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.