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DNCE 095 Z1 (CRN: 60608)
 
Argentine Tango Course Syllabus -- Page 1 of 6
© By Elizabeth M. Seyler 2013 All rights reserved.
 
Argentine Tango: Collaborative Art & Cultural Exchange
DNCE 095 Z1 (CRN: 60608) ~ 3 credits ~ Southwick Ballroom, Redstone CampusA UVM Diversity Course (D2)
Elizabeth M. Seyler, Ph.D., Instructor
Continuing Education and Dance ~ University of Vermont
Instructor Contact Information
eseyler@temple.edu, 802-318-4959 or 215-432-1023 (cell)
Course Description
Thousands of people dance Argentine tango every week in Burlington, Montreal, New York,Buenos Aires, Paris, London, and beyond. What makes it so special? Discover tango's appeal, history, andculture. This course offers an introduction to Argentine tango for dancers and non-dancers, including howto dance tango, how to understand tango music, the importance of its lyrics, and how to interact in a tangocommunity. The course recounts
tango’s history
from the 1800s to the present, including the politics of 
immigration and how the arts and cultures of Africa, Europe, and Latin America shaped tango’s
development. The course examines how dance and music reflect and express individual and culturalidentity, how current tango practice around the world affects health and well-
 being, tango’s role in thecontext of current cultural and economic issues in Argentina and Uruguay, and tango’s
capacity to promoteindividual growth and cultural pluralism. Students dance, study music, read scholarly articles, write papersand poetry, create visual art, and engage in class discussions and debates. The course celebrates multipleintelligences and encourage students to take ownership of their learning. Guest dancers, musicians, and
historians from nearby tango communities help students understand and connect with tango’s expression in
North American society.Each time the class meets, we will dance, study music, and engage in class discussion. No danceexperience is necessary, and people of all ages are welcome. Instructor Elizabeth Seyler, PhD, has taughttango since 2006 and creates a friendly, welcoming environment for people all ages and abilities. Studentsshould come dressed in comfortable clothing, wearing socks or clean, hard-soled shoes that pivot easily ona wooden floor. High-heeled shoes are not required or recommended.
Significant Learning Goals
Upon completion of the course, students will:1.
 
be able to dance basic tango in connection with their partner and with the music, including effectivecollaboration and communication skills;2.
 
be able to identify the three types of tango music and some well-known vocalists or orchestras as wellas understand some tango lyrics and the importance of 
lunfardo
(a form of slang that evolved alongsidetango dance and music at the turn of the twentieth century);
 
 
DNCE 095 Z1 (CRN: 60608)
 
Argentine Tango Course Syllabus -- Page 2 of 6
© By Elizabeth M. Seyler 2013 All rights reserved.
 
3.
 
be able to describe the history of tango dance and music from the late 1800s to the present, including
tango’s source in multiple cultures and current economic and cultural issues
;4.
 
be able to engage in thoughtful oral and written discourse on the meaning of 
dance
and
culture
andhow tango reflects and expresses individual and cultural identity;5.
 
have a
 better understanding of how dancing tango embodies one’s relationship to self and other 
andhow it can support cultural pluralism; and6.
 
