DANC-1530: Contemporary/Modern Dance I           1

DANC-1530: CONTEMPORARY/MODERN DANCE I

Cuyahoga Community College
Viewing:DANC-1530 : Contemporary/Modern Dance I
Board of Trustees:
2016-05-26

Academic Term:
2016-08-24

Subject Code
DANC - Dance
Course Number:
1530

Title:
Contemporary/Modern Dance I

Catalog Description:
First in a three-course sequence. Introduce and practice fundamental movement vocabulary and concepts of modern/contemporary
dance. Warm up, center, and traveling movement sequences practiced on the floor, standing, and through studio space. Emphasis on
body awareness, spatial awareness, and musicality. Discover the body as an expressive instrument. Build biomechanical, aesthetic,
and historical foundations for further contemporary/modern dance training. May be repeated up to four times for credit.

Credit Hour(s):
2

Lab Hour(s):
4

Requisites
Prerequisite and Corequisite
DANC-1501 Dance Fundamentals.

I. ACADEMIC CREDIT
Academic Credit According to the Ohio Department of Higher Education, one (1) semester hour of college credit will be awarded
for each lecture hour. Students will be expected to work on out-of-class assignments on a regular basis which, over the length of
the course, would normally average two hours of out-of-class study for each hour of formal class activity. For laboratory hours, one
(1) credit shall be awarded for a minimum of three laboratory hours in a standard week for which little or no out-of-class study is
required since three hours will be in the lab (i.e. Laboratory 03 hours). Whereas, one (1) credit shall be awarded for a minimum of
two laboratory hours in a standard week, if supplemented by out-of-class assignments which would normally average one hour of
out-of class study preparing for or following up the laboratory experience (i.e. Laboratory 02 hours). Credit is also awarded for other
hours such as directed practice, practicum, cooperative work experience, and field experience. The number of hours required to
receive credit is listed under Other Hours on the syllabus. The number of credit hours for lecture, lab and other hours are listed at
the beginning of the syllabus. Make sure you can prioritize your time accordingly. Proper planning, prioritization and dedication will
enhance your success in this course.
The standard expectation for an online course is that you will spend 3 hours per week for each credit hour.

II. ACCESSIBILITY STATEMENT

If you need any special course adaptations or accommodations because of a documented disability, please notify your instructor
within a reasonable length of time, preferably the first week of the term with formal notice of that need (i.e. an official letter from the
Student Accessibility Services (SAS) office). Accommodations will not be made retroactively.
For specific information pertaining to ADA accommodation, please contact your campus SAS office or visit online athttp://www.tri-
c.edu/accessprograms. Blackboard accessibility information is available athttp://access.blackboard.com.
Eastern (216) 987-2052 - Voice
Metropolitan (216) 987-4344 -Voice
Western (216) 987-5079 - Voice
Westshore (216) 987-5079 - Voice
2        DANC-1530: Contemporary/Modern Dance I

