Welcome to

Intro to Tap 

 

HEADING:

Name: Marsae Mitchell (she, her)

Office Hours: Friday 8am -10am by appointment 

Course Number: 20716

Section: 003 LAB regular

Meetings Days, Time, and Place: Distance Due to Covid. A-synchronous 

Year and Term: Fall 2020

Contact Information: Marsae@Umich.edu

 

COURSE DESCRIPTION:

This class will be remote and asynchronous/pre-recorded The instructor will be streaming class for students to take from a remote location. This is an introductory level course that will cover the history and fundamentals of tap dance. We will focus on rhythm, musicality, and basic tap technique. We will also discuss the evolution of tap dance from its folk origins to the hoofing and Broadway styles popular today. This class will improve your rhythm, coordination and expand your knowledge of American tap dance. No prior dance experience is required. Tap shoes are recommended but not required. Class will culminate in a virtual performance of the historic tap dance the Shim Sham Shimmy.

 

LEARNING OUTCOMES:

By the end of the semester students will be able to: 

• perform the 10 basic tap steps

Step, Heel, Flap, Shuffle, Down, Toe, Hop, Jump, Scuff, Ball Change

• Students will combine the basic tap steps into basic tap combinations.

Cramp-rolls, paddle-rolls, single time step, double time step, Shim Sham Shimmy

• Students will create a presentation on seminal tap dancers and choreographers and their contributions.
• discuss and analyze the social, political, cultural, and emotional contexts that exist inside of dance practices and moving bodies
• Students will develop individualized movement expressions by creating tap a combination using the basic tap steps learned.

REQUIRED READINGS/TEXTBOOKS

Readings will be supplied by the instructor as PDF’s 

Tap dance : manifestation of the African aesthetic

 

REQUIRED PERFORMANCES

Virtual Performance of the Shim Sham Shimmy

 

GRADING

Evaluation and grade will be calculated as follows:

 

Effort and Agency (30%)

Demonstrate discipline, openness, curiosity, responsiveness to direction, participation in class discussions and awareness of class etiquette.

 

Technical Abilities Demonstrated through Submission of Practice/Performance Video (40%)

Above all else, this course is a physical practice. Success in this area will be determined by semester-long dedication and improvement within all course objectives listed above.

 

Critical Context (30%)

Read and summarize the article Tap dance : manifestation of the African aesthetic

 Seminal tap dancers and choreographers and their contributions.

The visual presentation should be creative, engaging and informative. It should include a minimum of 8 slides detailing basic biographical information of two seminal tap dancers. The first four slides should feature a living tap legend. The last four should be a tap pioneer. Include: When and where they were born? If deceased, what was the date, location and cause? Where have they performed? What significant contributions did they make to tap dance?

 

Evolution of Tap Dance Essay 

Re-read the article Tap dance : manifestation of the African aesthetic

Research, watch, and summarize a movie in which tap dance is a main theme or regularly featured 

e.g. Happy Feet, Tap, Stormy Weather

Reference the article and movie to discuss the evolution of tap dance from its folk origins to the hoofing and Broadway styles popular today 

 

All written assignments should be: a minimum of two FULL pages, double spaced, 1 inch margins, 12 point font size, and don’t forget your name. Grading will be based on individual thoughtfulness, clarity of ideas, honesty, and effort engaging with the assignment. Specific cues for writing assignments will be given in class. No late assignments will be accepted. All written assignments should be submitted by midnight on the due date assigned.

 

POLICIES

Tap shoes are recommended but are not mandatory. When submitting practice videos, students must either be barefoot or have on tap shoes.

Practice videos are due by 11:59 PM every Wednesday. Peer Critiques are due by 11:59 every Thursday. Late assignments are accepted through Friday the week it was due. Assignments for the week lock at 11:59 on Fridays. 

