Dance

Upon completion of this course, the student will be able to:

• analyze and discuss the diverse dance culture that we are currently living in.
• describe the elements of indigenous dance that act as a form of communication and expression of community beliefs.
• describe the effects of racism, sexism, and ethnocentrism on ethnic, cultural, and indigenous dance forms.
• explain the structure of three different cultural dance forms.
• perform three basic movements from ethnic, cultural, and indigenous dance and be able to compare and contrast these forms.
• explain the definitions for indigenous, cultural, ethnic, and popular dance and classify dances done today into an appropriate category.
• compare and contrast the similarities and differences in three forms of indigenous dance.

Upon completion of this course, the student will be able to:

• discuss the history of belly dance.
• identify three basic on-the-spot movements of belly dance.
• discuss the use of three props often found in belly dance.
• identify the sound of three musical instruments that are used in belly dance.
• perform one movement for each of the three sections of the body.
• demonstrate the difference between side-travel and forward-travel steps.

Upon completion of this course, the student will be able to:

• perform two African dances from different geographic origins.
• explain why African dance is called the 'Mother of All Dance'.
• discuss the impact of Katherine Dunham's technique on African dance.
• evaluate the usefulness of drumming rhythms in African dance.
• demonstrate the range of motion for a basic African dance arm movement.
• define the African vocabulary word used as a greeting and as a signal to begin an African class or dance.
• choreograph and perform a one-minute African dance with three other dancers.

Upon completion of this course, the student will be able to:

• demonstrate typical elements from Hawaiian, Tahitian, and New Zealand dance.
• compare and contrast the dances of Hawaii and Tahiti.
• identify individual Polynesian dances by origin.
• warm up using basic movements taken from one New Zealand dance.
• identify the time period of a dance learned in class.
• distinguish one Polynesian cultural dance from another and illustrate the difference in rhythm and step.
• explain the history of dance within each Polynesian culture.
• identify the geographic and cultural origins of a dance learned in class.

Upon completion of this course, the student will be able to:

• perform ten typical elements of Hawaiian dance.
• explain the differences between the styles of hula called Kahiko and Auana.
• recognize and list the time period and historical context of each dance studied.
• analyze and chart the geographic and cultural origins of each dance studied.
• identify key dance steps and break down the timing, rhythm, and placement in one dance sequence.
• design and create a fresh foliage adornment for Hawaiian dance.

Upon completion of this course, the student will be able to:

• state the time period and historical context of each dance studied.
• perform a three-minute Polynesian dance.
• correctly spell and pronounce 25 Polynesian vocabulary words.
• write a three-page critique of a live or DVD Polynesian dance performance.
• choreograph a brief contemporary Polynesian dance that uses elements of technique from New Zealand or Tahiti dance.

Upon completion of this course, the student will be able to:

• recite the history and meaning of three traditional Hawaiian dances.
• explain the importance of continuing to teach the tradition of hula dances.
• describe the effects of European influence on the traditions of Hawaiian dance and culture.
• list the consequences of continuing to allow European traditions, adornments, and rhythms to invade or overwhelm the traditional practices of hula dance.
• create and use in context the traditional adornments for three dances.
• tell the story of connecting with ancestors and the kind of communication with them that is said to be embedded within the act of performing a hula dance.

Upon completion of this course, the student will be able to:

• define the concepts of dancing full-out, eating space, marking, and dancing on the beat.
• demonstrate within a group, a two-minute jazz dance combination.
• write an evaluation of the basic technique used in a live dance concert.
• explain the origins of three different jazz dance styles.
• list three basic errors in alignment.
• break down a difficult combination or transition by slowing it down, saying it out loud, and greatly enlarging the movements.
• notate jazz dance movement and interpret dance notation into movement.