Brunswick (216) 987-5079 - Voice

Off-Site (216) 987-5079 - Voice

III. ATTENDANCE TRACKING

Regular class attendance is expected. Tri-C is required by law to verify the enrollment of students who participate in federal Title IV
student aid programs and/or who receive educational benefits through other funding sources. Eligibility for federal student financial
aid is, in part, based on your enrollment status.
Students who do not attend classes for the entire term are required to withdraw from the course(s). Additionally, students who
withdraw from a course or stop attending class without officially withdrawing may be required to return all or a portion of the financial
aid based on the date of last attendance. Students who do not attend the full session are responsible for withdrawing from the
course(s).
Tri-C is responsible for identifying students who have not attended a course, before financial aid funds can be applied to students’
accounts. Therefore, attendance will be recorded in the following ways:
For in-person courses, students are required to attend the course by the 15th day of the semester, or equivalent for terms shorter
than 5-weeks, to be considered attending. Students who have not met all attendance requirements for an in-person course, as
described herein, within the first two weeks of the semester, or equivalent, will be considered not attending and will be reported for
non-attendance and dropped from the course.
For blended-learning courses, students are required to attend the course by the 15th day of the semester, or equivalent for terms
shorter than 5-weeks, or submit an assignment, to be considered attending. Students who have not met all attendance requirements
for a blended-learning courses, as described herein, within the first two weeks of the semester, or equivalent, will be considered not
attending and will be reported for non-attendance and dropped from the course.
For online courses, students are required to login in at least two (2) times per week and submit one (1) assignment per week for the
first two (2) weeks of the semester, or equivalent to the 15th day of the term. Students who have not met all attendance requirements
for an online course, as described herein, within the first two weeks of the semester, or equivalent, will be considered not attending
and will be reported for non-attendance and dropped from the course.
At the conclusion of the first two weeks of a semester, or equivalent, instructors report any registered students who have “Never
Attended” a course. Those students will be administratively withdrawn from that course. However, after the time period in the
previous paragraphs, if a student stops attending a class, wants or needs to withdraw, for any reason, it is the student's responsibility
to take action to withdraw from the course. Students must complete and submit the appropriate Tri-C form by the established
withdrawal deadline.
Tri-C is required to ensure that students receive financial aid only for courses that they attend and complete. Students reported for not
attending at least one of their registered courses will have all financial aid funds held until confirmation of attendance in registered
courses has been verified. Students who fail to complete at least one course may be required to repay all or a portion of their federal
financial aid funds and may be ineligible to receive future federal financial aid awards. Students who withdraw from classes prior to
completing more than 60 percent of their enrolled class time may be subject to the required federal refund policy.
If illness or emergency should necessitate a brief absence from class, students should confer with instructors upon their return.
Students having problems with class work because of a prolonged absence should confer with the instructor or a counselor.

IV. CONCEALED CARRY STATEMENT

College policy prohibits the possession of weapons in the classroom by students, faculty and staff, unless specifically approved in
advance as a job-related requirement (i.e., Tri-C campus police officers). This policy applies to all students, faculty and staff without
regard to any concealed handgun license or permit an individual may possess.
As a Tri-C student, your behavior on campus must comply with the student code of conduct which is available within the Tri-C
student handbook, available athttp://www.tri-c.edu/handbook. You must also comply with the College’s Zero Tolerance for Violence
on College Property Policy available athttp://www.tri-c.edu/policies-and-procedures/documents/3354-1-20-10-zero-tolerance-for-
violence-policy.pdf

Outcomes
Course Outcome(s):
Develop foundational strength, flexibility, range of motion, and body awareness to increase clarity and expressive potential of the
body.

Objective(s):
1. Discuss principles of basic anatomy, biomechanics, proper alignment, and coordination.
2. Discuss proper conditioning techniques and principles to increase strength, flexibility, range of motion, stability, and mobility.
3. Develop increased body and spatial awareness.

Course Outcome(s):
Perform fundamental modern/contemporary movement vocabulary.
 DANC-1530: Contemporary/Modern Dance I           3

Objective(s):
1. Complete a modern/contemporary technique class that progresses from warm up to more complex movement sequences and
phrases.
2. Retain, recall, and perform movement sequences and phrases with leadership of instructor.
3. Apply individual and group corrections or feedback.
4. Demonstrate improvement in executing basic exercises with proper alignment, muscular control and support, and accuracy.

Course Outcome(s):
Develop basic knowledge of modern/contemporary dance concepts and cultural context.

Objective(s):
1. Experience and discuss modern/contemporary choreography and performance.
2. Discover and discuss general modern/contemporary dance history.
3. Define basic modern/contemporary dance terminology.
4. Develop awareness of personal choice, expression, and creative process through the following: basic improvisation, creative
problem solving, and movement studies.

