VOGUE STYLES & HISTORIES

General Syllabus

Dance 5: Introduction to Dance Course Description: This course provides an introduction to the art of dance through the experience of dancing. Movement is the primary work of this course. No prior experience or training is required. Grading will not be based on technical skill levels, but on mindful, full-bodied participation that demonstrates comprehension and articulation of course materials. TA Instructors will utilize studio practices from their dance experience and expertise to introduce students to important concepts and aspects of dance. The course is modeled on emergent artistic process. Coursework will be developed over the ten weeks of the quarter, drawing from the following areas: 1. Cultivating perceptions of self and body 2. Learning, remembering, and performing movement patterns 3. Moving with awareness of space, rhythm, and other elemental aspects of dancing 4. Generating and arranging movement through composition and improvisation 5. Understanding movement in its social and cultural context 6. Viewing dance and appreciating the role of audience 7. Recognizing aesthetic choices – qualitative decisions made by choreographers and performers 8. Gaining appreciation for the distinctive rigors and discipline required by embodied art Course Requirements: 1. Students are required to attend every class for credit. Students are allowed to miss a total of 2 classes without their grades being affected. 2. Students will be required to view one outside public performance, Ball, or take a vogue class, and write a 2-page response. Students must also view all of Paris is Burning by Jenny Livingston (film will be shown in class, but students must watch it in its entirety). 3. Students are required to take an in-class midterm, the 2nd day of class of week 5. 4. Students are required to form an “Experimental Kiki House”, and complete their final performance project “As-A-House.” 5. Students are required to research and compose a 5-10 page paper on a Legendary Ballscene House, a Legendary Voguer, or important figure in House Ballroom Scene history. Final Draft is due on Safe Assign at 11 pm on the Friday of week 8; the Physical paper is to be submitted in class time, Box, or in Office Hours by Friday at 5pm Week 8.

Overall Prince Dante Lauren, Winter 2019 Syllabus Dance 005, Section 007 & 010: Vogue 2

6. The course will culminate in a showing during the last week of classes. Participation, including inviting an audience member, is a requirement of the course. Absences during the last several classes leading into the showing will negatively affect your participation and therefore your grade by 2 letter grades. There is no make-up final performance. Students participating in athletic tournaments or other end-of-quarter obligations: please be advised! There will be no final during finals week. Assignments: Each TA Instructor designs the specific content of the course. Assignments will frequently be made during class. In addition to movement studies, course work may be augmented by assignments such as short written papers, viewing of videotapes, readings, attendance at UCR campus events, observations, group projects, journals, blackboard, etc. Students are responsible for keeping track of scheduling and assignments. Come to class prepared to write as well as to move, every day. Please note: students are expected to be familiar with UCR’s policy on plagiarism and Academic Integrity. See: http://library.ucr.edu/?view=help/plagiarism.html. Attendance: The art form of dance and its methods call on the whole person. This is a studio course: students are required to attend every class alert and ready to dance. Students at risk for health issues or other potential obstacles to attendance and full-bodied participation are encouraged to consider a lecture course instead. All absences affect participation. Each absence will automatically lower the final grade by 5%. Repeated tardiness and/or leaving early will similarly affect participation and grading, specifically three times will equal an absence and a 5% reduction of the final grade. Students arriving after roll is taken are responsible for signing in with the TA Instructor after class or they will be counted absent. At the TA Instructor’s discretion: if you are well enough to observe actively, and are not contagious, a substitute form of participation might be arranged for you to be counted present. TA Instructors will provide a course-specific assignment option before the end of the quarter, so that all students will have the opportunity to make-up a single absence. Students whose emergencies result in excessive absences and who therefore require a late withdrawal must see their academic major advisor to pursue a petition. Students expecting to graduate in March 2019 are advised that excessive absences will likely make it impossible to complete the course during Spring 2019 and thereby may prevent March graduation—plan carefully.

NOTE: Students enrolled in the course who miss either of the first two class meetings may, at the instructor’s discretion, lose

their place in the class. However, it is the student’s responsibility to officially drop the course; otherwise, he/she/they will receive an “F.”