Upon completion of this course, the student will be able to:

• perform a two-minute jazz dance combination within a group.
• write an evaluation of the basic technique used in a live dance concert.
• apply one theory of jazz dance technique to a full warm up series.
• name the most common error in isolation technique of moving the head, neck, and shoulders.
• identify the originator of one theory of jazz dance technique.
• explain the progression of movement for chassé kick ball change, rocking horses, and grand jeté.
• create a calendar of all the pre-professional and professional dance performances showing in your community for the next three months.
• use rhythms to uncover the basic formations for a collection of steps. String them together so that they make rhythmic patterns and sensible groupings by using counting, the spoken word, clapping snapping and other rhythmic sounds.

Upon completion of this course, the student will be able to:

• execute two jazz pirouettes, turning in plié, ending in elevé, proper jazz alignment, and placing the final foot down after the balance in elevé.
• perform a one-minute jazz dance combination with flawless execution.
• use at least one learning method that empowers quick-study learning for dance.
• write an evaluation of a live dance concert focusing on the showmanship and technique of the dancers.
• recite the progression of the foot and leg as it comes out of any jump or leap and reaches the floor.
• explain the consequences of over-rotation, incorrect alignment, over-extended arms and over-shot foot placement on multiple turns.

Upon completion of this course, the student will be able to:

• translate the shape of the turn and circumference of the circle made by the arms into the speed of the turn.
• manipulate shape, angles, energy, and speed to move the body in dance.
• support a balance with the breath by feeling the center of the movement being controlled or released from within the core of the body.
• explain why movements from the floor to standing and from standing to the floor are said to be the most difficult transitions for dancers to make.
• execute eight counts of eight of high energy movement in a presto tempo and an adagio manner without losing the percussive values of the jazz style movement.
• perform a series of center turns with up to four turns integrating showmanship and flawless execution with the technique.

Upon completion of this course, the student will be able to:

• evaluate a live dance concert for the showmanship, technique, and execution that the dancers exhibit in the performance of their dances.
• create innovative movement that can be expressed in a solo combination by combining jazz styles and using research findings to add cultural content.
• demonstrate a one-minute jazz dance in two different styles of jazz.
• identify the origins of two different styles of jazz dance.
• dramatize a jazz dance combination by transferring the emotional qualities and subtext of a newspaper story into movement for emotional content.
• manipulate a standard dance frame or alignment to support an off-balance movement.
• explain how jazz dance reflects the social and political climate of its era.

Upon completion of this course, the student will be able to:

• identify 25 ballet steps as you see them correctly performed.
• explain the relationship of the working foot to the floor in a beginning progression of first position tendu, dégagé, and grand battement barre exercises.
• use constructive criticism for beginning ballet work.
• explain the use of open fourth and open fifth positions as they relate to the idea of forced turnout in beginning ballet.
• perform basic positions one through five and reverence using proper alignment.
• demonstrate a chaîné turn with a final pose ending.
• compare the standards of course etiquette required for participation in ballroom, urban Hip Hop, modern, and ballet dance courses.

Upon completion of this course, the student will be able to:

• demonstrate a one-minute ballet combination that incorporates steps from the vocabulary list.
• critique a dance concert by using the errors made and the excellence achieved by the performers.
• identify the correct spelling and definition for twenty-five words of ballet vocabulary.
• identify the contributions of the French king to classical ballet.
• explain proper turn out, proper parallel alignment, and the origin of cambré.
• explain the relationship between the foot and the floor in the barre exercises tendu, dégagé, and grand battement.
• point the toes as if a light was coming from the toe nails and not the knuckles.

Upon completion of this course, the student will be able to:

• critique a dance concert by offering kudos for the selections that were met with approval and alternative solutions for errors in technique, presentation, execution or showmanship.
• demonstrate a one-minute ballet combination that incorporates steps that are included on the vocabulary list.
• identify the correct spelling and definition for twenty-five words of ballet vocabulary.
• execute a fluent double pirouette right and left.
• explain concepts for training jumps by formulating a strategy for or against bringing the heels down at the end of each jump.
• perform a développé extension in second of either leg and hold for five seconds on flat without assistance from the barre.