Methods of Evaluation:
1. Daily class participation and effort
2. Journals and written reflection
3. Self-Assessments / Self-Evaluations
4. Peer Evaluation
5. Demonstration/Performance of technical sequences
6. Written quizzes or tests
7. Practical exam
8. Attendance of a live modern/contemporary dance performance of a professional level
9. Verbal reflection/observation and written critique of related film/documentary screenings or live modern/contemporary dance
performance
10. Research assignment
11. Group project/assignment

Course Content Outline:

1. Body Awareness
a. Alignment/Organization of the body
i. Parallel, inward, and outward rotation of the leg
ii. Point, flex and sequential articulation of the foot and ankle
iii. Articulation of the spine/vertebral column
iv. Flexion, extension, and rotation
v. Use of ballet-based positions and actions
b. Movement on various planes (transverse, sagittal, frontal)
c. Patterns of connectivity
i. Breath
ii. Core-distal
iii. Head-tail connection
iv. Upper/lower connectivity
v. Sense of body-half/body side
vi. Sense of cross/contra-lateral
vii. Verticality (vestibular)
2.  Self-care and injury prevention
a. Basic conditioning exercises focusing on entire body
b. Development of strength, flexibility, and range of motion
c. Warm up and cool down
3. Modern/contemporary dance concepts
a. Core support
b. Stability and mobility
c. Movement efficiency
d. Opposition
e. Suspension
4        DANC-1530: Contemporary/Modern Dance I

f. Gravity and momentum

i. Transfer of weight
ii. Use of or resistance to gravity
g. Rhythm/Phrasing/Musicality
h. Connection between the mind and the body (e.g. use of visualization and imagery techniques, or somatic studies/practices)
4. Technique Class Framework
a. Warm up and/or floor work, developmental exercises and/or standing center sequences, locomotor movement phrases, and
cool down
b. Space
i. Simple level changes
ii. Pathways and locomotion
c. Shapes of the body in space
d. Time
i. Variety in speed and duration of sequences
ii. Rhythm and musicality
1. Simple rhythm patterns, meters (duple, quadruple, triple)
2. Breath rhythm
e. Effort/energy
i. a. Simple dynamic and quality changes
ii. b. Efficiency
f. Terminology
5. Creative Process
a. Basic improvisation and movement studies
b. Creative problem solving
6. Performance
a. Focus and concentration
b. Spatial Awareness (kinesthetic awareness)
c. Musicality
d. Commitment, intention, mind-body connection, and stage presence
e. Energy and effort
f. Class/Studio etiquette
g. Professionalism
7.  History and styles
a. Influential people
b. General historical/cultural context and timeline of modern/contemporary dance

Resources
Ailey, Alvin and P. Bailey.Revelations: The Autobiography of Alvin Ailey.New York: Birch Lane Press/Carol Publishing Co, 1995.

Anderson, Jack.Ballet Modern Dance: A Concise History.2nd ed. New Jersey: Princeton Book Co., 1992.

Aschenbrenner, J.Katherine Dunham: A Dancing Life.Urbana and Chicago: University of Illinois Press, 2002.

Brown, Jean M., Naomi Mindlin, and Charles Woodford, eds.The Vision of Modern Dance.2nd ed. New Jersey: Princeton Book Co, 1998.

Campbell, M. K.A Pedagogical Study of the Merce Cunningham Dance Technique.Winchester, VA: Shenandoah University, 2004.

Cohen, S. J.Doris Humphrey: An Artist First.S.J. Cohen ed. New Jersey: Princeton Book Co, 1995.

Cunningham, Merce.Merce Cunningham: The modernizing of modern dance.New York: Routledge, 2004.

deMille, Agnes.Martha: The life and work of Martha Graham.New York: Random House, 1991.

Dowd, Irene.Taking Root to Fly: Articles on Functional Anatomy.3rd ed. Irene Dowd, 1995.
 DANC-1530: Contemporary/Modern Dance I           5

Erkert, Jan.Harnessing the Wind: The Art of Teaching Modern Dance.Illinois: Human Kinetics, 2003.

Foulkes, J. L.Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey.Chapel Hill: The University of North
Carolina Press, 2002.

Haas, Jacqui G.Dance Anatomy.Illinois: Human Kinetics, 2010.

Helpern, A.The Technique of Martha Graham.Dobbs Ferry, NY: Morgan and Morgan, 1994.

Horosko, M.Martha Graham: The evolution of her dance theory and training 1926-1991.NJ: A Capella Books, 1991.

