Course title change from Teaching Essentials I is pending curriculum committee approval




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BALLET PEDAGOGY I

(course title change from Teaching Essentials I is pending curriculum committee approval)

Course Number 4780/6780

Prerequisite: Ballet 1500

M,W,F 8:35-9:25 am

MCD 130

Fall, 2010


Professor Regina Zarhina

Room: MCD 214

Telephone: 801 587-3743

Email: r.zarhin@utah.edu


Probably, were the good masters more common, good pupils not be so scarce.”

Jean George Noverre


The purpose of this course is to introduce students to methodology of teaching classical ballet. Students will learn how to build classical ballet curricula, structure a class, compose a logical and purposeful combination, provide relevant and age-appropriate material, choose proper musical accompaniment, work with a pianist, communicate their ideas clearly, and create imaginative explanations and instructions.


This course is both in theory and in practice. It covers full 6 years of Vaganova system (grades 7 and 8 are mostly dedicated to strengthening and practicing the acquired skills) with detailed explanations and breakdown of each step. In-depth knowledge of terminology is expected to be achieved by the completion of the course. Students will have a chance to practice lesson planning and teaching to live musical accompaniment.


In addition, this study is placed in historical and social context, thus providing students with the knowledge of origins, or “etymology” of ballet vocabulary, which is reinforced by a research paper requirement.


Communication skills and command of the language are developed through written assignments and practical exercises, related to the skills necessary to become an effective ballet teacher.


Required texts:


Au, Susan. Ballet and Modern Dance.

Copeland, R. and Cohen, M., eds. What is Dance?

Vaganova, A.I. Basic Principles of Classical Ballet


Additional reading materials will either be provided or prescribed in due course.


Recommended texts:


Kostrovitskaya, V. 100 Lessons in Classical Ballet.

Ward Warren, G. The Art of Teaching Ballet: Ten Twentieth Century Masters.

Gaynor Minden, E. The Ballet Companion: A Dancer’s Guide to the Technique, Traditions, and Joys of Ballet.

Grieg, V. Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class.


Assignments:


I. Written


In the beginning of term, students will receive a writing coaching session, in which expectations, rules, reference materials, research strategies, and reference format are explained. Throughout the semester, students are taught how to formulate a thesis and support it with persuasive arguments, how to write an engaging opening and conclusive summary, how to ask for help at the library and cite quotations properly. Students are asked to turn in at least two drafts, and required to revise at least once, each major paper. They are expected to revise their work - English and French spelling, grammar and syntax - according to written feedback and they are encouraged to seek further help, if needed, by asking for a consultation with the instructor.


  • Dictionary of ballet terminology with proper French spelling and accents!

  • Class observation log.

  • 4 written quizzes taken in lecture. You will be asked to provide an explanation of some methodological/teaching question in 15 minutes. This practice does not only test your knowledge but also prepares you to quickly recall material and communicate it in precise and concise manner.

  • Midterm paper: see assignment sheet 1.

  • Methodology Observation paper: see assignment sheet 2.


Note: all papers must be revised at least once. Two drafts before final revision are strongly recommended.


II. Practical


You will have a weekly assignment of creating combinations relevant to material currently covered. Each student will be requested to teach – explain and demonstrate - their prepared combinations on demand. You will be marked on clarity of your communication as well as on quality of your combination.

Your final practical examination will be to prepare and teach to your peers an assigned section of class. This will take place during December lectures and you will be notified of your rotation well in advance.


Grading:


Your grade for this course will be determined as a sum of your grades for written and practical assignments:


Written:

15% Midterm paper

15% Class observation/personal experience paper

20% Quizzes (5% each)

5% Terminology dictionary and class observations log


Practical:

30% Final practical examination

15% Weekly practical assignments


Attendance:


Because you are largely dependant on each other for your teaching practices, attendance is mandatory. More than 2 unexplained absences will be reflected in the final grade.



Grading Scale


A 100-91

A- 84-90

B 74-83

B- 67-73

C 57-66

C- 50-56

D 46-55

F below 46




PLEASE, BE ADVISED THAT PASSING GRADE FOR THIS COURSE IS B-, according to the Department’s policy.


COURSE OUTLINE


Please, note that assignments are requested to be completed for the lesson on the day they are listed. For example, you will be expected to have read Anna Kisselgoff’s article on national styles in time for your lecture on Aug. 30.