Upon completion of this course, the student will be able to:

• critique a dance concert with emphasis on suggestions for correcting errors in technique.
• perform a two-minute dance that includes développé, pirouette, arabesque, and attitude.
• explain the reasoning behind creating steps that were designed only for royals to perform.
• describe one process of acquiring full splits and other positions that require stretch.
• explain why, in a pique turn, one leg never straightens and the other never bends.
• identify the correct spelling and definition for twenty-five words of ballet vocabulary.

Upon completion of this course, the student will be able to:

• perform a double pirouette right and left.
• critique a professional or regional ballet performance.
• explain the reason we speak mostly French in ballet class and give credit to the artist responsible.
• demonstrate an Italian attitude, a professional American attitude, and a Russian attitude and explain the differences.
• explain why a perfect reverence will have the head lowered far enough to show the crown of the head.
• perform a two-minute partner dance in a character style.

Upon completion of this course, the student will be able to:

• explain how the execution of a classical ballet variation is both a work of art and an athletic endeavor.
• describe which major muscle groups are called upon for strength in dancing either the man's or woman's Bluebird Variation from the Sleeping Beauty ballet.
• research a classical variation and notate what others have said about its historical value to classical ballet as danced by several ballerinas or danseurs.
• explain the value of learning classical variation materials.
• paraphrase the story of at least one classical ballet and pinpoint the social crisis or human dilemma from the ballet that is still in evidence today.
• clarify the use of variations within a classical ballet by describing the focus of the ballet and how this variation exists within it.
• perform one classical ballet variation and one contemporary ballet combination.
• display a portfolio in which an electronic recording of your performance of one classical variation and one contemporary ballet combination is included.

Upon completion of this course, the student will be able to:

• explain proper alignment for modern dance.
• describe the quality of movement known as percussive.
• list the movement progression and breathing pattern for a suspend-release fall.
• create an across-the-floor combination that includes vibratory and sustained movements.
• demonstrate a running triplet.
• write a critique on a live dance performance.

Upon completion of this course, the student will be able to:

• create a one-minute piece of choreography using the explorations, technique, observations, and partner collaboration practiced in class.
• spell twenty-five words from the modern dance vocabulary list used for this course.
• explain the energy, momentum, and flow for a dancer moving side to side across the floor.
• explain what is meant by the phrase, "Eat space!"
• write a critique on a live dance concert.
• define the meaning of full out, mark, and hand mark.

Upon completion of this course, the student will be able to:

• perform a two-minute piece of choreography that is developed from explorations included in this course.
• write a critique of the technical abilities of dancers in a live dance performance.
• spell twenty-five modern dance vocabulary words from the vocabulary list for this class.
• present thirty-six eight counts of choreography utilizing the concepts of space, making shapes, and changing intensity that were taught in class.
• perform the same unaccompanied sixteen counts of movement in a fast tempo, a slow-motion speed, and at a moderate rate.
• explain the progression of movement for landing in a modern jump.

Upon completion of this course, the student will be able to:

• explain the concept of working out the middle of the dance before choreographing the beginning or the end.
• write a critique of the choreography for a live dance performance.
• create dance movement out of gestures.
• choreograph and perform a one-minute, modern dance solo.
• explain sustained movement and why it is such an easy source of contrast.
• identify movements that reveal the dancer as an athlete.
• apply the concepts of Haiku poetry to dance movement and beats.

Upon completion of this course, the student will be able to:

• choreograph a three-minute piece of dance using the essence of topics selected in class such as fear, horror, and safety.
• critique a dance performance that includes the dancers' biographies, educational degrees and dance training.
• explain the progression and intensity of a movement that has the quality of a full body wave, ripple, and droplet of water.
• create a series of movements that flow with, explain, and illustrate the essence of a Haiku poem.
• explain the theory behind retrograde movement and why some parts of it are impossible to execute.
• tell a story through dance that has a beginning, a middle, and an end, but change the order of the dance story to the ending first, the beginning in the middle, and the middle in the end.
• use walking as a dance movement.

