DANCE 41 - Dance Performance
DANCE 41
2.5 units
Dance Performance
144 hours laboratory
Corequisite: One of the following - DANCE 2, 3, 5, 6, 8, 12A, 12B, 13, 14, 15, 16, 17, 18A, 18B, 20, 21, 24, 26, 27, 28, 29, 31, 32, 33, 46.
Grading: letter grade or pass/no pass.
Description
Formerly DANCE 41AD. This course prepares students for the professional stage by developing the skills of professional dancers and nurturing choreographers' artistic development. It emphasizes the application of choreographic concepts and skills through rehearsal and performance of dance projects for public performance. The appropriate class section in this sequence is assigned following skills assessment at the initial class meeting.
Transferability
Transferable to both UC and CSU; see counselor for limitations
Identifiers & Codes
Department: Performing Arts
School: Visual, Performing Arts, and Cultural Programs
Academic Level: Undergraduate
TOP Code: 100800 - Dance
CTE Status: No
SAM Code: E - Non-Occupational
CIP Code: 50.0301 - Dance, General.
Credit or Noncredit: Credit
Class Size Max, Units, Hours
Class Size Maximum: 40
Lab Hours: 8
Supplemental Hours: 0
Credit Units: 2.5
Out of Class Hours: 0
Weekly In-Class Hours: 8
Teaching Units: 8
Total Student Learning Hours: 432
Total Contact Hours: 432
Requisites & Limitations on Enrollment
Corequisites: Corequisite: One of the following - DANCE 2, 3, 5, 6, 8, 12A, 12B, 13, 14, 15, 16, 17, 18A, 18B, 20, 21, 24, 26, 27, 28, 29, 31, 32, 33, 46.
Catalog Information
Grade Mode: Student Choice
Are there Materials Fees for the course? No
Is the course repeatable? No
Student Learning Outcomes & Course Objectives
Student Learning Outcomes:
- 1. Demonstrate and identify dance technique, terminology, anatomy, and choreography.
Course Objectives:
1. Develop a professional dancer’s work ethic that includes responsibility in remembering, reviewing and ultimately mastering all assigned choreographic materials.
2. Apply performance skills including stage presence, confidence and interpretation.
3. Apply the rules of conduct in the professional theatre.
4. Create dance phrases with guidance from and in collaboration with the choreographer.
5. Apply the principles of physical warm-up, mental rehearsal and meditation to attain maximum performance potential.
6. Synthesize corrections and critiques to improve their performance.
7. Demonstrate a respect and a practical understanding for all the technical aspects of theatre involved in carrying out a dance concert.
Course Content
Course Content:
I. Audition
A. Audition of choreographers
1. Choreographers submit intent of choreographing and concept
2. Choreographers audition by sampling 2 minutes of movement with selected dancers
B. Selection of choreographers
Choreographers are selected based on the following criteria:
1. Demonstrates dance knowledge to formulate cohesive dance phrases
2. Demonstrates interest in creating work for the stage
3. Demonstrates ability to work well with others
4. Sample choreography demonstrates quality and acceptable artistic merit
5. Choosing rehearsal times
C. Audition of dancers (to perform at least one dance)
1. Demonstrate ability to learning dance combinations
2. Demonstrate ability to follow directions and performing in groups
D. Selection of Dancers
1. First company meeting
2. Discussion of requirements and expectations
A. Audition of choreographers
1. Choreographers submit intent of choreographing and concept
2. Choreographers audition by sampling 2 minutes of movement with selected dancers
B. Selection of choreographers
Choreographers are selected based on the following criteria:
1. Demonstrates dance knowledge to formulate cohesive dance phrases
2. Demonstrates interest in creating work for the stage
3. Demonstrates ability to work well with others
4. Sample choreography demonstrates quality and acceptable artistic merit
5. Choosing rehearsal times
C. Audition of dancers (to perform at least one dance)
1. Demonstrate ability to learning dance combinations
2. Demonstrate ability to follow directions and performing in groups
D. Selection of Dancers
1. First company meeting
2. Discussion of requirements and expectations
8 Hour(s)
II. Conceiving the Dance and First Rehearsals
A. Choosing a Concept & selecting the Dance form(s)
B. Selection of Music
C. Beginning rehearsals
1. Learning new techniques, styles, and steps
2. Learning staging and practicing dancing with a group
3. Problem solving creating in collaboration with the choreographer
B. Selection of Music
C. Beginning rehearsals
1. Learning new techniques, styles, and steps
2. Learning staging and practicing dancing with a group
3. Problem solving creating in collaboration with the choreographer
