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: ***
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:
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):
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
Revised 10/02 1 of 18
Proposal Information: (Procedures can be found at http://acadaff.uww.edu/Handbook/Procedures-Form4.htm)
I. Detailed explanation of changes (use FROM/TO format)
FROM:
TO:
II. Justification for action
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 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:
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 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 fad
social dances
1. video illustrations, assigned viewings
2. instructional and lecture notes
3. web-based assigned readings, viewings
II. BASIC SKILLS
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
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.
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, 2008
Rushing, 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