Upon completion of this course, the student will be able to:

• exhibit proper alignment and dance form for a ballroom dancer.
• explain the etiquette and social refinements of ballroom dance.
• show tolerance and respect for the ideas and abilities of others during a dance routine.
• identify the appropriate dance style for a specific piece of music.
• explain how leading and following techniques utilize nonverbal communication skills.
• use dance etiquette to put dance partners at ease and allow for a more positive dancing experience.
• demonstrate a one-minute basic dance routine.

Upon completion of this course, the student will be able to:

• diagram the appropriate foot pattern and steps for both partners in a basic waltz.
• evaluate the role of proper dance frame and alignment for non-verbal communication in ballroom dance.
• demonstrate social dance etiquette in partnering.
• detail the need for dance etiquette in dealing effectively with the limitations of others on the dance floor.
• chart the foot patterns of both partners for East Coast swing, West Coast swing, and basic swing dance.
• analyze and correct errors in performance related to foot position, dance positions, and technique.

Upon completion of this course, the student will be able to:

• explain the importance of listening, counting, and using a line of dance.
• debate the pros and cons of the dress codes that are imposed on elite, slammer, and middle-sized dance clubs.
• define the greatest historical safety threat involving ballrooms, discos, and clubs.
• create an original amalgamation of a dance phrase.
• clarify the importance of the names Skippy Blair, Latin Symbolics Dance Company, Tony Manero, and Van McCoy in the world of disco and nightclub dance and identify which are fictional and which are real.
• recite the footwork for a basic nightclub two-step and choose a piece of current music to dance to in this style.
• explain to a partner the need for non-verbal communication in club dances.

Upon completion of this course, the student will be able to:

• predict the outcome of movement errors in direction and the consequences of proceeding in the incorrect direction.
• demonstrate the Latin dance paso doble and explain the meaning and subtext for this dance.
• sketch or draw out a salsa dance costume design for both partners and describe how the length of a skirt or any additions might improve the look of the dancing partners together.
• summarize the differences and similarities in foot patterns, music and meaning for the salsa, rhumba, and samba dances.
• outline a plan of study to learn a choreographed routine for a cha-cha and use some improvisations.
• originate an amalgamation or an improvisation in the Latin style, keeping the movement smooth and continuous.

Upon completion of this course, the student will be able to:

• diagram foot patterns for both partners in a single-time swing, double-time swing, and triple-time swing.
• experiment with turns for an East Coast swing and come up with an innovation or amalgamation for one segment of the dance.
• report the story that began the dance phenomenon and goes along with the name for the Lindy hop.
• recommend appropriate music for a West Coast swing, an East Coast swing, and a Lindy hop.
• demonstrate in slow motion the common outcomes for errors when using one hand for single-time, double-time or triple-time swing steps.
• produce a section of improvisation, an amalgamation of styles, and an innovative turn for any swing dance.

Upon completion of this course, the student will be able to:

• exhibit showmanship and technique in a one-minute Argentine tango dance routine.
• chart the foot patterns for both partners in two styles of tango.
• define the origins and history of tango.
• create and add video to a portfolio that includes tango styles and demonstrates achievement of required proficiency levels.
• interview your partner, using ballroom etiquette to discern their level of interest in swango, Argentine tango, and American tango styles.
• explain the need for non-verbal communication in both social Tango and competitive tango improvisations.
• discuss the showmanship necessary to execute the quality of passion in a respectful, realistic manner.

Upon completion of this course, the student will be able to:

• perform three competition-level routines for ballroom dance.
• discuss the value of confidence in showmanship and technique.
• chart memorization progress through the use of repetition with feedback and critique.
• identify the process by which a ballroom routine is recorded.
• construct a list of ten elements vital to a ballroom dance performance.
• demonstrate proper partner positions, alignment, footwork, and focus.
• express a professional attitude and apply an aura of joy in dancing.
• clarify the difference between practice and performance.

Upon completion of this course, the student will be able to:

• compare and contrast Old Style, Breakin', Poppin', Lockin' and current Freestyle moves.
• demonstrate a warm up that is designed to support the body during Freestyle moves.
• identify the origins of Hip Hop dance and its role in Hip Hop culture.
• identify one East Coast Old School dancer and compare their style to that of one West Coast Old School dancers.
• explain the origins of Capoeira, Soulstepping, Stomp, and Drill Team.
• demonstrate one Poppin' and one Lockin' movement.

