluation
In-class viewing of movement examples and discussion identifying
movement and social characteristics are an essential component of the
course. Class attendance and participation in class discussion are
therefore an important part of your grade. Although the reason for an
absence may be taken into consideration, points are given only for
your attendance and participation, and absences do not need to be
excused. Percentages for grading are as follows:
• 20% discussion responses online, class attendance and participation
• 40% observation papers (4, 10% each)
• 30% quizzes (3, 10% each)
• 10% final exam
Letter grades will be based on the following formula: A = 100%-95%, A-
= 94%-90%; B+ = 89%-87%, B = 86%-83%, B- = 82%-80%; C+ = 79%-77%, C =
76%-73%, C- = 72%-70%; D+ = 69%-63%, D = 62%-56%, D- = 55%-50; E =
below 50%.
VIII. Required texts
There is no one source that covers all of the styles and topics for
discussion that we will consider in the course. Class readings will be
drawn from a variety of sources (please see weekly listings) and
students must read the articles placed on electronic reserve through
the
OSU Library, and related on-line articles listed with web addresses in
the weekly reading list.
Recommended: Driver, Ian. A Century of Dance: A Hundred Years of
Musical Movement, from Waltz to Hip Hop. London: Octopus Publishing,
2000. This book gives an excellent visual overview of popular dance
styles through the twentieth century, showing characteristic movement
postures and costumes/attire.
Recommended: Gottschild, Brenda Dixon. Waltzing in the Dark: African
American Vaudeville and Race Politics in the Swing Era. New York:
Palgrave, 2000.
Recommended: Stearns, Marshall and Jean. Jazz Dance: The Story of
American Vernacular Dance(1968). New York : Da Capo Press, 1994.
Recommended: Gibaldi, Joseph and Walter S. Achtert. MLA Handbook for
Writers of Research Papers, 5th ed. New York: Modern Language
Association of America, 1999.
Recommended: Zinsser, William. On Writing Well, 5th ed. New York:
Harper Collins, 1994.
IX. Office Hours
Office hours for Spring Quarter, 2006, will be Mondays and Wednesdays,
9:30-10:30, and Tuesdays and Thursdays 4:30-5:30 , and by appointment:
please email [email protected] or call 292-0645 for an appointment.
X. For Your Consideration
Academic Misconduct (rule 3335-31-02) is defined as “any activity
which tends to compromise the academic integrity of the institution,
or subvert the educational process.” Please refer to rule 3335-31-02
in the student code of conduct for examples of academic misconduct.
For Writing Assistance, contact the Writing Center at the Center for
the Study and Teaching of Writing, 614/688-4291 or
http://cstw.osu.edu/writingCenter/default.cfm The Writing Center
offers free help with writing at any stage of the process. Tutors will
discuss grammar issues and give advice on how to proofread your own
work.
For your Safety the OSU Escort Service is available after 6pm by
dialing 292-3322.
XI. Topical Outline
Weekly Topics:
Week 1: Introduction to the Course, discussion “What is Popular
Dance?”
topic: From Kicklines to A Chorus Line, The Choreography of Spectacle
We will examine the use of unison movement, geometrical patterning and
symmetry in such pre-WWII productions as the Ziegfield Follies, Busby
Berkeley films, the Rockettes; as well as the more contemporary
musical A Chorus Line. Discussion will center on massed bodies as an
element of spectacle, the relationship of individual to the group, and
the implications of the traditionally female makeup of these groups.
Social Diversity focus is on gender; the goal is awareness of body
image, gender stereotyping and depersonalization.
Readings due (first of week):
Hammer, Rhonda and Anthony Wilden. “Women in Production: The Chorus
Line,” in Wilden, Anthony, The Rules Are No Game. New York: Routledge
and Kegan Paul, 1987, pgs. 283-300.
Parker, Derek and Julia. “America,” in The Natural History of the
Chorus Girl. New York: Bobbs-Merrill, 1975, 81-97.
Rubin, Martin. “Broadway Before Berkeley,” in Showstoppers: Busby
Berkeley and the Tradition of Spectacle. New York: Columbia University
Press, 1993, pgs. 60-76.
Teusnik, Laura. “National Treasures,” and “I Was a Rockette,” in Dance
Spirit, Dec. 2000, pgs. 40-47.
