1. art and entertainment
2. dance

The Department of the Performing Arts
Faculty of Arts
COURSE CODE: PFA 103 – HISTORY OF THE PERFORMING ARTS (MEDIEVAL) (3 CREDITS; COMPULSORY)
COURSE DURATION: 45 HOURS (T)
LECTURERS:
PROF. KOFOWOROLA E.O.
Dr. Ojuade, J.O., Ph.D., M.A. (Ibadan); B.A., LL.B, LL.M, MBA (Ilorin)
[email protected] or [email protected]
OFFICE LOCATION: The Performing Arts Department; Faculty of Arts.
CONSULTATION HOURS: 1pm-2pm Thursdays, 10am-11am Fridays
Course Content:
A historical survey of the art of performance in Music, Dance and Drama within the Medieval
Period of Western Europe.
Course Description:
The course is designed to introduce students in the Faculty of Arts to the histories surrounding
the art of performance with particular emphasis to the Music, Dance and Drama in the
Medieval period of Western Europe.
Course Justification:
The historical knowledge is important in that it helps the students to have holistic views of the
arts of performance with reference to the Music, Dance and Drama of that period. It further
exposes the students to the relevancies of the arts to their environment.
Course Objectives:
*
Gain historical knowledge of the arts
*
Gain an understanding of how and why Music, Dance and Drama are of importance to
arts in general.
*
Understands the relationships between the three.
Course Requirements:
This is a compulsory course for the new (100 Level) students in the Faculty of Arts. Students are
expected to attend all activities related to the course and have a minimum of 75% attendance
to be able to write the final examination.
1
Assessment Criteria:
S/No
1.
2.
3.
Activity
Term paper
Mid Term test
Final Exam
Total
Course Delivery Strategies:
Face to face interactions with students.
Score (%)
20
20
60
100
LECTURES: Hold once a week for 2 hours
WEEK 1-2:
LECTURE:
Capturing Dance from the past; studying Dance in a Historical Context, Studying History, gaining
sense of History and History of Dance in Europe.
Study Questions:
1. What was the dance like this time period?
2. Who were the dancers, choreographers, or other personalities who contributed to the
art form?
3. What were their personal and career contributions to the period?
4. Where, when and why was the dance performed?
Reading list:
Gayle Kassing, History of Dance; An Interactive Arts Approach (Australia: Human Kinetics, 2007)
3-62.
WEEK 3-4:
LECTURE:
Origin of Dance in Europe. Ancient Greece; Glance at the past, Dancers and personalities,
Ancient Greek Dance, Significant Dance Works and Literature.
Rome and the Roman Empire: Glance of the past, Dancers and Personalities, Dances of Rome;
Significant Dance Works and Literature.
Study Questions
1. What was the society like in Greece and Rome?
2. Who were the dancers and other contributors to dance during this period?
3. What were the dances, music and other arts that supported dance during this period?
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Reading List:
WEEK 5-6:
LECTURE: Evolution of Dance Theatre in Europe, Dancers and Personalities (Catherine
de’Medici 1591-1589, Balthasar de Beaujoyeulx Ca. 1535-1587, Thoinet Arbeau Ca. 1519-1595).
Study Questions:
1. What was society like during the late 16th and 17th centuries?
2. Who were the dancers and other contributors to dance during this period?
WEEK 7:
LECTURE: The origin of Ballet: A Tradition Begins
Study Questions:
1. Give a description of Ballet tradition
2. How do they dance Ballet?
Reading List: Sandra Noll Hammond, Ballet
Basics (California: Mayfield Publishing Company, 2000) 138
LECTURE: Development of Ballet
Study Questions:
1. Logically trace the histories relating to the development of Ballet
2. Give two examples of the ballet of that period.
Reading List:
1. www.naxos.com
WEEK 9-10:
LECTURE: Types of Ballet
Study Questions:
1. Enumerate two types of Ballet that you know in history.
2. Are there similarities in both? Explain.
Reading List:
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The Department of the Performing Arts
Faculty of Arts
COURSE CODE: PFA 125 – RUDIMENTS OF DANCE (2 CREDITS; COMPULSORY)
COURSE DURATION: 15 HOURS (T); 45 HOURS (P)
LECTURERS:
DR. OJUADE, J.O. Ph.D., M.A. (Ibadan); B.A., LL.B, LL.M, MBA (Ilorin)
[email protected] or [email protected]
OFFICE LOCATION: The Performing Arts Department; Faculty of Arts.