Upon completion of this course, the student will be able to:

• compare Old School moves with New School moves.
• create a choreographed dance combination by building on the steps taught in class.
• interpret musical timing during a thirty-second improvisational performance of Freestyle urban Hip Hop dance.
• identify ten urban Hip Hop dance steps by name when performed correctly.
• perform a three-minute urban Hip Hop dance.
• create a clear visual punch line within an urban Hip Hop dance combination.

Upon completion of this course, the student will be able to:

• perform a three-minute urban Hip Hop dance that includes floor work, a spot turn, and a punchline move.
• explain the origins of B-boys and B-girls.
• create a signature dance move based on your own dance persona.
• identify Turfing, Waving, and Bone Breaking styles when performed.
• perform a one-minute Freestyle center dance to familiar music.
• demonstrate three differences between Old School moves and New School moves.

Upon completion of this course, the student will be able to:

• choreograph a dance that shows the origins and history of urban Hip Hop dance by using two steps from every style covered in class and placing them in chronological order.
• explain how showmanship, facial expression and dynamics can be helpful in order to to play up the emotion or the storytelling aspect of a random piece of battle music.
• perform a solo thirty-second Freestyle combination to music that is chosen at random.
• build upon the movements of other dancers while battling by biting their moves and re-creating them as a challenge in difficulty.
• explain the moves that lead to a bite, a burn or a Kill Off.
• list the three elements that need to be discovered about the other dancers in a Freestyle battle.
• insert a joke punch line while battling with another dancer by pulling the joke punch line on them or their moves.

Upon completion of this course, the student will be able to:

• identify at least eighteen single and amalgamated tap steps.
• demonstrate the components of performance alignment, shuffle step, shuffle ball change, and flap ball change.
• demonstrate clarity of tap sounds within a group.
• critique a live dance concert using knowledge of basic tap dance technique.
• explain the progression of tap sounds for eight basic tap steps.
• perform a three-minute basic tap dance routine.

Upon completion of this course, the student will be able to:

• identify at least thirty single and amalgamated rhythm tap steps.
• combine steps to form basic choreography for combinations.
• apply double and triple sounds to steps previously learned as singles.
• critique a dance performance focusing on appropriate tap technique.
• execute proper tap technique for sound by striking, brushing, or placing the correct part of the foot onto the floor.
• perform two three-minute tap routines.

Upon completion of this course, the student will be able to:

• identify a vocabulary of at least forty single and amalgamated tap steps.
• demonstrate clarity of single tap sounds.
• explain and execute sound qualities for riffs one through eight.
• perform two three-minute tap routines that utilize steps learned in class.
• choreograph a series of tap steps in sequence that create a combination of twenty-four counts of eight.
• identify a progression of tap steps by name when they are demonstrated correctly.

Upon completion of this course, the student will be able to:

• perform a three-minute tap dance that contains a tap turn, a cut time section, and one sequence with a break.
• explain the origins of the heels-off Irish tap style and the reason for the lack of arm movements in traditional Irish dance.
• execute a series of eight front Irish, back Irish, and traveling Buffalo steps.
• repair a broken tap or buckle.
• execute a syncopated time step expanded into three extra counts.
• identify an Irish-based tap sequence, a military tap sequence, and a waltz clog.

Upon completion of this course, the student will be able to:

• critique a live dance performance.
• explain A' Capella tap.
• perform a one-minute tap routine choreographed in a traditional, heels off, Irish tap style.
• define the system used to record tap dances in their totality by means of symbols, signs, and abbreviations.
• spell 25 words from the tap vocabulary list.
• explain what happened during the Harlem Renaissance.
• perform an A'capella tap dance in Shuffle Stride and Vaudeville styles.
• identify the elements of tap that come from an African tradition, an Irish tradition, and an African American tradition.

