Analysis of Dance 3
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Learning outcomes of the course unit
The course aim is an introduction to methodology origins of dance analysis and exsting analysis procedures providing the basic framework and terminology for analysing the internal struture of dance and its external context. Theory knowledge is applied to defined dance material. The course should contribute to abilities in understanding dance, the nature of its creation and the specifics of various types of dance.
Mode of study
Presentation of the theory origins of dance analysis. Analysis of dance video recordings. Discussion.
Prerequisites and co-requisites
Course content is linked to Dance Analysis 1 & 2, therefore it is necesary to complete these courses prior.
A presentation of the structure of folk dance analysis: Knowledge in dance analysis is expanded to a particular model of the so-called structural analysis of folk dance which arose from research activity of the international Study Group on Ethnochoreology at the International Council for Traditional Music. Czech researchers Hannah Laudova and Eva Kroeschlova participated iIn creating this model. This analysis focuses on the internal structure of dance, described in concepts of motif (motif cell), phrase, section, etc. This analysis used concepts of linguistics (particularly the American version by Adrienne Kaeppler) and places and emphasis on the analysed assessment relation between dance and music.
The application of structural analysis procedure on a particular dance: A model of structural analysis is applied to various particular types of folk dance (dances connected to one melody, dances with many melodies, dance for various numbers and compositions of dancers, dances based on continuous repetition of one motif, dance with several motifs, etc.). Kinetographic recordings of dance are also used in analysis.
Analysis of selected extensive choreographies: Further course content is made up of detailed analysis of one selected extensive choreography. That analysis may be focused on compete analysis of the given choregraphy (ex: Petruschka by Michail Fokin). Also possible comparisons of choreographies on the same topic, music bases (ex: The Rite of Spring by Vaclav Nijinsky, Maurice, Bejart and Pina Bausch) or an analysis of the mutual relationship of the source of inspiration and choreographic composition (relationship between Jiří Kylian's Stamping Ground and the dance of the Australian aborigines).
Recommended or required reading
Adshead, Janet ed.: Dance Analysis: Theory and Practice, London 1988.
Dąbrowska, Grażyna; Petermann, Kurt eds.: Analyse und Klassifikation von Volkstänzen, Krakow 1983.
Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus. In Yearbookof the International Folk Music Council, ed. Bruno Nettl, 1975.
International Encyclopedy of Dance, New York, Oxford 1998 (heslo Laban Principles of Movement Analysis).
Kaeppler, Adrienne L.:Dance and the Concept of Style. In Dance, Style, Youth, Identities, Proceedings of the 19th Symposium of the International Council for Traditional Music Study Group on Ethnochoreology, Strážnice 1998.
Kaeppler, Adrienne L. and Elsie Ivancich Dunin eds.: Dance Structures. Perspectives on the Analysis of Human Movement, Akadémiai Kiadó, Budapest 2007.
Tanec. Záznam, analýza, pojmy, Praha 2004.
Assessment methods and criteria
Credit is awarded based on:
activity in class
completing class assignments
Independent study of assigned literature, analysis preparation at home are required during the semester. The overall assessment is comprised of activity in class and completion of class assignments.
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No schedule has been prepared for this course