DANCE201-18A (HAM)

Choreographing for Places and Sites

15 Points

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Division of Arts Law Psychology & Social Sciences
School of Arts
Theatre Studies and Dance

Staff

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Convenor(s)

Karen Barbour

Karen Barbour
See Moodle
karen.barbour@waikato.ac.nz

Lecturer(s)

Administrator(s)

: margaret.amies@waikato.ac.nz

Placement/WIL Coordinator(s)

Tutor(s)

Student Representative(s)

Lab Technician(s)

Librarian(s)

: anne.ferrier-watson@waikato.ac.nz

You can contact staff by:

  • Calling +64 7 838 4466 select option 1, then enter the extension.
  • Extensions starting with 4, 5, 9 or 3 can also be direct dialled:
    • For extensions starting with 4: dial +64 7 838 extension.
    • For extensions starting with 5: dial +64 7 858 extension.
    • For extensions starting with 9: dial +64 7 837 extension.
    • For extensions starting with 3: dial +64 7 2620 + the last 3 digits of the extension e.g. 3123 = +64 7 262 0123.
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Paper Description

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This paper offers students an opportunity to experience and critically consider the roles of movement in specific places and sites such as urban environments, public recreational facilities and gardens. Drawing upon their own movement experiences and knowledge students will actively participate in activities, creative process and choreographic tasks to investigate place-making and community, and to create events, interventions, trails and performances.
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Paper Structure

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This paper is taught through 'lectures' that combine practical dance classes, workshops, lecture/discussions and rehearsals. All scheduled hours are in the Gallagher Academy of Performing Arts Dance Studio (PA.G.03). Students should attend all 4 scheduled hours each week.

Important points to note about learning in dance:

1. Learning in dance is embodied – that is, you have to be present and actively participating in movement to learn in this paper. Students are thus required to attend and participate in all 'lectures' including dance classes, workshops and rehearsals.

2. Please come to all 'lectures' with pens, Creative Journal and paper outline, AS WELL AS a plastic water bottle and appropriate clothing for dance. (Bare feet, comfortable long shorts, leggings or track pants, lose t-shirts or long sleeved tops and appropriate underwear. Please avoid socks, leotards, short shorts or rugby shorts, and any clothing with extra zips or studs.) Some 'lectures' will involve movement outside around the campus and students will be advised to bring additional clothing and footwear suitable for outside work in variable weather conditions.

3. Students must switch cell phones to silent mode and refrain from using cellphones during all 'lectures'. The only exceptions are when students have arranged specifically with the lecturer to have the cellphone on for an important purpose (such as caregivers needing to be contactable because of unwell children), or if a creative or rehearsal task set by the lecturer requires use of cellphones to play music or take photographs.

4. All students should endeavour to conduct themselves appropriately in all activities, demonstrating effective personal self-management and responsibility through classes, workshops, rehearsals and in relation to protocols for site performance.

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Learning Outcomes

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Students who successfully complete the course should be able to:

  • demonstrate developed embodied knowledge of dance through engaging in a range of activities and demonstrating respect for diversity of movement experiences and forms
    Linked to the following assessments:
  • articulate enhanced understandings of dance through reflection and critique using relevant readings, research and class discussions
    Linked to the following assessments:
  • investigate improvisation techniques, choreographic principles and performance practices and apply these in place and site works
    Linked to the following assessments:
  • investigate and communicate understandings of interdisciplinary notions of place and site, such as urban environments, public recreational facilities and gardens
    Linked to the following assessments:
  • work both independently to demonstrate developed self-management and responsibility, and work collaboratively to cooperate, make decisions and resolve challenges in all activities
    Linked to the following assessments:
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Assessment

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The Two Square Metres Assessment (in a specific campus site or place) will occur during class time. However, the Ensemble Dance (public performance in a local site or place) may occur outside of class time on a date and time negotiated with students, requiring additional hours during Study Week.

During busy rehearsals and performance times, please ensure that you have cleared your schedule of work, family and social commitments so that you can be fully present for performances. Please note that appropriate conduct is expected of all students during these busy times.

Some activities in class and some assessments may be recorded on video for the purposes of internal student, staff and course reflection and assessment. Recorded material will not be used in any other forum without prior permission.

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Assessment Components

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The internal assessment/exam ratio (as stated in the University Calendar) is 100:0. There is no final exam. The final exam makes up 0% of the overall mark.

The internal assessment/exam ratio (as stated in the University Calendar) is 100:0 or 0:0, whichever is more favourable for the student. The final exam makes up either 0% or 0% of the overall mark.

Component DescriptionDue Date TimePercentage of overall markSubmission MethodCompulsory
1. Dance Worksheet
16 Mar 2018
12:00 PM
7
  • Hand-in: In Lecture
2. Two Square Metres
9 Apr 2018
6:00 PM
30
  • Other: Activity in specific site
3. Essay on Choreographing Places and Sites
7 May 2018
12:00 PM
30
  • Online: Submit through Moodle
4. Ensemble Dance
6 Jun 2018
No set time
33
  • Other: Performance during study week
Assessment Total:     100    
Failing to complete a compulsory assessment component of a paper will result in an IC grade
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Required and Recommended Readings

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Required Readings

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In this paper you will use ­books, journal articles and academic materials which are available electronically or in print from the University Library.There will be no costs for accessing any of the required materials.

Key and supplementary readings are provided via the Waikato Reading List for which there is a link within the Moodle site for this paper. The list of readings below is alphabetical. Please refer to the schedule for readings allocated to each week.

Barbour, K. & Hitchmough, A. (2014). Experiencing affect through site-specific dance. Emotion, Space and Society, 12, 63–72. doi: 10.1016/j.emospa.2013.11.004.