Humphrey, Doris.The Art of Making Dances.New York: Grove Press, 1959.

Kaplan, Robert.Rhythmic Training for Dancers.Illinois: Human Kinetics, 2002.

Kriegsman, S. A.Modern Dance in America: The Bennington Years.Boston: G. K. Hall Co, 1981.

Legg, Joshua.Introduction to Modern Dance Techniques.New Jersey: Princeton Book Co, 2011.

Lewis, Daniel.The Illustrated Dance Technique of José Limón.New Jersey: Princeton Book Co-Dance Horizons, 1984.

Limón, José.José Limón: An Unfinished Memoir.CT: Weslyan University Press, 2001.

Love, Paul.Modern Dance Terminology.New Jersey: Princeton Book Co., 1997.

Lloyd, M.The Borzoi Book of Modern Dance.New York: Dance Horizons, 1949.

Martin, J.The Modern Dance.New York: Dance Horizons, 1972.

Martin, J.Introduction to the Dance.New York: Dance Horizons, 1975.

Mazo, Joseph H.Prime Movers: The Makers of Modern Dance in America.2nd ed. Hightstown, NJ: Princeton Book Co, 2000.

McDonagh, D.Martha Graham: A biography.New York: Praeger, 1973.

Nikolais, A. and M. Louis.The Nikolais/Louis Dance Technique: A Philosophy and Method for Modern Dance.New York: Routledge, 2005.

Olsen, Andrea.Bodystories: A Guide to Experiential Anatomy.UPNE, 2004.

Penrod, James and Janice G Plastino.The Dancer Prepares: Modern Dance for Beginners.5th ed. New York: McGraw-Hill, 2005.

Perces, M.B., A. M. Forsythe, and C. Bell.The Dance Technique of Lester Horton.New Jersey: Princeton Book Co, 1992.

Rose, A.Dunham Technique: “A Way of Life.”.Dubuque: Kendall/Hunt Publishing Company, 1990.

6        DANC-1530: Contemporary/Modern Dance I

Schlaich, Joan and Betty DuPont.The Art of Teaching Dance Technique.Reston, Virginia: National Dance Association-American Alliance
for Health, Physical Education, Recre, 1993.

Stodelle, Ernestine.The Dance Technique of Doris Humphrey and Its Creative Potential.New Jersey, Princeton Book Co, 1978.

Warren, L.Lester Horton: Modern Dance Pioneer.New York: Marcel Dekker, 1977.

Kennicott, J. "“Martha and Music.”" 1991-07-01 00:00:00.0.

Legg, Joshua. "“Katherine Dunham Technique: Why you should investigate this modern master’s work--plus what to expect in class.”"
2008 May/June.

Legg, Joshua. "“Modern Focus: Horton Technique.”" 2007 January.

Legg, Joshua. "“Focus Modern: Limón Technique.”" 2006 October.

Towers, D. "“Cunningham Dance Technique: Elementary level”" 60 (2).

Resources Other
Other Media (Video/Website):
• Celichowska, Renata. (Writer & Director).The Erik Hawkins Modern Dance Technique[Book and DVD].New Jersey: Princeton Book Co-
Dance Horizons, 2000.
• Dalzell, J. “Teacher’s Wisdom: Jennifer Scanlon.”Dance Magazine,June 2010.http://dancemagazine.com/issues/June-2010/
Teachers-Wisdom-Jennifer-Scanlon.
• Forsythe, A. M. and M. B. Perces (Directors).Lester Horton Technique: Intermediate Level[Motion Picture]. United States: Kultur
International Films. 2002.
• Forsythe, A. M. and M. B. Perces (Directors).Lester Horton Technique: The Warm Up[Motion Picture]. United States: Kultur
International Films. 1990.
• Kennedy Center for the Performing Arts (Producer).Performing Arts Series: Martha Graham Dance Company.[Motion picture].
Washington, DC: Kennedy Center for the Performing Arts. 
• Klein, S.A Movement Technique-A Healing Technique.http://kleintechnique.com/articles.html

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