African Dance in the Diaspora Paper Guides 2012

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General Paper Requirements

All papers required for this course should follow a specific format of 12 point, Times New Roman Font and Left/Top/Right/Bottom Margins of 1 inch, Single Spaced.  There will be deductions from assignments if this format is not followed.  These papers should be at least 1 page and not exceed 2 pages.

Reading Writing Paper Requirements
These papers should answer the following questions.

Create a summary of two major points the author is trying to get across.
Describe one aspects of the article/writing and how this aspect connects to your physical movement experience in the dance class. 

Performance Review Paper Requirements 

These papers should answer two of the following questions.

Describe two specific movement elements you observed in the performances.

Describe two connections between two of the dances presented in the performance.

Describe two distinctions between two of the dance presented in the performance. 

Describe two examples of audiences involvement in the performance.

Journal Review Paper Requirements

These papers should answer two of the following questions.

Describe two significant experiences of your journey from the beginning of this class until now.

Describe one challenging aspect of the journey.

Describe one rewarding aspects of the journey.

Compare and contrast two aspects between two different dance styles experienced in the class.

Grading

Ticket Stub or Program, 1 point

Clear and Organized Writing, 5 points

Depth of Thought, 4 points

Answered Required Questions, 5 points

 Tips

Create an outline before writing.

Write about aspects that really resonate with you.

Read through your journal and notes prior to writing thoroughly.

Free write with no restrictions then write you actual paper.

African Dance in The Diaspora Events 2012

Lela Aisha Jones and FlyGround presented by First Person Arts Festival

Native Portals of Lynching and Love                                                            

                          

photo by choreographic sketches

dancers - lela aisha jones

November 15 & 16, 2012 7pm

For more information

http://www.firstpersonarts.org/programs2/firstpersonraw/

http://ticketing.theatrealliance.org/tickets/eventDetails.aspx?id=25381&org=fp

Let the Roots Show: Kulu Mele and The Requisite Movers

photo by www.austinart.com and monica lyons jones

dancers - oiya lowe, peaches jones, saroya corbett

Saturday November 24, 7pm and Sunday November 25, 4pm
(November 21 Show at 11am for Students and Seniors, Ask Professor)

For  more information:  http://www.paintedbride.org/?s=kulu+mele

"BEAT"

In a celebration of African American music, dance, and culture, Magira Ross is presenting the "Beat" on September 21 and September 22 at 7:30pm in Temple University's Conwell Dance Theater. "BEAT" will present some of the flyest and hottest dance artist from Baltimore, DC, Oregon, Bahamas, Jamaica, and Philly! Tickets are selling fast and you can not purchase tickets at the door. Tickets are $15 and to buy tickets contact Saroya Corbett at saroya_corbett@yahoo.com.

Conwell Dance Theater

Broad and MontgomeryPhiladelphia, PA 19122

Afro-Brazilian Dance Workshop with Dandha Da Hora co-hosted by Alex Shaw and TRM!

 

Performance Garage

1515 Brandywine Street

Philadelphia, PA 19130

Sunday, Sept. 30

3:00 – 4:30pm

$15 General; $12 Students, Seniors, & Dance Pass Holders

JUXT[a]POSE!

la deuxième partie

photo by www.austinart.com

dancers - danielle currica, oiya lowe, lela aisha jones, maritza ogarro

anonymous bodies || art collective in partnership with Studio 34

Running Time: 75 minutes plus intermission. Mature content and themes.

October 13th 2012, 7:30PM

For more information: http://danceboxoffice.com/product_details.php?item_id=49

IMPROVISATION FINAL

THINKING MAKING DOING: IMPROVISATION

DACR 164 Section 03 / Fall 2011 / Tuesdays 2:30pm – 3:50pm

Professor Lela Aisha Jones / lejones@uarts.edu

Office hours are by appointment only.

FINAL (listed as studies on the syllabus and due December 7, 2011)

1. Fluttering: 10-15 Minutes

· Student exhibits an ability to dig into the body and create a self facilitated fluid dialogue of movement to prepare the body for improvisational processes.