CONSULTATION HOURS: 8am-9am Tuesdays and 11-11pm Thursdays
Course Content: An introduction course in Practical Technical training in movement. Exposure
to the basic dance steps of various Nigerian ethnic groups and how they could be developed in
their idioms as modern dance and ballet. Introduction to dance notation.
Course Description: The course is designed to introduce students in the Faculty of Arts to a
rudimentary understanding and knowledge of dance; especially diverse Nigerian ethnic dance
groups, why and how the dances feature in their cultural environments.
Course Justification:
The study and knowledge of ethnic dances (Nigerian) is important in that it helps students of
Arts to differentiate between dances of diverse cultures and to know their relevancies and
importance within their communities.
Course Objectives:
*
Gain an understanding of dance
*
Gain knowledge of diverse Nigerian ethnic dance groups.
*
Gain knowledge and exposure to Ballet dance
*
Gain skills required in the development of dance (individual).
Course Requirements:
This is a required course for new students in the Faculty of Arts. Students are expected to
attend all activities related to the course and have a minimum of 75% attendance to be able to
write the final examination.
4
Assessment Criteria:
S/No
1.
2.
3.
4.
5.
Activity
Practicals (individual)
Take-home assignment (2)
Practicals (group)
Final Exam
Total
Score (%)
20
20
30
30
100
Course Delivery Strategies:
Face to face interactions with students and practicals.
LECTURES: Hold once a week for 2 hours
WEEK 1-4:
LECTURE: Introduction to Ballet. What are the necessary elements of any ballet class? The
fundamental principles of ballet technique.
PRACTICAL: Identification of the five positions of the feet. Positions of the arms. Position of the
Head. Special considerations e.g.; Balancing on one leg, balancing on the ball of the foot,
pointing the foot, warm up, correct breathing and learning.
Study Questions:
1.
What is dance?
2.
Subject the students to balancing practice
3.
How do we warm-up?
4.
Try out the five positions of the feet.
Reading List:
1.
Agnes de Mille, To a Young Dancer (Boston: Little, Brown, 1960), 24.
2.
Ellen Jacob, Dancing, a Guide to the Dancer you can be (Reading, Mass: AddisonWesley, 1981), 210.
3.
Sandra Noll Hammond, Ballet Basics (California: Mayfield Publishing Company), 1-21.
WEEK 5-9:
LECTURE: Introduction to Nigerian Ethnic Dances. The three major/dominant ethnic dances –
Yoruba, Igbo and Hausa.
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PRACTICAL: Specific examples of :
-
Traditional Yoruba Steps
Basic steps of the Igbos
Basic Hausa Steps
Study Questions:
1.
Mention 5 types of dances from your ethnic society.
2.
Discuss the peculiarities and differences in the 3 dominant ethnic dances.
3.
Give examples of at least 2 dances from your Village/Town or City.
Reading List:
1.
Omofolabo S. Ajayi, YORUBA DANCE: The Semiotics of Movement and Body Attitude
in a Nigerian Culture (Trenton NJ: Africa World Press, Inc.), 251.
2.
Remi Raji – Oyelade, Sola Olorunyomi and Abiodun, Duro-Ladipo, DURO LADIPO:
Thunder-God on State (Ibadan: Institute of African Studies, University of Ibadan),
207.
3.
Duro Ladipo, Oba Ko So: The King did not hang (Ibadan: Institute of African Studies,
University of Ibadan), 149.
4.