 

DEPARTMENTAL ATTENDANCE POLICY

 Attendance: This course is designed to move quickly and build on top of itself, and therefore it is essential that you be in class.  TWO absences are permitted without your grade being affected. This includes illness, funerals, weddings and injuries.  Religious holidays are excused absences. 

 

Your grade will be lowered by 1/3 letter for each absence beyond this amount.

 

EXAMPLE OF A 2 DAY PER WEEK COURSE - If you received a B for your class work and you miss:

2 classes - your grade will remain the same, a B.

3 classes – your grade will be a B-

4 classes – your grade will be a C+

5 classes – your grade will be a C

6 classes – your grade will be a C-

                                                                       

Coming to class late or leaving early will be considered 1/2 an absence.

 

If a student cannot make it on time to class because of the location of a prior class the student will need to provide a written letter from the instructor. If a student is more than 10 minutes late to class they will be marked absent.

 

Making up missed classes are at the discretion of the teacher only for major extenuating circumstances.

 

If you cannot participate in class for 2 consecutive weeks because of an injury or illness, inform the instructor immediately in order to discuss the advisability of continuing in the class.

 

If you are absent due to a death in your immediate family, you will be excused only if you provide your instructor with an official note from the University Administration.

 

If you are absent due to a university sport obligation you must provide your instructor with an official note two weeks prior to that class date.

 

If you are required to attend a job fair during class time for your primary major you must provide your instructor with an official note two weeks prior to that class date.

 

Late assignments will only be excused with written authorization from the Emergency Dean or McKinley Health Center.  All late assignments that have not been excused are marked down at the rate of 1/3 grade per day late.

 

Injury Clause:

There are certain risks and dangers as a result of participating in physical activities in the Department of Dance. Risks may include physical injuries such as bruises, muscular sprains and strains, broken bones and concussions. You are responsible for your own safety and physical well-being. Your focused attention to the warm-up exercises and the classroom procedures and rules are critical to preventing injuries and creating a healthy physical practice.

 

Photos:  At times photographs and videos will be used of your image for promotion, research, and multimedia productions associated with the Department of Dance.  Please contact the Department of Dance if you have any objections to the use of your image by the Department of Dance. 

 

Student Mental Health and Wellbeing

The University of Michigan is committed to advancing the mental health and wellbeing of its students, while acknowledging that many issues, such as strained relationships, increased anxiety, alcohol/drug problems, and depression, directly impacts students’ academic performance. If you or someone you know is feeling overwhelmed, depressed, and/or in need of support, counseling services are available. For help, SMTD has an on-site counselor—Emily Hyssong (LMSW)—assigned from the university’s Counseling and Psychological Services (CAPS, see caps.umich.edu). Email her at emhyss@umich.edu for an appointment. CAPS services are always free and confidential. You may also contact CAPS directly any day at any time at (734) 764-8312. In a crisis situation, call 911 or 734-996-4747 (UM Psychiatric Emergency Services).

  

Diversity, Equity and Inclusion (DEI) Commitment

The School of Music, Theatre & Dance is committed to the ideal of inclusion as a core academic and artistic pillar. We construe inclusivity in the broadest possible terms, encompassing the equitable and fair treatment of all members of our community. We aspire to promote a learning environment and curriculum inclusive in nature and fully representative of diversity, not only with respect to traditional markers such as race, ethnicity, social class, sexuality, religion, gender, and ability, but also diversity of thought, experience, and outlook upon the world. Therefore, we strive to respond to the varied needs and aspirations of our evolving community, which requires the input of all members to enrich the classroom and overall college experience for all. SMTD’s strategic DEI plan can be found at http://www.music.umich.edu/about/diversity-equity-inclusion.htm. Contact our Chief Diversity and Inclusion Officer Freyja Harris via email freyharr@umich.edu, phone (734) 764-3757, or drop-in at Moore 2313, with suggestions, questions, or concerns.