Upon completion of this course, the student will be able to:

• prepare for the musical theatre audition process through practice, mindful choices, and an awareness of audience expectation.
• convey a basic knowledge of dance history in eras from the twenties until the present.
• summarize one quick-study technique for learning theatre dance.
• explain why self-discipline is necessary in order to dance in the wide range of styles included in musical theatre dance.
• dramatize gestures, impulse actions, and everyday movements into expressions in dance form.
• assemble an organized audition bag containing items needed for an all-day audition and a call back.
• demonstrate the breath control necessary for singing while dancing.

Upon completion of this course, the student will be able to:

• execute smooth transitions from a gestural movement into a turn and into a fall.
• explain the progression and technique required to move through a modern transition with multiple textured qualities to the levels.
• choreograph and perform a one-minute contemporary dance solo.
• produce, for audition purposes, a video that includes two still head shot photos and two copies of a self-choreographed contemporary solo performance.
• complete two contemporary-style alternative balance pirouettes.
• discuss the components of contemporary dance.
• suggest a way to introduce a new avenue of non-verbal communication between two partners while they are dancing a contemporary pas de deux.
• introduce several ways to count for contemporary dance.

Upon completion of this course, the student will be able to:

• explain the proper ankle structure and revised alignment needed in order to work on pointe.
• execute a fifteen-second balance in first through fifth positions with both feet on the floor.
• perform an echappe with passe balance combination in center completing the combination on balance.
• relate why, when, and for whom the first pointe shoes were made.
• describe the role of imagery, spotting, and breathing in pointe work.
• put on a pair of pointe shoes quickly, placing all ribbons and elastics properly.
• execute up to fifteen minutes of exercises at the barre en pointe or in eleve or releve on flat.
• demonstrate proper care of pointe shoes and ballet flats.

Upon completion of this course, the student will be able to:

• create a piece of choreography for three or four dancers.
• use a color chart and produce a rendering for a costume suitable for the theme or essence of the piece.
• discuss the most influential choreographers of the twentieth and twenty-first centuries.
• explain why choreography is often called a living art form.
• collaborate on a three-minute work of choreography with two other choreographers using video to exchange and study new sections of dance.
• perform, as a dancer, in a two-minute dance, choreographed by another student using video to learn your part.
• venture an opinion on why we say that every work of choreography is a self-portrait.
• notate choreography and transpose from video to movement.

Upon completion of this course, the student will be able to:

• demonstrate a one-minute section of improvisation.
• improvise a one-minute dance through the use of an improvisation menu.
• explain how to feel, or count intuitively, musical phrases.
• select dance steps from memory for an improvisational dance.
• discuss how to listen to music for an improvisational road map of steps, inspiration, impulse, and dance direction.
• compare total improvisation without music, total improvisation to music, and improvisation to music with an improvisation menu plan.
• listen for inner music cues.

Upon completion of this course, the student will be able to:

• explain the on-stage areas.
• critique the performance skills of others by means of constructive criticism and suggested rehearsal solutions.
• create a schedule for choreography of a three-minute intermediate technique level dance for performance.
• define the performance space in measurements and levels.
• analyze dance rehearsal and performance space for safety.
• assess and modify problem movement through analytical means during rehearsal.
• review a live performance for application of rehearsal time, technique, and choreographic elements.
• compare and contrast the production values and necessities for modern dance, jazz dance, theatre dance, and ballet.
• choreograph and notate a three minute dance.

Upon completion of this course, the student will be able to:

• define 25 words of vocabulary for dance production.
• rehearse and perform effectively in at least three pieces of choreography with three different costumes for a formal dance concert.
• describe the rehearsal and final dress process for a formal one-to-two-hour dance concert.
• collaborate on the creation of a three-to-ten minute work of original choreography with original costume ideas.
• explain the safety rules that apply to production in terms of backstage behavior before, during, and after performances.
• list the rules concerning eating, drinking, smoking, and costumes.
• list three different ways to deal with a quick change in performance.