Week 2: topic: Jazz Dance and the Broadway Stage
We will consider the influence of African American and Latin social
dance on the work of 1950s-’70s choreographers such as Jerome Robbins
and Bob Fosse. Discussion will focus on the blend of influences in
movement style and the polarized gender images of male athleticism and
female “vamp.” We will also reflect on issues of “high art” versus
“low art” in relation to choreographers who worked on both concert and
musical theater stages, such as Robbins, Agnes de Mille, Hanya Holm,
Helen Tamiris and Twyla Tharp. Social Diversity focus is on race,
African American and Hispanic; the goal is understanding of the
contributions of different racial and ethnic groups.
First Observation Due
=====================
Readings due (first of week):
Gottschild, Brenda Dixon. “Whose Paradigm?” and “It Don’t Mean a Thing
. . .” in Waltzing in the Dark: African American Vaudeville and Race
Politics in the Swing Era. New York: Palgrave, 2000, pgs. 11-21.
Gottfried, Martin. All His Jazz: The Life and Death of Bob Fosse. New
York: Da Capo Press, 1998, pgs. 72-83. (Fosse’s movement style and
first musical Pajama Game)
Lawrence, Greg. Dance With Demons: The Life of Jerome Robbins. New
York: G. P. Putnam’s Sons, 2001, pgs. 245-261, 286-294. (The Broadway
show and filming of West Side Story )
Loney, Glenn. “The Legacy of Jack Cole, Part One,” in Dance Magazine,
Jan. 1983, pgs 40-46.
MacLeod, Marry. “Forever Fosse: Steam Heat,” in Dance Spirit, Feb.
2000, pgs 63-64.
Teachout, Terry. “A ‘Made in the U.S.A.’ Genius: Jerome Robbins,
master choreographer,” in Time, Aug. 10, 1998, pg. 82.
Week 3: topic: “Cheek to Cheek:” Couple Dancing
We will investigate ballroom and couple dancing in the films of Fred
Astaire, contemporary tango worldwide, ice dancing, Dance Sport, and
The Ohio Star Ball. Discussion will focus on the choreography of
togetherness, leading and following, and Europeanist influences on
movement vocabulary. Social Diversity focus is on class, gender and
ethnicity; the goals are awareness of derivation of the movement style
and understanding the roles class and gender play in the leading and
following of partnering.
First Quiz
Readings due (first of week):
Dyer, Richard. “‘I Seem to Find the Happiness I Seek’: Heterosexuality
and Dance in the Musical,” in Dance, Gender and Culture, ed. Helen
Thomas. New York: St. Martin’s Press, 1993, pgs. 49-65.
Dyer, Richard and John Mueller. “Two Analyses of ‘Dancing in the Dark’
(The Band Wagon, 1953),” in The Routledge Dance Studies Reader, ed.
Alexandra Carter. New York: Routledge, 1998, pgs. 288-293.
Siegel, Marcia B. “Siegel’s Notebook,” in Eddy: About Dance, Winter
Solstice, 1974, pgs 43-45.
Siegel, Marcia B. and Beth Lessard. “Olympian Romance,” in Society of
Dance History Scholars Proceedings of the Twentieth Annual Conference,
June 1997, pgs. 255-261.
Zuck, Barbara. “World-Class Dance Couple Add a Touch of Grace to
Columbus,” in Columbus (OH) Dispatch, Jan. 26, 2003, pg. D1-2
Week 4: topic: Tap Dance, Historical Roots and Contemporary Styles
We will look at early “flash acts” such as the Nicholas Brothers and
“class acts” such as Coles and Atkins, as well as more contemporary
artists such as The Jazz Tap Ensemble, Stomp and Savion Glover. We
will discuss rhythmic virtuosity as an element of popular dance and
consider the predominantly male performers of this style. Social
Diversity focus is on race, African American; the goal is
understanding of the contributions of African Americans and the social
conditions faced by artists of color.
Second Observation Due
Readings due (first of week):
Brantley, Ben. “The Story of Tap as the Story of Blacks,” in The New
York Times, Nov. 16, 1995, pgs. B1 & 6.
Goldberg, Jane. “Savion Brings Back ‘Da Noise,’” in Dance Magazine,
Dec. 2002, pgs. 50-55.