Grading:

• In-Class Work: 40%

• Midterm Exam: 10%

• End of Quarter Showing: 20%

• Term Paper: 10%

• Weekly Question Reflections: 10%

• Attendance of Live Performance and Review: 10%

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94-100 A 89-93 A- 86-88 B+ 82-85 B 79-81 B- 76-78 C+ 72-75 C 69-71 C- 66-68 D+ 62-65 D 60-61 D- Below 60 F

Criteria: Evaluation is based on: 1. Fullness of participation 2. Quality of and progress in course work 3. Comprehension and articulation of concepts in movement, discussion and writing 4. Capacity to work independently and with others 5. Timely completion of course work Dress/decorum: You will be dancing barefoot unless instructed otherwise by the TA Instructor. DO NOT WALK IN THE STUDIO WEARING STREET SHOES! NO FOOD OR DRINKS OTHER THAN WATER. The unfinished dance floor must be kept as clean as possible. Wear comfortable dance or exercise attire, sweats or other appropriate clothing that permits freedom of movement. AVOID overly baggy clothes, jeans, hats, hazardous jewelry or belts, and tie long hair back. Students needing to change clothes may do so before class begins in Arts 203/204, the dressing rooms on the 2nd floor.

Cell phones are not allowed in class whatsoever–unless, approved by instructor at the beginning

of class due to emergency or risk, such as a pregnancy, natural disaster, etc. NOTE: Some portions of the class may be videotaped as a reference and as part of the dance-making process. Cuauhtémoc Peranda, A.K.A. Overall Prince Dante Lauren, M.F.A., (Mescalero-Apache & Mexica- Chichimeca/Cano) is a two-spirit butch queen voguer from The Legendary House of Lauren, International. He has been voguing since 2008, and has choreographed vogue for his own projects and for professional dance companies in the San Francisco Bay Area. He has had the pleasure to learn voguing from the House of Avant-Garde’s School of Opulence in Chicago, and now continues his vogue research and teaching at at the University of California at Riverside’s Ph.D. program in Critical Dance Studies. He has performed throughout California, and has presented dance work in New York, Seattle, London, Honolulu, Berlin, Cambridge, and Tijuana. He is graduate of the dance program at Stanford University, and has received his MFA in choreography and performance from Mills College. Please feel free to contact the course Professor if you have any questions, concerns or admirations: Kelli King, e-mail: kelli.king@ucr.edu

***For e-mails, please include your full name, TA Instructor’s name, and section number in all communications!

Overall Prince Dante Lauren, Winter 2019 Syllabus Dance 005, Section 007 & 010: Vogue 4

Dance 005: PERFORMANCE/VOGUE STYLES & HISTORIES

Sections:

 SECTION 010: TR 08:10AM-9:30AM (ARTS 100) Course Professor: Kelli King, M.F.A., Kellik@ucr.edu Teaching Assistant: Overall Prince Dante Lauren, Cuauhtemoc Peranda, cpera001@ucr.edu Office Hours: Thursdays 10-12pm, INTN 4016/4018, or by appointment.

COURSE DESCRIPTION: Vogue, Voguing, Performance, or Presentation, is a dance form that comes out of the New York City underground Black, Latinx, & Indigenous House Ballroom Scene culture of drag, runway walking, fashion, physique, and realness. Since the mid-1980’s, vogue has spread throughout the United States, and internationally to Brazil, Argentina, Mexico, Italy, Canada, Japan, France, Jamaica, Spain and Russia. Though its popularity and notoriety in popular culture ebbs and flows, it remains a treasured means of communication, empowerment, expression and unity for Queer and Transgender People of Color who steward the House Ballroom Scene’s ‘balls’ (pageantry competitions). This quarter, the course will focus on the techniques and creative arts of the Old Way Vogue, Vogue Femme & Luscious Vogue. Vogue Femme being the most popular form of vogue, born in the 1990’s out of the Transgender Latinx Ballroom Scene children, who needed a dance style that was more feminine, and less masculine, than the earlier techniques of Vogue Old Way, or New Way Vogue. With Vogue Femme, we will explore the embodied knowledge kept in the techniques of vogue, to get a taste for the Trans*Latinidad deep in the kinesthesia and rhythms of the dance. With Luscious Vogue we expand the techniques from the runway and explore the range of movements from tight poses to expansive and experimental stage dance. By the review and werk of the FIVE ELEMENTS OF VOGUE, we will build our confidence and body strength, break a sweat, learn fabulous choreography, and create our own personal-expressive dance phrases to whip out whenever we feel a beat! We will have fun! We will get strong! And, we will be Fierce! “THE TEA WILL BE SERVED HOT AND SWEET!” SPECIFIC COURSE GOALS: 1. To learn the Voguing/Performance vocabulary and the fundamentals styles of the dance form. 2. To gain more understanding about the relationship between dance and culture: Queer and Gay cultural history, Hip Hop, House Ballroom Scene, Drag Imperial Court System, Subcultural Life. 3. To understand and analyze more deeply the technique and symbolism involved behind each step and vernacular phrases to gain an awareness of Ballroom protocol in both the composition and performance of dance. 4. To improve coordination, rhythmic skills, precision in movement execution and performance quality, and gain enough confident awareness in order to correct one’s technique as a mover. 5. To increase one’s personal artistic growth while encompassing the importance of the techniques of voguing. COURSE COMPETENCIES: Competencies will be evaluated according to an individual’s progress, effort, attitude, openness and attendance. Students may vary in their competency levels on the abilities described above. You can acquire new skills only if you honor all course policies, attend classes regularly, complete all assigned work in good faith and on time, and meet all other course expectations of you as a student.