VCD of AYANGALU (Sacred Yoruba Bata Music for Orishas).
WEEK 10-13:
LECTURE: Development of Individual Skills
PRACTICAL: Review the individual dance skills of the students from the perspectives of their
local environments.
Study Questions:
1.
Give at least Five (5) different steps that you are familiar with in your local
environment.
2.
Give a detail description of Two (2) of the dance steps, indicating when, where and
how they dance them.
3.
Give a short demonstration of the two steps.
Reading Lists:
1.
Peggy Spencer MBE, The Joy of Dancing (London: Carlton Books, 2004), 1-35.
2.
Paul Bottomer, Ballroom Dancing: Step-by-Step (London: Anness Publishing Ltd.,
2006), 6-17.
WEEKS 14 and 15:
Submission of term paper, Revision/Tutorial
ADDITIONAL READING TEXTS:
6
The Department of the Performing Arts
Faculty of Arts
COURSE CODE: PFA 205 – HISTORY OF THE PERFORMING ARTS II (COLONIAL TO MODERN)
(2 CREDITS; COMPULSORY)
COURSE DURATION: 30 HOURS (T)
LECTURERS:
PROF. NASIRU A.
Dr. Ojuade, J.O., Ph.D., M.A. (Ibadan); B.A., LL.B, LL.M, MBA (Ilorin)
[email protected] or [email protected]
OFFICE LOCATION: The Performing Arts Department; Faculty of Arts.
CONSULTATION HOURS: 8am-9am Mondays and 12-1pm Fridays
Course Content:
A study of development of the arts of performance in Music, Dance and Drama in Post-colonial
Africa. Selected works in the three areas representing a cross-section of African shall be
studied.
Course Description: The course is designed to introduce students in the Faculty of Arts to the
histories surrounding the arts of performance especially as it relates to Music, Dance and
Drama within the Post-colonial period in Africa. Specific reference will be made to works of arts
in three strategic areas representing Africans and their ways of life in performance within the
colonial period in history to the modern day practices.
Course Justification:
The study and knowledge of history of the Performing Arts in the Colonial period to the modern
day emphasis helps students to identify the similarities, differences and the development in the
total theatre performances of Africans. It brings into focus the developments as it struts from
the past to the present, and how it affects the society either positively or negatively.
Course Objectives:
*
Gain verse histories of Performing Arts (i.e. Dance, Music and Drama).
*
Gain knowledge of dance in the colonial period and the modern day experiences.
*
Gain knowledge and exposure to traditional music and dance.
*
Gain knowledge of the modern day arts.
7
Course Requirements:
This is a compulsory course for the students in the Performing Arts Department and other
students from the Faculty of Arts are equally free to register for the course. Students are
expected to attend all activities related to the course and have a minimum of 75% attendance
to be able to write the final examination.
Assessment Criteria:
S/No
1.
2.
3.
Activity
Term paper
Mid Term test
Final Exam
Total
Score (%)
20
20
60
100
Course Delivery Strategies:
Face to face interactions with students.
LECTURES: Hold once a week for 2 hours
WEEK 1:
LECTURE:
Origin of dance in Africa. Highlights of the differences between ritual dance and social dance.
Study Questions:
1. How do you describe dance from Africa.
2. Are the differences between ritual and social dances?
Reading List:
1. Ahmed Yerima, Bakare, Ojo Rasaki and Arnold Udoka (eds.), critical perspectives on
Dance in Nigeria (Ibadan: Kraft Books Limited), 17.
WEEK 2:
LECTURE: Classification of dance in Africa specific reference to Dance in ancient Yorubaland.
Study Questions:
1. How does the Yoruba people perceive dance?
8
2. Give examples of varying classes or categories of dance in Africa.
Reading List:
1. Omofolabo S. Ajayi, Yoruba Dance: The Semiotics of Movement and Body Attitude in a
Nigerian Culture (Trenton NJ: Africa World Press, Inc.).
LECTURE: The secularization of traditional dances. Yoruba Bata dance in Nigeria as an example.