 

Sexual Misconduct Policy

Title IX, a segment of the federal Education Amendments of 1972, prohibits discrimination on the basis of sex and gender, which encompasses all sexual misconduct, such as harassment, domestic and dating violence, sexual assault, and stalking. The SMTD community understands that sexual violence can undermine academic success and we encourage anyone dealing with sexual misconduct to talk to someone about their experience, so they can get support and assistance. Confidential support and academic advocacy are immediately available through the Sexual Assault Prevention and Awareness Center (SAPAC) on their 24-hour crisis line at (734) 936-3333 and at sapac.umich.edu. Alleged violations can be non-confidentially reported to U-M’s Office for Institutional Equity (OIE) via email at institutional.equity@umich.edu or by phone at (734) 763-0235. SMTD has an on-site counselor—Emily Hyssong (LMSW)—assigned from the university’s Counseling and Psychological Services (CAPS, see caps.umich.edu). Email her at emhyss@umich.edu for an appointment. CAPS services are always free and confidential.

 

Religious-Academic Conflicts

Although the University of Michigan, as an institution, does not observe religious holidays, it has long been the University’s policy that every reasonable effort should be made to help students avoid negative academic consequences when their religious obligations conflict with academic requirements. Absence from classes or examinations for religious reasons does not relieve students from responsibility for any part of the course work required during the period of absence. Students who expect to miss classes, examinations, or other assignments as a consequence of their religious observance shall be provided with a reasonable alternative opportunity to complete such academic responsibilities. It is the obligation of students to provide faculty with advance notice of the dates of religious holidays on which they will be absent. When the absence coincides with an exam or other assignment due date, options to make up that missed work may be limited and will be determined by the instructor.

 

Academic Integrity

The University of Michigan community functions best when its members treat one another with honesty, fairness, respect, and trust. SMTD promotes the assumption of personal responsibility and integrity and prohibits all forms of academic dishonesty and misconduct, including cheating, plagiarism, or otherwise representing the work of others as one’s own. All cases of academic misconduct will be referred to the appropriate Associate Dean. Being found responsible for academic misconduct will result in a grade sanction or even failure of a course, and could result in academic probation or dismissal from the university. Since academic dishonesty harms the individual, all students, and the integrity of the University, policies on scholastic dishonesty will be strictly enforced. It is each and every student’s responsibility to be familiar with University rules and guidelines on academic integrity. See SMTD’s Academic Code of Conduct at http://www.music.umich.edu/current_students/student_resources/documents/General%20Policies%202017-2018.pdf.

 

Accessibility

If you think you may need an accommodation for a disability affecting your academic growth, please let your instructor know what you need. We can work with U-M’s Services for Students with Disabilities (SSD) office (G664 Haven Hall, Central Campus). SSD can be reached via phone at (734) 763-3000, email at ssdoffice@umich.edu, or on the web at ssd.umich.edu. Through SSD you will be issued a Verified Individual Services Accommodation (VISA) form and can arrange for your accommodation with all your instructors. Any information you provide is private and confidential and will be treated as such. You must present your SSD-approved VISA form to your instructor no later than two weeks prior to the need for an accommodation, so that there is sufficient time for appropriate arrangements to be made. The purpose of these accommodations is to provide all students with an equitable and fair opportunity to learn, grow, and demonstrate mastery of course content. Accommodations will not alter the fundamental integrity of a course. Contact the Associate Dean’s office for assistance in accessing learning accommodations.

 

Questions or concerns? Contact me at any point during the semester and I will happily meet with you to discuss any of the readings, assignments, or your final project in further detail.

 The syllabus is subject to change. You will be notified of any significant changes.

 

Class Outline

Each week students are required to upload a practice video of the steps we worked on that week by Thursday at 11:59 pm . Below is the grading rubric for said performance video.