M Aug. 23 Introduction. Explanation of the course, its objectives

and requirements.

Writing requirements: how to choose your topic and plan your paper.


W Aug. 25 Overview of ballet history.


Assignment: Read chapters 1- 7 in Ballet and Modern Dance.


F Aug. 27 Overview of ballet history.


Assignment: Read chapters 8-12 in Ballet and Modern Dance.

Read the following in What is Dance?: Kirsten, Lincoln. From Ballet Alphabet. Page 364.


M Aug. 30 Ballet as classical art. Danse d’école. Methodology. Styles.

Writing requirements: how to write a thesis and formulate an

argument.


Assignment: Read the following in What is Dance?

Cohen, Selma-Jane. Dance as an Art of Imitation. Page 15.

Levinson, Andre. The Idea of the Dance: From Aristotle to Mallarme. Page 47.

Kisselgoff, Anna. There Is Nothing ‘National’ About Ballet Styles. Page 361.

Blackmur, R.P. The Swan in Zurich. Page 354.


W Sep. 1 Agrippina Vaganova and her method.


F Sep. 3 Elements of class: pace, pauses, musical choices,

combinations (long vs. short, hard vs. easy, changes, all

inclusive, variety), time management (barre-centre-allegro),

purpose (educational, warm up, dansant, strengthening).

Structure of class: how to plan a class; how to compose a combination.


M Sep. 6 Labor Day.


W Sep. 8 Aesthetic requirements of anatomy and physiology of ballet.

Learning to evaluate students’ potential and shortcomings.

Positions and founding principles of ballet. Head and arms

coordination.


Assignment: Read in Vaganova’s Basic Principles:

Chapter 1 and Chapter 4.

Handouts.


F Sep. 10 Practicum: positions and ports de bras.


M Sep. 13 Plié, relevé, battement tendu, passé par terre, pour les pied

(double), battement soutenu.

Writing requirements: how to find, use, and document reliable sources.


W Sep. 15 Battement jeté, piqué, balançoire, rond de jambe.


F Sep. 17 Practicum


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare barre combinations for:

- battement jeté (2/4) for intermediate level

- rond de jambe (3/4) for beginning level


M Sep. 20 Coup de pied, battement fondu, battement frappé, petits

battements, pas battu.


W Sep. 22 Passé (retiré), battement developpé, grand battement, relevé

lent.


F Sep. 24 Practicum


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare barre combinations for:

- battement soutenu at 45` and/or 90` (3/4)

- battement fondu at 45` and/or 90` for intermediate and/or advanced levels


M Sep. 27 QUIZ 1. Transferring weight: tombé, piqué, coupé, pas de

bourrée.


W Sep. 29 Flic-flac, fouetté (small form), pirouettes, temps relevé.

Writing requirements: how to cite quotations and prepare bibliography.


F Oct. 1 Practicum


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare barre or centre combinations for:

- study for pirouettes

- pas de bourrée en tournant en dehors et en dedans


M Oct. 4 Poses: arabesque, attitude, à la seconde, écartée, big poses

en éffacé and en croisé. Temps lié.

First draft of midterm paper is due!!!


W Oct. 6 Tour lent, grand pirouettes, grand fouetté, Italian

fouetté (to III arabesque and to I arabesque).


F Oct. 8 Practicum


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare combinations for:

- Adagio incorporating big poses en épaulement

- Grand fouetté in combination with appropriate steps


M Oct. 11

W Oct. 13 FALL BREAK

F Oct. 15


M Oct. 18 QUIZ 2. Allegro: 3 groups of jumps.


W Oct. 20 Writing requirements: general observations and corrections on

research papers.

Pas sauté, pas échappés, changement de pieds, pas

soubresaut, pas assemblé, pas de basque.


F Oct. 22 Practicum

Writing requirements: first draft of midterm paper returned with

personal corrections.


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare combinations for:

- first group of jumps

- pas de basque


M Oct. 25 Pas jeté.


Final draft of the midterm paper is due!!!


W Oct. 27 Sissonne fermée, sissonne fondue, sissonne simple, sissonne

soubresaut, sissonne ouverte, sissonne tombée, sissonne faillie.


F Oct. 29 Practicum


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare combinations for:

- sissonne fermée.

- pas jeté porté and pas jeté an avant.