know codes of interaction for tango events in cities in the Northeastern United States and Canada.
General Course Information
 Course Policies/ExpectationsTo successfully participate in this course, one must be in good physical condition
 – 
that is, able to walk, dogentle torso twists, and balance for 30 seconds on one foot. One must also be willing to move throughspace in close physical contact with fellow students. When moving and dancing, in particular, studentsmust be respectful, patient, and compassionate with each other. Tango will come easily for some and moreslowly for others. A supportive, encouraging, team approach to learning is essential.Attendance ExpectationsWe will learn new dance moves and discuss new concepts in every class, so good attendance andarriving on time is the best way to keep up with material and enjoy the class.Any absence or tardy arrival will put you behind, much of which cannot be made up since itinvolves group participation. A one-class absence is allowed, but you must inform me via email or phonethree hours ahead of time, including the reason for your absence and a note from your doctor for anymedical absence, and you must interview at least one class member to find out the specifics of what youmissed (to be written up in your portfolio). Every absence after the first absence will lower your FINALgrade by 5 points (that is, an A becomes an A-, or a B- becomes a C+). If you arrive 10 or more minutesafter class has begun, you are considered tardy, with three tardy arrivals equaling a one-class absence.After a sum of three class absences without written medical documentation from your doctor, youwill be asked to drop the course or receive a failing grade.Religious ObservanceThe official UVM policy for excused absences for religious holidays: students have the right to practice thereligion of their choice. Each semester students should submit in writing to their instructors by the end of the second full week of classes their documented religious holiday schedule for the semester. Faculty mustpermit students who miss work for the purpose of religious observance to make up this work.Academic Honesty & Professionalism
All students are required to be familiar with and adhere to the “Academic Honesty Policy Procedures”
delineated in the following website.http://www.uvm.edu/~uvmppg/ppg/student/acadintegrity.pdf ).AccommodationsAccommodations will be provided to eligible students with disabilities. Please obtain an accommodationletter from the ACCESS office and see one of the instructors early in the course to discuss whataccommodations will be necessary. If you are unfamiliar with ACCESS, visit their website athttp://www.uvm.edu/access to learn more about the services they provide. ACESS: A-170 LivingLearning Center, University of Vermont, Burlington, VT 05405. PH: 802-656-7753, TTY: call 711(relay), Fax: 802-656-0739, Email:access@uvm.edu,Instant Messenger: UVMaccess. General office hours: 8:30am
 – 
4:30pm Monday through Friday. Call to make an appointment.
 
 
DNCE 095 Z1 (CRN: 60608)
 
Argentine Tango Course Syllabus -- Page 3 of 6
© By Elizabeth M. Seyler 2013 All rights reserved.
 Readings/Resources
Students will be asked to purchase a tango music CD on the first day of class for $5.We will read portions of some of these documents and view some of the videos during the course.
(Don’t
worry, we will not use all of them.)
“An Anthropologist Looks at Ballet as a Form of Ethnic Dance”
by Joann Kealinohomoku in
 Impulse
 (1970): 24-33.
¡Bailemos Tango!: A Century of Tango on the Dance Floor 
, Rhino Records 2000.
“Effect of a Community
-Based Argentine Tango Dance Program on Functional Balance and
Confidence in Older Adults” by Patricia McKinley, et. al. in
 Journal of Aging and Physical Activity
,vol. 16, issue 4, 2008.
“Five Premises for a
Cultural Sensitive Appro
ach to Dance,”
by Deidre Sklar in
 Moving History  Dancing Cultures: A Dance History Reade
, edited by Ann Dils and Ann Cooper Albright.Middletown, CT: Wesleyan University Press, 2001.
The Meaning of Tango: The Story of the Argentinean Dance
by Christine Denniston. Anova Books,2008
Paper Tangos
by Julie Taylor, Durham, NC: Duke University Press, 1998
Tango: The Art History of Love
by Robert Farris Thompson, New York, NY: Pantheon Books, 2005."Tango Bar" (movie) featuring Carlos Gardel, Paramount 1935.
Tango!: The Dance, the Song, the Story
, edited by Simon Collier, New York, NY: Thames & Hudson,1997
Tango:
The Obsession” (documentary) by Adam Boucher,
Adam Boucher Films LLC, 1998.
“The Tango Philadelphia Story: A Study of Community, Age, Health, and Argentine Tango” by
Elizabeth M. Seyler in
Tango, body to cultural body: Dancing together for better life
, Québec: Presses
de L’Université du Québec, 2009. (Published in French as “L’H
istoire du Tango à Philadelphie:
Étude sur la communauté, l’âge, la santé et le tango argentin” in
Tango, corps à corps culturel: Danser en tandem pour mieux vivre
.)
“Dance, Music, and Spirit: A Phenomenological Study” by Elizabeth M. Seyler; scheduled
forpublication in 2012
 by Presses de L’Université du Québec in French as “Danse, musique et ésprit
: une
étude phénomenologique.”
 
Tango and the Political Economy of Passion
by Marta E. Savigliano Boulder, CO: Westview Press,1995.
Tango Voices
by Donald Cohen, Music Sales America, 2007.

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