	Excellent (A)	Proficient (B)	Developing (C)	Insufficient (D)
Execution	Demonstrates excellent knowledge of choreography and performs movement free of errors.	Demonstrates knowledge of movement and performs movement with few errors.	Demonstrates some knowledge of movement though performs steps with many errors.	Demonstrates no knowledge of movement.
Musicality	Shows a full understanding of rhythm and timing by staying on beat for the entire dance.	Shows understanding of rhythm and timing by staying on beat throughout most of the dance.	Has some knowledge of rhythm and timing, but speeds up/and or slows down many times throughout the dance.	Dancer speeds up/ and or falls behind time often throughout the dance.
Technique	Great attention to the quality of movement, body position, and demonstrates excellent understanding of dance style.	Choreography is performed with attention to detail and shows proficiency of dance style.	Choreography is performed with minimal attention to the details of the movement.	Dancer shows no attention to the details of the movement and demonstrates little knowledge of dance style.
Expression	Dancer uses their face and body to fully express the intent of the movement.	Dancer uses facial and body expressions when performing.	Dancer uses little face and body expressions when performing the movement	Dancer uses no facial and/or body expressions
Effort	Demonstrates great effort, energy and enthusiasm while executing the choreography.	Demonstrates effort and energy when executing the choreography.	Demonstrates minimal effort and energy while executing the choreography.	Demonstrates no effort, energy or enthusiasm while executing the choreography.
Etiquette	Dancer is focused on enthusiastically executing the choreography with out distractions. The background of the video is appropriate and creative. Dancers appearance is performance ready.	Dancer is focused on enthusiastically executing the choreography but has some distractions during the video.  Dancers appearance is moderately performance ready.	Dancer has many distractions in the video and has difficulty focusing on the performance. Dancer is not dressed appropriately for performance.	Dancer is unable to complete the performance.

 First three weeks of assignments are due September 14. 

Week 1 -  Review syllabus, warm up, learn 9 of 10 basic tap steps Step, Heel, Flap, Shuffle, Down, Toe, Hop, Jump, Scuff, learn basic combination -cramp roll

Read and summarize the article Tap dance : manifestation of the African aesthetic

 Week 2 -  Warm up, Review 9 of 10 basic tap steps Step, Heel, Flap, Shuffle, Down, Toe, Hop, Jump, Scuff, cramp roll. Learn ball change & basic combination - paddle roll

 Week 3 - Warm up, Review 10 basic steps, cramp roll, and paddle roll. Learn single time step 

 Week 4 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step 

Choose your seminal tap dancer/choreographer and add it to the discussion board. No duplicate choices.

 Week 5 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step

Learn double time step

 Week 6 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step

Seminal tap dancers and choreographers and their contributions.

The visual presentation should be creative, engaging and informative. It should include a minimum of 5 slides detailing basic biographical information: When and where were they born? If deceased, what was the date, location and cause? Where have they performed? What significant contributions did they make to tap dance?

 Week 7 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step

 Week 8 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, begin learning Shim Sham Shimmy

 Week 9 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, continue learning Shim Sham Shimmy

Week 10 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, continue learning Shim Sham Shimmy

1. c) Evolution of Tap Essay 

Re-read the article Tap dance : manifestation of the African aesthetic

Research, watch, and summarize a movie in which tap dance is a main theme or regularly featured 

e.g. Happy Feet, Tap, Stormy Weather

Reference the article and movie to discuss the evolution of tap dance from its folk origins to the hoofing and Broadway styles popular today.

Week 11 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, Shim Sham Shimmy

 Week 12 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, Shim Sham Shimmy

 Week 13 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, Shim Sham Shimmy

Record yourself performing the Shim Sham Shimmy. Performance requirements: 

 Week 14 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, Shim Sham Shimmy

Practice creating your own sequences with the steps you learned.

 Week 15 - Warm up, Review 10 basic steps, cramp roll, and paddle roll, single time step, double time step, Shim Sham Shimmy

Record yourself performing 2 eight counts of steps you've learned in your own sequence