2) Please post your photos and videos on our “FSU in NYC” facebook page. They can be images of you doing something related to class or not. (Maybe something from Abby’s assignment as you try it out!)
3) Tickets for upcoming shows will be distributed in class on Friday, September 11. Your total will be $321 (except for NYU students). The money is due to Sally in cash on Friday, September 18. If you need to make a different payment arrangement with Sally, please email Sal & Al, or talk to us in person.
2) Your internship contract is due in class on Friday, September 11. Please make sure your supervisor signs the sheet. Your “project” is a short description of what you will be doing throughout the semester in your internship position.
3) Our Friday experiential is a visit to Fraunces Tavern. Bring $4 cash and your student ID for entry to the museum. Bring money for a beer in the tavern, too!
4) Remember to complete Abby’s subway assignment by Monday, September 21.
9/7 Mon. (2-5:30pm): WK 3 COMP—Introduction to the soundscape and exploration of “soundwalking” @ Gibney Studio B (ending at The High Line)
Warm up: Katie Swords Thurman
Today, we will focus on exploring a site through sound. By focusing on listening and deep aural noticing of an environment, first in the intimate environment of our studio at Gibney, and later at The High Line, we will learn to consider a site using sound, using “Soundwalking” By Hildegard Westerkamp as a starting point. After hands-on work in the studio and on-site at The High Line, we will unpack as a class, linking our explorations to last week’s reading and our other experiences so far. Last, students will work in groups to record and collect three sounds from The High Line (to bring to class loaded onto computers for next week).
In-class reading/viewing: Reading (instructions for sound walk): “Soundwalking” By Hildegard Westerkamp.
9/9 Wed. (5:30pm): WK 3 PERFORMANCE—Taylor, SarahGrace, Jamie, Briana: Ushering at Dancenow Festival @ Joe’s Pub (425 Lafayette Street, at Astor Place, Manhattan). 7pm show.
——Wed. (6:30pm): WK 3 PERFORMANCE—Jackie, Amanda: Ushering at Johanna Meyer @ Gibney Dance Center (53A Chambers Street/280 Broadway). 7:30pm show.
9/10 Thurs. (5:30pm): WK 3 PERFORMANCE—SarahGrace, Jamie, Amanda, Andre: Ushering at Dancenow Festival @ Joe’s Pub (425 Lafayette Street, at Astor Place, Manhattan). 7pm show.
——Thurs. (6:30pm): WK 3 PERFORMANCE—Kelsey, Briana: Ushering at Johanna Meyer @ Gibney Dance Center (53A Chambers Street/280 Broadway). 7:30pm show.
9/11 Fri. (9:30am–1pm): WK 3 A&R CLASS—NYC HISTORY AND DANCE: George Washington, American Country Dance, Baroque Dancing @ Gibney Conference Room.
*Internship contract due* *Discussion of Research Paper #1 Topics*
Part 1) In-class discussion of Research Paper #1 Topics; and how to do long distance research. Come ready for this discussion with ideas for your High Line composition project.
Part 2) We explore two aspects of dance in America: the upper classes (George Washington) and Revolutionary War enlisted mens’ entertainments. Colonial balls, and dances, from 1750-1800 were used as a means to display class, education, and economic status. French admiration for Washington’s minuet helped elevate his status with French politicians and affected French involvement in the war. More than 100 dance-tunes or dances (re-named or new) were created in Washington’s honor, crossing class lines from rough campfire entertainments to elegant political/social balls; the newly popular American country-dances celebrated and built community and reinforced social-religious-political structures for the farmer, merchant, seaman, worker. As country-dances grew in popularity and got “Americanized,” great African-American dance styles were emerging and cross-pollination was occurring (covered in later classes).
READINGS: *Note: this is only about 20 pages of reading; the rest is perusal. All pages listed below are included within the one Keller PDF on Blackboard*
Keller, Kate Van Winkle and Charles Cyril Hendrickson. George Washington: A Biography in Social Dance. Sandy Hook, CT: The Hendrickson Group, 1998.
Read pp. 13-29 describes dance in colonial America (17 pages).
Peruse pp. 31-108, illustrated examples of the dances and tunes.
Read pp. 108-111 about the formations, country dancing and cotillions (3 pages).
Peruse pp 112-122, diagrams on steps which you can try.
Peruse pp.123-131, which are diagrams of the Minuet.
ASSIGNMENT (due 9/17): *Research Paper #1 outline due (listed as “Worksheet #2” on Blackboard, in the Assignments tab)*
——Fri. (2-4pm): WK 3 EXPERIENTIAL—Fraunces Tavern Museum visit @ 54 Pearl Street. Click here for a map.
*Bring $4 and student ID for entry and $ for a beer!*
We walk to the tavern where Washington and supporters gathered during the colonial war, and its tavern keeper passed British military secrets on to General Washington. In addition to numerous paintings, illustrations and artifacts, the tavern-museum’s top floor also functioned as a dance studio for a while during colonial times. Sally will give a guided tour of museum and exhibition.
(R to Whitehall St/South Ferry; 4/5 to Bowling Green; 1 to South Ferry; J/Z to Broad Street.)
——Fri. (5:30pm): WK 3 PERFORMANCE—Kelsey, Taylor, Jackie: Ushering at Dancenow Festival @ Joe’s Pub (425 Lafayette Street, at Astor Place, Manhattan). 7pm show.
——Fri. (6:30pm): WK 3 PERFORMANCE—Andre, Alice: Ushering at Johanna Meyer @ Gibney Dance Center (53A Chambers Street/280 Broadway). 7:30pm show.
9/12 Sat. (3-4pm): WK 3 EXPERIENTIAL—New York Baroque Dance/18th Century Dance class (taught by Catherine Turocy) @ Mark Morris Dance Center (3 Lafayette Avenue, Brooklyn, NY 11217).
——Sat. (5:30pm): WK 3 PERFORMANCE—Amanda, Briana, Alice, Taylor: Ushering at Dancenow Festival @ Joe’s Pub (425 Lafayette Street, at Astor Place, Manhattan). 7pm show.
9/13 Sun. (due on Bb by 11:59pm): WK 3 JOURNAL—Part 1) A&R Research Project #1 topics due (75 words) – see A&R syllabus. Part 2) Use the remaining space to reflect: Based on your experience so far, how might your choreographic research in this course link to your High Line research for A&R? How might tools we have used so far (memory map, site experiments, soundwalking, recording) inform how you approach this research? What other possible connections might you imagine?