Study Questions:
1. How do we define dance from traditional perspective?
2. Give a brief account on the origin of Bata dance culture.
3. Has Bata transformed from the religious ritual origin to the social realm? Discuss with
examples.
Reading List:
1. Jenks Zakari Okwori (ed.), Nigerian Theatre Journal, Vol.7, No.1 (Lagos: Dat & Partners
Logistics Ltd.) 53.
2. Duro Ladipo, Oba Ko So – the King did not hang, Opera (Ibadan, Institute of African
Studies), 1-149.
WEEK 4:
LECTURE: Dance in the colonial period. Reference to the experience in Nigerian societies.
Study Questions:
1. Give a contrast of the dance experience between the colonial period and the present in
a Nigerian society or community.
2. What are the elements of changes that you can identify?
WEEK 5:
LECTURE: The evolution of cultural dance groups.
Study Questions:
1. Who are the talented artists/dancers?
2. What are the roles of cultural dance groups?
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Reading List:
1. Ahmed Yerima, Bakare Ojo, Rasaki and Arnold Udoka (eds.), Critical Perspectives on
Dance in Nigeria (Ibadan: Kraft Books Limited), 293.
WEEK 6:
LECTURE: National and state festival of arts. The Nigerian experience (The National Theatre of
Nigeria and familiar state arts councils).
Study Questions:
1. What role does dance play in the activities of both the National and state festivals of
arts?
2. Is dance considered a part of theatre in any festival celebration? Explain or Discuss.
Reading List:
1. Nigerian Magazine, 1978 edition (Lagos: Academy Press).
WEEK 7:
LECTURE: The professional dance companies. Reference to one or two familiar groups in
Nigeria.
Study Questions:
1. What is the formation of the group?
2. Discuss their performance mode.
Reading List:
1. Remi Raji-Oyelade, Sola Olorunyomi and Abiodun Duro-Ladipo, Duro Ladipo: ThunderGod on stage (Ibadan: Institute of African Studies).
WEEK 8:
LECTURE: Experimentation in the Universities Reference
departments in Nigerian Universities.
Study Questions
1. Does dance form a part of their performances?
2. What role does dance play in such performances?
10
to one or two theatre related
Reading List:
1. A comprehensive study of at least two of past production (Video or VCD)
WEEK 9:
LECTURE: The Nigerian Dance Theatre. A study of the composition and performances.
Study Questions:
1. What makes a dance performance Nigerian?
2. What are the elements that add value to a dance performance in the Nigerian context?
Reading List:
1. Excerpts from past productions (DVD’s)
WEEK 10-12:
LECTURE: Introduction to the dance of East Africa, North Africa and South Africa.
Study Questions:
1. Give a brief account of any of East, North or South Africa’s dances.
2. Are there similarities or differences between the North, East, South or West African
dances? Discuss with specific references / examples.
ADDITIONAL READING TEXTS:
1. Ogunba, 8 Irele, A., Theatre in Africa (Ibadan: Ibadan University Press).
2. Drewal, M.T. “Dancing for Ogun in Yorubaland and Brazil” in Africa’s Ogun; Old World
and New. Sandra Barnes (Bloomington: Indiana University Press).
3. Layiwola, D., Dance and Society in Mutual Interpretation: The case of Nigeria. ODU, A.
Journal of West African Studies O.A.U., Ile-Ife, New Series, No.35.
4. Ojuade, J.O. “Sustaining Dance and Its Performances in the Western Part of Nigeria” In
Nigerian Theatre Journal. Duro Oni (ed.) Vol.8, No.2 (Lagos: Society of Nigerian Theatre
Artists). See www.unilorin.edu.ng/publications
11
The Department of the Performing Arts
Faculty of Arts
COURSE CODE: PFA 325 – ADVANCED CHOREOGRAPHY I (2 CREDITS; ELECTIVE)
COURSE DURATION: 15 HOURS (T); 45 HOURS (P)
LECTURERS:
DR. OJUADE, J.O., Ph.D., M.A. (Ibadan); B.A., LL.B, LL.M, MBA (Ilorin)
[email protected] or [email protected]
OFFICE LOCATION: The Performing Arts Department; Faculty of Arts.