Sommer, Sally R. “Hearing Dance, Watching Film,” in Dance Scope, Vol.
14, no. 3, pgs. 52-62.
Sommer, Sally R. “Tap Dance,” in International Encyclopedia of Dance,”
Vol. 6, ed. Selma Jeanne Cohen. New York: Oxford University Press,
1998, pgs. 95-104.
Tu, Jeni. “The Lady is a Champ,” in Dance Teacher, Jan. 2003, pgs.
44-48.
Week 5: topic: discussions, observations, and issues: High Art versus
Low Art, Presentational versus Participatory Dance: issues of class,
economic status and and community.
Readings due (first of week):
Desmond, Jane C. “Embodying Difference: Issues in Dance and Cultural
Studies,” in The Routledge Dance Studies Reader, ed. Alexandra Carter.
New York: Routledge, 1998, pgs. 154-162.
McNeill, William H. “Muscular Bonding,” in Keeping Together in Time:
Dance and Drill in Human History. Cambridge, MA: Harvard University
Press, 1995, pgs. 1-11.
Week 6: topic: Staging National Identity, the Large Scale Production
of Folk Dances
We will examine the production of cultural dances and the choreography
of large group movement in examples such as Riverdance, Ballet
Folklorico and the staging of native American Indian Pow Wows.
Discussion will include issues of participatory versus presentational
dance, commodification of traditions, and connecting with diaspora
populations. Social Diversity focus is on ethnicity; the goal is
understanding the role that dance plays in fostering identification
with a community.
Second Quiz
Readings due (first of week):
Gottschild, Brenda Dixon. “Cultural Exchange—or Rip-off?” in Waltzing
in the Dark: African American Vaudeville and Race Politics in the
Swing Era. New York: Palgrave, 2000, pgs. 96-106.
Shay, Anthony. “Parallel Traditions: State Folk Dance Ensembles and
Folk Dance in the Field,” in Choreographic Politics: State Folk Dance
Companies, Representation and Power. Middletown, CT: Wesleyan
University Press, 2002, pgs. 13-37.
Week 7: topic: Dance Films (You can be a Star!)
We will look at films about dancing as a profession, such as Save the
Last Dance, Billy Elliot, Flash Dance and Fame, with their metaphor of
overcoming the odds to dance/for success. We will discuss issues of
expression and gender presentation and consider the movement style of
Lyrical Jazz. Social Diversity focus is on gender and class; goal is
understanding the movement markers for gender and class.
Third Observation Due
Readings due (first of week):
Grubb, Kevin Boyd. “Dance Films Break Out at the Box Office,” in Dance
Magazine, Oct. 1983, pgs. 80-83.
McRobbie, Angela. “Dance and Social Fantasy,” in Gender and Generation,
ed. Angela McRobbie & Mica Nava. London: Macmillan, 1984, pgs.
130-161.
Wisner, Heather. “Lights, Camera, Dancing!: Movie Makers Put Motion
Back In Pictures,” in Dance Magazine, Dec. 2000, pgs. 60-63, 108-109.
Week 8: topic: Hip Hop in Contemporary Culture
We will look at dance in music videos and club dancing to consider
issues such as presentation of self and how moving as part of a group
creates a sense of connection and community. We will examine the
movement vocabulary of Hip Hop as it derives from a variety of
sources, including African dance and the martial arts, for its sense
of strength and empowerment. We will also look at its development
through Break Dancing, Vogueing, Popping and other related forms.
Social Diversity focus is on race, gender and class; goal is
understanding changing racial, class and gender roles.
Readings due (first of week):
Banes, Sally. “Breakdancing: A Reporter’s Story,” in Writing Dancing
in the Age of Postmodernism. Hanover, NH: Wesleyan University Press,
1994, pgs. 126-132.
Eichenbaum, Rose. “It’s Hip Hop Time: Master Choreographer and
Performer Rennie Harris on the Culture and Technique of Hip Hop,” in
Dance Teacher, May/June 1999, pgs. 90-93.
Gore, Georgiana. “The Beat Goes On: Trance, Dance and Tribalism in
Rave Culture,” in Dance in the City, ed. Helen Thomas. New York: St.
Martin’s Press, 1997, pgs. 50-67.