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TOPIC & COURSE OUTLINE: 1. Each class will contain the following:

a. Warm-up: Circle stretch & Welcome Discussions, Reading Discussions. b. Opening the circle for dance, warm up phrase/conditioning on floor. c. Luscious Body Techniques in Mirror or Runway/SoulTrain. d. Mirror, Center & Barre work: 5 Elements of Voguing. e. Locomotor: Across the floor rhythms and voguing practice. f. Learning and Performing Contemporary Voguing Phrases. g. Improvisation Exercises, Ciphering, Battles, and Commentating. h. Composition work and Class Projects. I. Cool down in the space to circle. J. Last discussion and updates.

2. Classes will have a sequential progression, continually deepening our learning and appreciation of the steps, dances, culture(s), genders, and spatial awareness. 3. There will be Weekly Reading Assignments given out as homework for discussion to broaden our understanding of the context by which we dance. There will also be video viewings. A weekly Response is due in iLEARN, on Friday, in MLA Format, 1-page to 2-page response (MAXIMUM) addressing a question that is posed at the beginning of the week, in-class/online. Due Fridays @ 6pm. 4. You must attend one dance performance. A one 2-page reflection is due ASAP on iLEARN, before the Friday of week 9 @ 6pm [Hard Deadline, GET IT DONE EARLY!]. Your paper should address all of the following: How do the bodies on stage dance? How do you describe the choreography? What is the décor? How does it, or does not, speak to your own experiences? 5. Midterm quarter evaluations:

a) The student self-evaluation: student will evaluate their own progress of acquisition of the dance material and its relationship to the Ballroom culture. Rubric will be provided. b) The instructor evaluation: this evaluation will look at specific performance improvement of certain dances, improvisations, and combinations to evaluate your technical and artistic growth. Rubric will be provided beforehand. c) Evaluation MID-TERM: Performance of vogue phrases, composition, battle, cipher, or commentations that we have worked on through the quarter.

6. Students are required to form an “Experimental Kiki House” (EKH). This EKH will be your Final Class Showing House, as you will create a final vogue performance together.

a. It is suggested to have this EKH be between 3 to 7 voguers. b. Your final performance time requirement is dependent on your House Size (1.5 minutes + 1

minute for everyone in the house). That means a 3 member House must show a 3.5 minute final dance, minimum.

c. Father & Mother titles are required as points of contact with TA. Prince, Princess, Overseer, Underseer, Godmother, and Godfather titles may be given if needed…

7. Students are required to research and compose a 5-10 page paper on a Legendary House, a Legendary Voguer, or important figure in House Ballroom Scene history. Final Draft is due on Safe Assign at 11pm on the Friday of week 8. The Physical paper is to be submitted in class time, Box, or in Office Hours that same week, or by Friday at 5pm (when I leave campus). 8. Showing: Dance 5 Performance of group Vogue Demonstration. You must bring one person to see the performance, as per Dance Department Policy. They must sign in under your name.

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Dance 005: Performance/Vogue Styles & Histories Course Bibliography Buckland, Fiona. Impossible Dance: Club Culture and Queer World-making. Middletown, Conn.:

Wesleyan, UP, 2001. Print.

Bailey, Marlon M. The Labor of Diaspora: Ballroom Culture and the Making of a Black Queer

Community. Diss. University of California, Berkeley, 2005. ProQuest.

Becquer, Marcus. “Elements of Vogue.” Third Text 5 (1991): 65-81.

How Do I Look. Dir. Wolfgang Busch. Perf. Kevin Aviance, Pepper LaBeija, Willi Ninja, Octavia St.

Laurent, Emanuel Xavier. Art From the Heart Films, 2006. DVD.

Jackson, Jonathan David. “Improvisation in African-American Vernacular Dancing.” Dance Research

Journal 33 (2001): 40-53.