CONSULTATION HOURS: 10am-12pm Wednesdays
Course Content: Composition and presentation of a full work of dance together with music,
lighting and costume designs. Concept formation and research into dance subject matter,
audition process together with choreographic notes. Presentation and improvement on worksin-progress leading to photography sessions and compilation of a production portfolio.
Duration of choreographed pieces: 5-10 minutes.
Course Description: The course is a practical one designed to introduce students in the Faculty
of Arts especially the Performing Arts to the techniques involved in the art of choreography. It is
to give them the working knowledge of dance choreography; especially the processes involved
in dance creation i.e. composition, the motive, writing process and the subsequent
presentation of the dance work.
Course Justification:
The study and knowledge of choreography is important in theatre studies in that it helps
students of the arts especially those emphasizing dance to be able to compose and write
librettos.
Course Objectives:
*
Gain an understanding of dance choreography
*
Gain knowledge of imaginative thoughts and dance composition
*
Gain the ability to put appropriate titles on works of arts
*
Gain the required skills in the development of dance choreography/production/
performance.
12
Course Requirements:
This is a required course for the students emphasizing dance and an elective course for other
students in the Faculty of Arts. Students are expected to attend all activities related to the
course and have a minimum of 75% attendance to be able to write the final examination.
Assessment Criteria:
S/No
1.
2.
3.
4.
5.
Activity
Practicals (Individual)
Take home assignment
Practicals (group)
Final Exam
Total
Score (%)
20
20
30
30
100
Course Delivery Strategies:
Face to face interactions with students and practicals.
LECTURES: Hold once a week for 2 hours.
WEEK 1-3
LECTURE: Introduction to Dance Composition. What is Dance Composition? Motivation for
Creativity-Drafts. Writing in Movement (Visual Imagination). Titles.
PRACTICAL: Identification of the necessary tools involved in dance composition. Creating a
working draft in writing in movement. Creative discussions and giving of relevant titles to dance
works.
Study Questions:
1.
What is Dance Composition?
2.
What are the processes involved dance choreography?
3.
How do we give titles to dance works?
Reading List:
1.
Peggy Spencer, The Joy of Dancing (2004). London: Calton Books.
2.
Eden Davies, Beyond Dance: Laban’s Legacy of Movement Analysis (2006). New
York: Routledge Taylor & Francis Group.
13
WEEK 4-8:
LECTURE: Introduction to Dance Production. The knowledge of what is contained in a
production file. The Choreographic Concept and Interpretation of the Work, Motivation for
Movements, Choreographic Approach, Movement Interpretation, The Music and Rhythms
required, Arrangement of Movements (Juxtaposition Symmetric, Asymmetric etc.),
Introduction to accessories.
PRACTICAL: Preview of Past Production both local and International is a prerequisite.
Study Questions:
1.
What are the items required in a Dance Production File?
2.
What are the relevancies of accessories to a Dance Production?
Reading List:
1.
Sandra Noll Hammond, Ballet Basics (2000) California: Mayfield Publishing Company.
WEEK 9:
LECTURE: Presentation of a Dance Performance. Creating a Concept and the Composition of a
Dance Experience.
PRACTICAL: The students are to be groomed individually and through groupings to create a
dance performance for assessment by their teacher(s).
Study Questions:
1.
What are the processes involved in a presentation of a Dance.
2.
How do we compose a dance?
Reading List:
1.
VCD of AYANAGALU (Sacred Yoruba Bata Music).
WEEK 10-11
LECTURE: Practical Introduction to Nigerian/Western Dance Steps
PRACTICAL: Students are to be introduced to various Nigerian Dance Steps and Western Dance
Steps, while students will be tested based on recorded audio/visual they are comfortable with
in performance.