Barbour, K. (2010). Engaging delight: A case study of site-specific dance in public city gardens. The International Journal of the Arts in Society, 5, 119-135.

Bradby, L. & Lavery, C. (2007). Moving through place: itinerant performance and the search for a community of reverie. Research in Drama Education: The Journal of Applied Theatre and Performance, 12(1), 41–54. doi: 10.1080/13569780601094926.

Brown, C. (2015). City of lovers, in Hunter, V. (Ed.), Moving sites: investigating site-specific dance performance, (pp. 199–222). London: Routledge.

East, A. (2014). Dancing Aotearoa: Connections with land, identity and ecology. Dance Research Aotearoa, 2(1), 101-124. doi: 10.15663/dra.v2i1.24.

Geyh, P. (2006). Urban free flow: A poetics of parkour. Media Culture Journal, 9(3), 4. Available at: http://journal.media-culture.org.au/0607/06-geyh.php.

Hunter, V. (2007). Getting lost: Site-specific performance and re-location. Performance Research, 12(2), 31–34. doi: 10.1080/13528160701554592.

Kiek, S. (2009). Shifting perceptions, moving urban landscapes. Available at: http://ausdance.org.au/articles/details/shifting-perceptions-moving-urban-landscapes.

Kloetzel, M. (May 2010). Site-specific dance in a corporate landscape. New Theatre Quarterly, 26(2), 133–144. Available at: http://search.proquest.com.ezproxy.waikato.ac.nz/docview/872061800/76BD6A5633C644B3PQ/1?accountid=17287.

Kloetzel, M., & Pavlik, C. (2009). Introduction, in Site dance: Choreographers and the lure of alternative spaces, (pp. 1–24). University Press of Florida.

Mackey, S. & Whybrow, N. (2007). Taking place: some reflections on site, performance and community. Research in Drama Education: The Journal of Applied Theatre and Performance, 12(1), 1–14. doi: 10.1080/13569780601094785.

Munjee, T. (2014). Appreciating “thirdspace”: An alternative way of viewing and valuing site-specific dance performance. Journal of Dance Education, 14(4), 130–135. doi: 10.1080/15290824.2013.879986.

Olsen, A. (2014). Introduction. Dancing in a new place, in The place of dance: A somatic guide to dancing and dance making, (pp. xvii–xix). Middletown: Wesleyan University Press.

Olsen, A. (2014). Space and place, in The place of dance: A somatic guide to dancing and dance making, (pp. 113–118). Middletown: Wesleyan University Press.

Olsen, A. (2014). Nature and creativity, in The place of dance: A somatic guide to dancing and dance making, (pp. 237–233). Middletown: Wesleyan University Press.

Olsen, A. (2002). Day One: Basic Concepts, in Body and earth. Hanover, N.H.: University Press of New England [for] Middlebury College Press.

Smith-Autard J.M. (2010). Methods of construction 2 and 3, in Dance composition (pp. 41–65). London: Methuen Drama.

Somdahl-Sands, K. (2006). Triptych: dancing in Thirdspace. Cultural Geographies, 13(4), 610–616. doi: 10.1191/14744740cgj380oa.

Stewart, N. (2010). Dancing the face of place: Environmental dance and eco-phenomenology. Performance Research, 15(4), 32–39. doi: 10.1080/13528165.2010.539877.

Wattchow, B. & Brown, M. (2011). The case for place, in A pedagogy of place: outdoor education for a changing world, (pp. 51–76). Clayton, Vic: Monash University Publishing.

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Recommended Readings

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The following textbooks are recommended for all students:

Hunter, V. (Ed.). (2015). Moving sites: Investigating site-specific dance performance. Oxon, UK & NewYork: Routledge.

Kloetzel, M., & Pavlik, C. (Eds.). (2009). Site dance. Choreographers and the lure of alternative space. Gainesville, FL: University Press of Florida.

Minton, S.C. (1997). Choreography. A basic approach using improvisation. Champaign, IL: Human Kinetics.

Olsen, A. (2014). The place of dance. A somatic guide to dancing and dance making. Middletown, CT: Wesleyan University Press.

Smith-Autard, J.M. (2010). Dance composition. A practical guide to creative success in dance making (6th ed). London: AC & Black.

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Online Support

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There is an online Moodle community for this course. Moodle can be accessed via iWaikato. Additional materials, online links, assessment information, important dates and the paper outline are all available from this site.

Learning in dance is embodied – that is, you have to be present and actively participating in movement to learn in this paper. Students are thus required to attend and participate in all practical activities including dance classes, workshops and rehearsals.

Please note that students are encouraged to create their own notes in a personal Creative Journal following classes. Standard 'lecture notes' are not provided.

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Workload

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Students are expected to attend all four hours scheduled each week and eight additional hours scheduled for the final assessment presentation (total of 56 contact hours).

Students should complete 94 hours for independent study (approximately 6 hours each week including during the teaching break and study week), researching, undertaking activities and rehearsals associated with assessments. Workload should include attending other weekly dance classes on campus such as Open Contemporary Dance class or Wednesday lunchtime Unity Dance Collective class, and dance classes in the community.

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Linkages to Other Papers

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This paper links well to: second year papers, particularly DANCE201 Community Dance; ARTSED225 Dance and Education; THSTS212 Stage Performance: Techniques for Actors and Performers; THSTS209 Theatre for Schools and Communities; MAORI257 Kapa Haka: Noble Dances of the Māori.

This paper leads into DANCE301 Performing Dance and THSTS308 Creating Theatre, and relates to THSTS390 Directed Study (dance topic); MAORI357 Mahi Whakaari: Māori Performing Arts.
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Prerequisite(s)

Prerequisite papers: DANCE101

Corequisite(s)

Equivalent(s)

Restriction(s)

Restricted papers: SPLS208

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