Jackson, Jonathan David. “The Social World of Voguing.” Journal for the Anthropological Study of

Human Movement 12, no. 2 (2002): 26-42.

Muñoz, Jose Esteban. Disidentifications: Queers of Color and the Performance of Politics (Cultural

Studies of the Americas, V. 2). New York: University of Minnesota P, 1999. Print.

Muñoz, Jose Esteban. “Gesture, Ephemera, and Queer Feeling: Approaching Kevin Aviance.” Dancing

Desires: Choreographing Sexualities on and off the Stage. Ed. Jane C. Desmond. Madison,

Wisconsin: The University of Wisconsin, 2001. 423-45. Print.

Newton, Esther. Mother Camp: Female Impersonators in America. Chicago: University of Chicago,

1979. Print.

Paris Is Burning. Dir. Jennie Livingston. DVD. Miramax, 1990.

Peranda, Cuauhtémoc. “The Doing of Vogue: LGBT Black & Latino Ballroom Subculture, Voguing’s

Embodied Fierceness, and the Making of a Quare World on Stage.” Thesis. Stanford University,

2010. The Doing of Vogue. Stanford Center for Comparative Studies in Race & Ethnicity, 5

June 2010. Web. <http://csre.stanford.edu/abstractarchive.php?item=cperanda>.

Sontag, Susan. “Notes on ‘CAMP’” Partisan Review 31 (1964): 54-65.

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COURSE REQUIREMENTS BREAKDOWN:

1. Work Ethic, Class Work, and Attendance (40% of grade)

a. Work Ethic during class involves maintaining respect for your instructor and your peers, and

having an open mind towards the material presented in class. It requires a constant effort to

produce results and apply corrections. This attitude can be adopted at all levels of dance

training, with or without prior dance experience: 20%

b. Class Work refers to one’s commitment in class (daily practice). It requires maintaining a

concentration where one is constantly moving closer to refinement, understanding and

performance of all movements. You are expected to listen carefully, and apply corrections given

in class; learn the movement and cultural material with concentration and care. Complete the

assigned readings, and prepare for discussion. Improvement is expected in the areas of strength,

flexibility, historical context, coordination, rhythm, basic body awareness, and performance

quality: 20%

Absence in class results in a loss of opportunity to show attitude or class work and results in a zero for day’s work.

Providing an excuse for an absence, may result in an excused absence, which is part of your professional

development–but will not result in credit. YOU ARE ALLOWED A TOTAL OF 2 ABSENCES!

2. Dance Performance Reflection (10% of grade)

–The student will have seen an outside dance professional performance, demonstration, ceremony,

event, competition, conference, ciphering, or festival. A reflection is due at 6pm Friday week 9

The Reflection should address all the following:

How do the bodies on stage dance? How do you describe the choreography? What is the décor? How does

it, or does not, speak to your life and art experiences?:10%

3. Weekly Question Reflections

The students will come to class having read the material and written a response to turn into the

instructor addressing the question for the week. The argument of the reading, methodology of research,

scope of the article, interesting facts, and its contribution to your coursework or understand of dance

and voguing. 10% of grade, due every Friday at 6pm.

4. Term Paper: Students are required to research and compose a 5-10 page paper on a House, Voguer, or important figure in House Ballroom Scene history. Final Draft is due on Safe Assign at 11pm on the Friday of week 8. Physical paper is to be submitted in class time, TA Box, or in Office Hours by Friday at 5pm, week 8.

5. Evaluations: Mid-Term & Final Showing (30% of grade)

a) Mid-Term Exam: Student-Self and Instructor Evaluation. Material Demonstration: 10%

b) Showing: Dance 5 Performance, with Student-Self/Instructor Evaluation: Material

Demonstration though Performance of the vogue dance to student’s highest ability: 20%

Failure to be present at the final showing will result in a 30 point loss to grade. Failure to have

a witness present to sign under your name at the showing will result in a 0 for the showing.