14
Study Questions:
1.
Pick a familiar music of your choice and create a five minutes performance.
2.
Are there differences between Nigerian and Western Dance Steps? Explain or
Discuss.
Reading List:
1.
Omofolabi S. Ajayi, YORUBA DANCE: The Semiotics of Movement and Body Attitude in a
Nigerian Culture (1998). Trenton NJ: Africa World Press, Inc.
WEEK 12:
REVISION.
ADDITION READING TEXTS:
1. VCD of Bata Workshop conducted by Dr. Jeleel Ojuade at the Johannes Guttenberg
Universitat, Mainz, Germany, 2009.
2. LABAN VCD, www.laban.org
3. VCD of Prof. Michel F. Jacques’ Learn Meringue/Compass Dancing.
15
The Department of the Performing Arts
Faculty of Arts
COURSE CODE: PFA 425 – DANCE AND THE MEDIA (3 CREDITS; ELECTIVE)
COURSE DURATION: 15 HOURS (T); 90 HOURS (P)
LECTURERS:
Dr. Ojuade, J.O., Ph.D., M.A. (Ibadan); B.A., LL.B, LL.M, MBA (Ilorin)
[email protected] or [email protected]
OFFICE LOCATION: The Performing Arts Department; Faculty of Arts.
CONSULTATION HOURS: 3pm-4pm Tuesdays, 8am-9am Wednesdays
Course Content: This is advanced rigorous, core exercises in dance that may lead to full fledged
dance. Film experiences shall be focused and news reporting experimented with. Concepts,
techniques, forms and theories shall be examined and new ones formulated in learning the
skills of dancing and choreography for the media.
Course Description: The course is designed to expose students to different laboratory exercises
in dance practice that may lead to a full fledged performance (dance) in the Faculty of Arts.
Course Justification:
The exposition of dance to the general public through the exercises via the media (electronic
and print) further repositions the art of dance and projects its relevance(s)/importance to
different strata of the community.
Course Objectives:
*
Gain an understanding of dance
*
Gain knowledge of dance in relation to different aspect of the economy
*
Gain knowledge and exposure to the media via dance
*
Gain skills required in the media (electronic and print) reporting of dance activities.
Course Requirements:
This is a compulsory course for the students majoring in dance in the Performing Arts
Department and elective course for other students in the Faculty of Arts. Students are expected
to attend all activities related to the course and have a minimum of 75% attendance to be able
to write the final examination.
16
Assessment Criteria:
S/No
1.
2.
3.
4.
5.
Activity
Practicals (individual)
Practicals (Group)
Assignment
Final Exam.
Total
Score (%)
20
30
20
30
100
Course Delivery Strategies:
Face to face interactions with students and practicals.
LECTURES: Hold twice a week for 2 hours.
WEEK 1-3:
LECTURE: Introduction to Dance Composition (Advanced).
What are the tools required of a dance creative process? The elements of theatre therein in
support of the dance experience.
PRACTICAL: Practical identification of the tools required in creative process through recorded
DVD’s and laboratory exercises.
Study Questions:
1.
Who is a Dancer?
2.
Who is a Choreographer?
3.
What are the required tools in dance creative process?
Reading List:
1.
Christopher Lukas, Directing for Film and Television (2001). New York: Allworth Press.
WEEK 4-8:
LECTURE: Advanced introduction to Dance Production Process. The stages of Performance and
description of performance areas, The description of Dancers, Music and Accessories.
PRACTICAL: Presentation of Individual and Group works.
Study Questions:
1.
Create a story and put up a five minutes dance performance.
17
2.
How relevant are the elements of theatre therein.
PRACTICAL: A practical survey of dance performance(s) on DVD’s and video recordings.
Study Questions:
1.
Give a brief on one of the DVD’s on dance performance and discuss the importance
of media in relation to it.
2.
What are the elements that enhance media in dance production?
WEEK 12:
LECTURE: Revision
Reading List:
18