10 POINTS

Punctuality, 3 point (on time to class)

Development, 5 points (ability to move through the body in stages)

Overall 2 (the ability to self facilitate to a fully functional place)

2. Improvisation: 3 Minutes

· Students may choose from the following categories to create an on the spot (and thoughtful) improvisational performance with dynamic quality.

Option 1: Memory

Option 2: Soma

Option 3: Artifact

Option 4: Gesture

20 POINTS

Professionalism, 4 points

Commitment, 4 points

Intention, 3 points

Focus, 3 points

Divergence, 2 points

(moving away from a norm, pushing tempo, energy, location of movement in the body)

Overall, 4 points

3. Writing/Speaking:

· Students answer the following question in no more than two pages. What is the title of your improvisation and why? In which area did you choose to focus your improvisation on and why? How has improvisation become important to your movement practice? What have been the challenges of developing an improvisational practice?

10 POINTS

Question and Answer (after improvisation), 2 points

Clear and Organized Writing, 2 points

Depth of Thought, 2 points

Answered Questions, 2 points

Overall, 2 points

MOVEMENT PERFORMANCE REVIEW

COMPOSITION

DACR 361 Section 02 / Fall 2011 / Tuesdays 1:00pm – 3:50pm / DRAKE

Professor Lela Aisha Jones / lejones@uarts.edu

Office hours are by appointment only.

MOVEMENT PERFORMANCE REVIEW (due December 6, 2011)

There are no text requirements for this course. A (non-student) concert attendance is required in place of a text requirement and submitting a program, web advertisement, or ticket stub/receipt is a portion of the grade. Seek out and attend a (non-student) concert and write a three-paragraph review that answers 2 of 3 possible questions: 1. What were the beautiful aspects of the choreographer’s way of using space/body and what aspects of spatial/bodily use left you with questions? 2. What was the social or cultural commentary in the work? 3. What aspects of the work gave you inspiration for how you might shift choreographic process in your own work/What might your choreography gain from viewing the work?

20 POINTS

Ticket Stub or Program, 3 point

Clear and Organized Writing, 6 points

Depth of Thought, 5 points

Answered 2 Required Questions, 6 points

COMPOSITION FINAL

COMPOSITION

DACR 361 Section 02 / Fall 2011 / Tuesdays 1:00pm – 3:50pm / DRAKE

Professor Lela Aisha Jones / lejones@uarts.edu

Office hours are by appointment only.

FINAL (due November 29 & December 6, 2011)

3-10 Minute Study

Option 1: Moving Memoir Duet (based on a memory) and Solo Soma Study (based solely on exploring the body in movement)

Option 2: Moving Memoir Combo (based on a memory and incorporates the solo soma study into the memory)

20 POINTS

Intention & Focus, 3 points

Intro, 1 point (spoken introduction should include a title of the work and 1-3 sentences on what the work is about, no more than 2 minutes)

Memory Connection, 2 points

Movement Development and Exploration, 6 points (option 1 only) or 4 points (option 2 only)

Q & A, 2 points

Solo Soma Study Integration 2 points, (option 2 only)

Time Requirement, 1 point

Writing, 5 points

WRITING

Respond to each area with 1-2 paragraphs. No more than 2 double-sided pages.

(1) Memory and Solo Soma Study – Option 1: Describe your memory and your objectives for the solo soma study. Option 2: Describe your memory and the combining or integrating of your solo soma study as a part of the memory. Why did you make that choice?

(2) Process – What are you discovering about your choreographic process? What are your habits? What is working and you want to keep? What do you need environmentally, spiritually, emotionally, etc. to make work?

(3) Challenges – What were the challenges you faced as a choreographer in this type of compositional work? What were the challenges of this class? How did you overcome them?

(4) Dream – If you could do anything you wanted what would you dream for this work? Sound, lights, props, costuming, venue, and any more.