Klein, Gabriele. “Dance as Space Shuttle: Techno—the Pop Culture of
the Nineties,” in Ballett International/Tanz Aktuell, Aug. 9, 1996,
pgs 54-59.
Novack, Cynthia J. Social Dance in the ‘60s,” in Sharing the Dance:
Contact Improvisation and American Culture. Madison, WI: The
University of Wisconsin Press, 1990, pgs. 33-42.
Pini, Maria. “Raving Women,” and “From Cyborgs, Nomads and the Raving
Feminine,” in Dance in the City, ed. Helen Thomas. New York: St.
Martin’s Press, 1997, pgs. 118-124.
Sommer, Sally. “Check Your Body at the Door,” in Dance Ink, Winter
1994/95, pgs. 6-11.
Thompson, Robert Farris: “Hip Hop 101,” in Droppin’ Science: Critical
Essays on Rap Music and Hip Hop Culture. Philadelphia: Temple
University Press, 1996, pgs. 211-233.
Week 9: topic: Swing and the Lindy Hop, Then and Now
We will examine the roots of the Lindy in the Savoy Ballroom and
Harlem Renaissance, as well as the 1990s Swing revival. We will also
look back at Disco and Rock and Roll dancing for varieties and changes
in couple dancing. Social Diversity focus is on gender and class; goal
is awareness of differing notions of partnering and gendered movement.
Third Quiz
Readings due (first of week):
Banes, Sally and John F. Szwed. “From ‘Messing Around’ to ‘Funky
Western Civilization’: The Rise and Fall of Dance Instruction Songs,”
in Dancing Many Drums: Excavations in African American Dance, ed.
Thomas F. DeFrantz. Madison, WI: The University of Wisconsin Press,
2002, pgs. 169-203.
Gottschild, Brenda Dixon. “The Savoy: Home of the Lindy,” in Waltzing
in the Dark: African American Vaudeville and Race Politics in the
Swing Era. New York: Palgrave, 2000, pgs. 71-75.
Mattingly, Kate. “The Sultan of Swing: Lindy Hop Pioneer Frankie
Manning,” and Angie Whitworth, “Charleston Variations,” in Dance
Teacher, Mar. 2003, pgs. 34-41.
McMains, Juliet and Danielle Robinson. “Swingin’ Out: Southern
California’s Lindy Revival (2000),” in I See America Dancing: Selected
Readings 1685-2000, ed. Maureen Needham. Chicago: University of
Illinois Press, 2002, pgs. 84-91.
Miller, Norma and Evette Jensen. “ A Man Called Whitey,” in Swingin’
at the Savoy: The Memoir of a Jazz Dancer. Philadelphia: Temple
University Press, 1996, pgs. 58-64.
Smith, Ernie. Portrait of the Swing Era, in Swingin’ at the Savoy: The
Memoir of a Jazz Dancer, by Norma Miller and Evette Jensen.
Philadelphia: Temple University Press, 1996, pgs. xix-xxvii.
Stewart, Doug. “This Joint is Jumping,” in Smithsonian, Mar. 1999,
pgs. 60-74.
Miller, Norma and Evette Jensen. “ A Man Called Whitey,” in Swingin’
at the Savoy: The Memoir of a Jazz Dancer. Philadelphia: Temple
University Press, 1996, pgs. 58-64.
Smith, Ernie. Portrait of the Swing Era, in Swingin’ at the Savoy: The
Memoir of a Jazz Dancer, by Norma Miller and Evette Jensen.
Philadelphia: Temple University Press, 1996, pgs. xix-xxvii.
Stewart, Doug. “This Joint is Jumping,” in Smithsonian, Mar. 1999,
pgs. 60-74.
Week 10: topic: The Dances We Dance, Styles and Venues
To conclude, we will investigate the local dance scene for its variety
of social dance styles and places to dance, including Salsa, Swing,
Western Line, Ballroom, Hip Hop and Folk, and the various clubs and
community centers that support dancing. We will also consider the
populations that participate in these styles and at various venues.
Social Diversity focus is on ethnicity, class and gender; goal is
awareness of the pluralistic nature of our society as it is reflected
and celebrated in dance.
Fourth Observation Due
Readings due (first of week):
Columbus area newspapers and magazines, for listings of dances and
venues.
Finals Week
Comprehensive Final Examination during the regular,
University-scheduled, examination period.