Upon completion of this course, the student will be able to:

• perform a three-minute work of choreography in two different space settings.
• explain the differences between performing in the round, in a black box, on a public street, and on a proscenium stage.
• name two ways to deal with a hair ribbon or clip-on tie lost onstage when performing in the round.
• create a short sequence of choreography that contains both straight lines and circles.
• choreograph a dance for the round and convert it to a proscenium stage performance piece.
• work very closely in a closed trio position.

Upon completion of this course, the student will be able to:

• explain multicultural contributions to jazz dance.
• list twelve performance skills.
• deliver historical information for a cultural dance form by speaking directly to a lecture-demonstration audience.
• compare and contrast two cultural dance forms.
• choreograph and notate a lecture-demonstration presentation based on cultural styles that contribute to the jazz dance idiom.
• identify three jazz dance styles by era and choreographer.
• create and lead a warm up for a rehearsal period that includes dancing with head rolls and quick level changes.
• describe mistakes that might happen in a performance situation and propose the best way to adapt to such situations.
• call a piece of choreography by counts, steps, words, and beats.
• compare the performance experience of presenting to a small informal group and performing for three to five hundred people.
• explain how European contact, religion, and war have effected cultural dance performances.

Upon completion of this course, the student will be able to:

• utilize performance technique to make an audience connection.
• explain several ways to recoup an audience's attention if they have been distanced from the performance, or might lose confidence in the dancers.
• describe what should happen if something is accidentally left on the stage during performance.
• identify the basic structure of the human body and its potential for dance.
• justify the importance of visualization, creativity, and critical feedback in dance education.
• design costumes, choreograph, clean, and rehearse material for a four-minute dance.
• explain the sequence of events and recall who is responsible for a three-minute dance, including the calling of places, lights, sound, and blackout or fade.
• perform, as part of a company, in two hours of a choreographed and improvised dance concert.

Upon completion of this course, the student will be able to:

• perform in a 3-6 minute work of contemporary dance choreography.
• explain subtext and its relationship to the performance of a contemporary dance piece.
• name two categories of warm up that are appropriate for use in a contemporary dance rehearsal.
• create a sequence of contemporary choreography that is at least one minute in length.
• identify three choreographers who are considered contemporary in style.
• explain the use of verbs, slang language, endowment, and word pictures in contemporary dance.

Upon completion of this course, the student will be able to:

• use positive collaboration tools in order to work with others.
• explain how subtext can be used to make intentions and desires clear.
• explain a "classical" story in a contemporary way.
• identify three well-known choreographers who have created full-length dances on themes of Greek mythology.
• explain the plots from two "classical" ballets.
• identify three choreographic tools to use in foreshadowing.
• suggest the pacing for a dance section leading up to the story climax.
• discuss what is meant by "white" ballets.

Upon completion of this course, the student will be able to:

• describe the topic, theme, and specific subject matter of an independent dance project.
• discuss the research and events of this independent study.
• present a portfolio of photographs, videos, or other multimedia record of dances, exercises, explorations, or choreography that resulted from this independent study.
• document the development of an independent dance project by means of a narrative journal of events.

Upon completion of this course, the student will be able to:

• demonstrate application of industry knowledge and theoretical concepts in the field of dance related to a transfer degree level career as written in the minimum three (3) learning objectives created by the student and their employer or work site supervisor at the start of the course.
• make effective decisions, use workforce information, and manage their personal career plans.
• behave professionally, ethically, and legally during work, consistent with applicable laws, regulations, and organizational norms.
• behave responsibly during work, exhibiting initiative and self-management in situations where it is needed.
• apply effective leadership styles during work, with consideration to group dynamics, team and individual decision making, and workforce diversity.
• communicate in oral, written, and other formats, as needed, in a variety of contexts during work.
• locate, organize, evaluate, and reference information during work.
• demonstrate originality and inventiveness during work by combining ideas or information in new ways, making connections between seemingly unrelated ideas, and reshaping goals in ways that reveal new possibilities using critical and creative thinking skills such as logical reasoning, analytical thinking, and problem-solving.