32 Hour(s)
III. First Presentation (week 6)
A. Evaluation of the work(s) to date
1. discussion of artistic merit
2. Identifying areas of improvement (seeking artistic standards)
B. Exploration of supporting theatrical elements of lighting, costumes and scenery with designers
1. Develop lighting design
2. Develop costume design
3. Develop scenic design and props
1. discussion of artistic merit
2. Identifying areas of improvement (seeking artistic standards)
B. Exploration of supporting theatrical elements of lighting, costumes and scenery with designers
1. Develop lighting design
2. Develop costume design
3. Develop scenic design and props
8 Hour(s)
IV. Rehearsals
A. Development of the choreography
B. Practice and drill
1. Honing technical skills
a. strength
b. flexibility
c. endurance
d. coordination
e. spatial skills and staging
B. Practice and drill
1. Honing technical skills
a. strength
b. flexibility
c. endurance
d. coordination
e. spatial skills and staging
24 Hour(s)
V. Second Presentation (week 10)
A. Evaluation of the work(s) to date
1. Evaluation of completed work and decision to proceed or not
2. Written evaluation papers due
B. Final designs coordinated with designers of lighting, costumes, scenery and sound
1. Lighting cues finalized
2. Costume fabrics or existing costumes available for final approval
3. Final approval on scenic elements
4. Final edit of music due
1. Evaluation of completed work and decision to proceed or not
2. Written evaluation papers due
B. Final designs coordinated with designers of lighting, costumes, scenery and sound
1. Lighting cues finalized
2. Costume fabrics or existing costumes available for final approval
3. Final approval on scenic elements
4. Final edit of music due
8 Hour(s)
VI. Rehearsals
A. Editing and polishing choreography
B. Practice/coordination with design choices
B. Practice/coordination with design choices
24 Hour(s)
VII. Technical and Dress Rehearsals
A. Adjusting the dance(s) to the theatre
1. onstage rehearsals for spacing
B. Company meeting
1. Lecture on theater rules and guidelines and dancers code of ethics and etiquette
C. Putting it together: Rehearsing with all technical support lights, costumes, sets and sound
1. weekend technical rehearsal to set light and sound cues
2. Coordinating with production staff and assigning crew duties
D. Dress Rehearsals
1. Monday through Wednesday full run through with costumes, lights, makeup, scenery, props, and music
E. Evaluations and critique
1. Corrections both individual and group
F. Invitational Dress Rehearsal
1. Pre-performance rehearsal with selected audience
2. Evaluations and critiques
1. onstage rehearsals for spacing
B. Company meeting
1. Lecture on theater rules and guidelines and dancers code of ethics and etiquette
C. Putting it together: Rehearsing with all technical support lights, costumes, sets and sound
1. weekend technical rehearsal to set light and sound cues
2. Coordinating with production staff and assigning crew duties
D. Dress Rehearsals
1. Monday through Wednesday full run through with costumes, lights, makeup, scenery, props, and music
E. Evaluations and critique
1. Corrections both individual and group
F. Invitational Dress Rehearsal
1. Pre-performance rehearsal with selected audience
2. Evaluations and critiques
26 Hour(s)
VIII. Performances
A. Dancer preparation and warm-ups
B. Public performances
C. Strike and clean-up
B. Public performances
C. Strike and clean-up
12 Hour(s)
IX. Evaluations
A. The individual dance(s)
B. The concert as a whole
C. Written evaluations due
E. Crew duties completed
B. The concert as a whole
C. Written evaluations due
E. Crew duties completed
2 Hour(s)
Methods of Instruction & Active Learning
Instructional Method(s):
- Other
Examples: Demonstration and discussion is involved in teaching and rehearsing choreography. Collaborative learning is used when dancers create sections of a dance within the framework or guiding idea enunciated by the choreographer. With both working together, they then go on to create the whole dance. Repetitive practice that is evaluated and sometimes led by the instructor and/or choreographer, results in precise coordination between each of the dancers. Lecture is involved in the discussion of theatre rules and conduct as well as rehearsal protocol. Lecture and discussion is utilized in critiquing performance of individual dancers as well as the entire production. Video recording and viewing is used as a tool for dancers to self-evaluate their performance work and for critical analysis by instructors. Presentation of choreography in performance before class peers, collaborators and finally public audiences, all contribute to active learning for the dancer.
