How can we identify the tempo of music through movement? Students demonstrate the expressive quality of tempo through movement.

FYS 207 Dancing Drones

COURSE DESCRIPTION & PREREQUISITES Seminars focus on topics of general interest while developing key academic foundations (reading, information literacy, creative and critical thinking, technological literacy, and either writing or quantitative literacy). Quantitative-focused seminars integrate assignments that require the use and understanding of quantitative information/evidence.

This course will explore the parallels between dance and coding and will culminate in creating an electronic dance using basic tools from dance choreography, eDance costumes, and basic coding skills. No previous dance or coding experience is needed.

COURSE GOALS: FYS 207: ILLUMINATING THE CODE OF DANCE

Students will convert relevant information into various mathematical forms
Students will solve a problem (creating an illuminated dance) using strategies across the disciplines of dance and computer science
Students will put into practice knowledge of coding, iteration and abstraction and will be expressing themselves through choreography and dance.

How fluent are you in the language of dance? Here we detail the five elements that all forms of dance and creative movement have in common: body, action, space, time and energy. Being able to identify and understand these core characteristics can help you when talking about a dance performance or can help you get your own messages across through movement.

Students will be presented with foundation knowledge of the Harlem Renaissance, experience some sights and sounds of this movement, then gain deeper knowledge by creating a virtual “museum exhibit” of a famous artist or author to share with others. At the end of the lesson, students will evaluate the impact and significance of the Harlem Renaissance, and consider how the arts can serve as vehicles for social change.

This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed.

John “Crazy Legz” Pearson, founder of the Who Got Moves Battle League, is breathing life back into Beat Ya Feet -- the bouncy, fast-moving dance found in the streets, backyards and go-go clubs of Black D.C. At the heart of the dance style is the music: go-go, a blend of funk, call-and-response and Afro-Latin rhythms, ubiquitous in D.C.'s Black neighborhoods.

Honolulu is home to tourism hotspot Waikiki, and many of the city’s beachfront hotels host lavish luaus showcasing styles of hula influenced by Western music and instrumentation. But for Native Hawaiians, the origins of hula are deeply spiritual and rooted in Hawaii’s creation stories and the history and culture of their kūpuna or ancestors. Driven by the mele (poetry), hula marries movement with spoken word to express stories about specific deities, people, places and events.

Learn about force and motion through a song and dance by the amazing Gregory Brothers!

Ms. Grava T. is the host of the most incredible game show on the playground HOW THINGS MOVE! With a little help from her musical friends The Gregory Brothers, you’ll learn a song about force and motion that will help you win the game.

Learning Objective: demonstrate and observe how position and motion can be changed by pushing and pulling objects.

Jocquese Whitfield is a Vogue legend in San Francisco. He is a choreographer and performer who teaches the popular “Vogue and Tone” class at Dance Mission Theater. He has held the winning title at the Miss Honey Vogue Ball multiple times and is also a judge for dance and drag competitions. Here Jocquese breaks down the five elements of Vogue and discusses how the dance form became a lifestyle. Learn the basics from this master also known as Sir JoQ.

I’ve been doing a lot of thinking about how I could incorporate video into my own learning processes, and wondered, if I were to participate in the ISKME GoPro Learning Challenge, what would I want to create? I looked back to the very first time I really started using video in my daily life, and, surprise surprise, it was to create a teaching tool for myself.

I’m a dancer, and for years I’d practiced dancing in my bedroom, sometimes in front of a mirror. But I’d never recorded myself dancing. Once I did, I realized it could have a tremendous impact on my skill level as a dancer. Especially when preparing for a performance, the videos enabled me to see my weaknesses and memorize choreography more readily.

My great idea is to use GoPro to record myself and my fellow students as we learn new choreography, and to share those videos with each other and with our teacher so we can track and measure our progress, and receive personalized feedback.

This course is an introduction to diverse musical traditions of the world. Music from a wide range of geographical areas is studied in terms of structure, performance practice, social use, aesthetics, and cross-cultural contact. Course work includes hands-on music making, live demonstrations by guest artists, and ethnographic research projects.

J-Sette dancers bring energy, precision and stunts to the floor, and the Dance Champz of Atlanta are trying to take this underground LGBTQ+ art form to the next level. The roots of J-Setting are in Mississippi, at Jackson State University, where the Prancing J-Settes adapted majorette dancing, losing the batons and bringing in African American and jazz dance influences. Leland Thorpe and his team are on a mission to get the underground version of the dance form taken more seriously in the wider dance world. Thorpe is passionate about bringing more formal technique to the dance, and with his experience in Detroit studying jazz and ballet, he brings a faster pace and more sophistication to the Atlanta style.

Los Angeles Pro Roller Skater Alicia Reason breaks down some classic jam skate moves, including the crazy legs, moonwalk, electric slide, and spread eagle, then puts them together in a dance routine for you to follow.

A curriculum unit of three lessons in which students explore Hopi place names, poetry, song, and traditional dance to better understand the ways Hopi people connect with the land and environment through language. The unit is centered on the practice of growing corn. Students make inferences about language, place, and culture and also look closely at their own home environment and landscape to understand the places, language, and songs that give meaning to cultures and communities

This lesson is the first one I use in my Line Dance Unit. It's a fun way to get kids moving and dancing. They're introduced to line dances and the elements of line dance.

In this lesson students perform a line dance to reinforce story telling through movement.

Looking at Light is an introductory text for theatre lighting designers. It is an appropriate resource for students at the college or university level who are interested in learning about lighting design at a fundamental level.

While the resource is designed as an introductory lighting design program for University students, it may also be useful to high school students who are interested in technical theatre, adults who are involved in community theatres, high school teachers who find themselves being responsible for lighting (even though they have little training in the area), or professionals and amateur theatre and dance practitioners from non-lighting areas.

This is a design-based course, and while there is some effort to explain the technology involved with theatrical lighting, it is not meant to be a resource to learn how to be an electrician or programmer.

From the brainstorming process to the stage, follow three University of Kentucky dance students as they create their own original choreography. Learn how movements are used to express ideas and emotions. Also witness the challenges of creating a dance as a soloist and as a group.

Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book’s nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America).