M Nov. 1 Connecting steps: pas glissade, pas couru, coupé-tombé, pas

failli. Pas de chat, pas chassé, pas ballonné, pas ballotté, rond de jambe en l’air sauté.


Assignments for final examinations are given.


W Nov. 3 Pas de poisson (jeté passé), pas emboîtè, grand jeté, jeté

entrelacé, saut de basque, jeté en avant.

Writing requirements: Observation paper expectations.


F Nov. 5 Practicum


Assignment: Read appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Look for examples from classical repertoire and incorporate it in your combination for:

- all forms of jeté passé.


M Nov. 8 Grand pas de basque, pas ciseaux, jeté en tournant (into

attitude croisé and into I arabesque – jeté allongé), cabriole.


W Nov. 10 QUIZ 3. Batterie: pas battu, entrechat quatre, - six, -huit, -dix;

royal, entrechat trois and entrechat cinq, brisé.


F Nov. 12 Practicum


Assignment: Read handouts and appropriate chapters in Basic Principles. Be prepared to explain steps covered during the week using appropriate language. Prepare combinations for study of batterie both at the barre and in the centre.


M Nov. 15 Tours: chaînés, tour en l’air, piqué turns.


W Nov. 17 Turns in adagio: renversé. Composing grand adagio. Varying

tempi.


F Nov. 19 Practicum


Assignment: Prepare grand adagio combinations (3/4 or 4/4) and, for pointe technique, centre practice incorporating échappés, sus-sous, and sissonne simple.


M Nov. 22 QUIZ 4. Pointe technique. French school as opposed to

Italian school in the past. Current trends. Temps levé and sus-sous, échappés, glissade, temps lié, pas de bourrée.


First draft of Class Observation/Personal Experience paper due!!!


W Nov. 24 Pointe technique: assemblé soutenu, sissonne simple, pas

jeté, sissonne ouverte, pas ballonné, hops, polka.

Writing requirements: Corrected Observation papers returned.

F Nov. 26 THANKSGIVING BREAK


M Nov. 29 Grade 1.


W Dec. 1 Grades 2,3.

F Dec. 3 Grades 4,5,6.


M Dec. 6 Final examinations: session 1

W Dec. 8 Final examinations: session 2

F Dec. 10 Final examinations: session 3

Class observations log and terminology dictionaries are due!!!

Final draft of the Observation paper is due!!!

Regina Zarhina,February 2010


Students’ and Faculty Responsibility


All students are expected to maintain professional behavior in the classroom

setting, according to the Student Code, spelled out in the Student Handbook.

Students have specific rights in the classroom as detailed in Article III of the

Code. The Code also specifies proscribed conduct (Article XI) that involves

cheating on tests, plagiarism, and/or collusion, as well as fraud, theft, etc.

Students should read the Code carefully and know they are responsible for the

content. According to Faculty Rules and Regulations, it is the faculty

responsibility to enforce responsible classroom behaviors, and I will do so,

beginning with verbal warnings and progressing to dismissal from and class

and a failing grade. Students have the right to appeal such action to the

Student Behavior Committee.


Accommodation Policy


Some of the readings, lectures, films, or presentations in this course may

include material that may conflict with the core beliefs of some students.

Please review the syllabus carefully to see if the course is one that you are

committed to taking. If you have a concern, please discuss it with me at your

earliest convenience. For more information, please consult the University of

Utah’s Accommodations Policy, which appears at:

www.admin.utah.edu/facdev/accommodations-policy.pdf


ADA statement:


The University of Utah seeks to provide equal access to its programs,

services and activities for people with disabilities. If you will need

accommodations in the class, reasonable prior notice needs to be given to the

Center for Disability Services, 162 Union Building, 581-5020 (V/TDD). CDS

will work with you and the instructor to make arrangements for

accommodations.


RESEARCH ASSISTANCE & FINDING RESOURCES


If you would like assistance finding resources--books, images, CDs,

videos, etc--or conducting research, please stop by the Fine Arts

Reference Desk on level 2 of Marriott Library. For immediate assistance,

call the Fine Arts Reference Desk at 801-581-8104, or IM chat via their

website: www.lib.utah.edu > Department Directory > Fine Arts &

Architecture. If you'd like to schedule a one-on-one consultation, you

can contact the Ballet liaison, Myron Patterson, at

myron.patterson@utah.edu.






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