Assignment for In and Out of Class
Assignment Types:
- Substantial college level writing assignment, such as: essay(s), written homework, term/research paper, and/or other (Required).
- Lab or field activity, product, and/or report
- Class Presentation
- Group Assignment
- Reading Assignment
- Journal
- Other
Examples: During the evaluation process, following completion of the dances in public performance, critical analysis essay(s) are written as part of the objective evaluation of the concert resulting from the class.
Much of the creative work in developing dance(s) is done in a laboratory, workshop setting involving dancers, choreographers and/or instructors.
Dances receive at least two full presentations before the entire class for evaluation and analysis prior to their being mounted for public performance.
Large portions of the development and practice of each originally choreographed dance are done as small group activity.
Students are recommended to read text(s) regarding Dance Production to prepare them with the necessary knowledge of all the aspects involved in the creation of Dance for public performance.
All students are required to keep a journal of their entire rehearsal and performance process. This is also used as a personal critical analysis tool regarding their resulting performance(s).
Repetitive physical and mental exercises, warm-ups and drilling of dance-step routines are a substantial component of presenting dance for public performance.
Methods of Evaluation
Written Evaluations:
- Term or Other Paper(s)
- Written Homework
Further Methods of Evaluation:
- Skill Demonstrations such as class performances(s), fieldwork, performance exam(s)
Examples: A detailed critical analysis paper of the resulting dance concert is required of all students. A concert is usually comprised of about twelve originally choreographed dances. The concert critique paper is evaluated on how well the student is able to justify their opinion of a dance concert through analysis of the choreography, performance and theatrical elements and by using detailed examples to support their thesis.
Each student's journal of the entire rehearsal performance process is evaluated by their instructor(s) based on the quality of critical thinking in the analysis of their performance.
Skill demonstrations in class and public performances are a major means of evaluating the student's learning in dance performance. Through post-performance discussion, students evaluate themselves as well as their peers based on their technical skills, performance skills, discipline, and group participation. Outside adjudicators sometimes also offer their feedback on the students' performance.
Diversity, Equity, Inclusion, Accessibilty
In accordance with Title 5 §55001.5 (2025), the Performing Arts Department incorporates instructional approaches that accommodate and engage diverse student bodies, advance equitable student outcomes, and promote the inclusion of all students. These practices align with the Long Beach City College Strategic Plan (2022–2025) commitment to equitable student learning, diversity, accessibility, and a culture of care.
Within the performing arts classroom, faculty may use inclusive pedagogical strategies that highlight diverse artistic traditions, perspectives, and performance practices. Instruction may include ensemble collaboration, creative expression, and performance-based activities that encourage students to contribute their cultural and artistic experiences. These approaches foster an environment where all students can participate meaningfully in the creative process.
Faculty participate in ongoing review of course objectives, content, and instructional methods through program planning, Student Learning Outcomes assessment, and DEIA professional development to identify and address equity gaps.
Course instruction and materials are designed to ensure accessibility for all students, including those with disabilities. Faculty follow district accessibility procedures and may collaborate with accessibility and instructional design specialists to implement Accessibility and Universal Design for Learning (UDL) principles, ensuring equitable participation in rehearsals, performances, and learning activities.
Representative Textbooks and Materials
Recommended Textbook:
Dance: The Art of Production. Edited by Joan Schlaich and Betty DuPont. 3rd Edition.Princeton Book Co. 1998.