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COURSE ASSIGNMENT TIMELINE: Week 1, January 7th- 11th: Review of Syllabus and plan for the quarter. Read: Jackson: “The Social World of Voguing”. Look up Performances to see, so that you can write your reflection, try to turn it in as soon as possible! Form an Experimental Kiki House, and inform your TA of your HOUSE. Week 2, January 14th-18th: Read: Peranda Thesis: The Doing of Vogue: “Introduction and Glossary” ONLY! Kiki Houses must be established. Last week for add/drop. Week 3, January 21st-25th: Read Sontag Article: “Notes on Camp”. Watching Paris is Burning in class. Week 4, January 28th -February 1st: Read Newton’s Mother Camp: Preface, Introduction & Chapter1. Week 5, February 4th-8th: Midterm Evaluations to be conducted in the 2nd class of the week. Read Dr. Jose Esteban Muñoz, Ph.D. article “Approaching Kevin Aviance.” Article. Week 6, February 11th-15th: Read Becquer Article, “Elements of vogue”. Week 7, February 18th-22nd: Read Bailey’s The Labor of Diaspora, ONLY “Chapter 3.” Week 8, February 25th -March 1st: Read Buckland’s Impossible Dance, Chapter 2. Final Term Papers Due Friday at 5pm (Physical copy) 11pm SafeAssign. Week 9, November 27th-December 1st: Final Performance Reflection, due Friday 6pm Week 10, December 4th-8th: Final Showing Performance on 2nd class day, during last hour of class time. Week 11, No Assignments, enjoy your holiday!

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DANCE WEAR: Sweatpants, leggings, or gym pants for women or men. Covered top—form fitting or lose. Long hair pulled back in braid or ponytail. No Street Shoes are allowed in the dance studios unless stated otherwise by instructor. Knee Pads are encouraged to be worn during class. Suggested undergarments: dance belt, compression shorts, or jock strap can be worn for males; athletic bra can be worn for females. CLASS ETIQUETTE: Please silence and/or turn-off all cell phones, pagers or other electronic devices. There is NO food and/or eating allowed in class or in the studios; water in appropriate containers is encouraged and recommended. No gum chewing during class. Always come prepared with your workbook/journal and something to write with. Pick up after yourself. Dispose and/or recycle your bits and pieces. An essential part of the culture and discipline of dance class is punctuality. Being prompt— and even early—for class ensures that students have arrived with time to warm up and mentally prepare. ABSENCE POLICY: –Attendance is marked and counted as a major part of your grade. –Six absences will result in no credit for the course. –Lateness: Students who are more than 15 minutes late will be marked tardy. This can affect the class work grade for the day. (Always ask the instructor’s permission to join a class that has already begun). INJURIES: We all know that injuries may happen. Some injuries can be managed, and in those cases, it is incumbent upon the student to always: 1. Alert the teacher to the problem 2. Establish whether it is safe and reasonable to be in class 3. Request assistance from the teacher as to how to work in a constructive if not therapeutic fashion. If injury occurs in class notify the teacher immediately. The basic prescription for acute care is R.I.C.E: Rest, Ice, Compression, & Elevation. Cold packs are available in first aid kits in the studio. If a student is absent from class due to an injury, they are to notify the teacher. If the injury is serious and causing a

lengthy absence, the injury must be treated by a trained medical professional and the student will be required to

contact Student Special Services Office, to properly obtain a doctor’s note indicating a prognosis for recovery and a

plan for rehabilitation. Students are not to give the note to the instructor. In the event that a prolonged injury, sickness, or a major life event disrupts your regular class participation, you may be

asked to drop the course or, if the semester is near its end, to take an Incomplete and finish the

coursework the following quarter.

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UCR On-Campus Student Resources

We understand that as students, you are faced with a variety of unique circumstances that may hinder your academic experience at UC Riverside. When faced with a campus crisis, there are incredible resources to support you. Please see the following:

 The Counseling & Psychological Services (CAPS) can be reached at 951-827-5531 24 hours a day, 7 days a week. Go to www.counseling.ucr.edu for details.

 The R’Pantry provides emergency nonperishable food to UC Riverside students in need. It is located in the lower HUB plaza next to the ATMs. For hours of operation, visit the R’Pantry Facebook page.

 The Committee on UC Riverside HIV/AIDS has created many resources and access points to help students get tested, practice prevention and risk-reduction practices, and access resource Please access their information at <AIDS.UCR.EDU>

 Our C.A.R.E. Advocates provide confidential assistance to survivors of sexual violence at UCR. The CARE Advocates can be reached at: 384 & 386 Surge Building, www.care.ucr.edu,951-827- 6255

 To file an on-campus report of harassment or sexual violence: Title IX Office, 349 Surge Building, www.titleix.ucr.edu, 951-827-7070

 To file a police report: UCPD 3500 Canyon Crest Dr., www.police.ucr.edu, 951-827-5222

 Our Student Affairs Case Manager offers support and guidance in all areas: casemanager@ucr.edu, 951-827-6095

Syllabus is subject to change as quarter progresses.