FIRST YEAR

FIRST SEMESTER

CNDC 101 Basics of Ballet (2-2) 3

As one of the classical techniques of dance, ballet is very important tool of training dancer’s body and understanding the fundamentals of dancing. In this course students learn basics of ballet as movement method and examine the skeletal alignment and body coordination as well as developing muscle strength. They investigate the anatomy of dancing body and also geometrical correspondence of personal space (kinesphere).

Reference Books

• Inside Ballet Technique, Separating Anatomical Fact from Fiction in the Ballet Class, Valerie Grieg.
• Maria Fay’s Floor Barre, Maria Fay, 2003.
• Classical Ballet Terms, an Illustrated Dictionary, Richard Glasstone, 2001.

CNDC 103 Movement (2-2) 3

This course is designed to convey fundamentals of movement and anatomical knowledge of musculoskeletal structure of human body as well as dynamic nature of breathing to both students of acting and contemporary dance departments. The aim is to guide students to reach body and mind unity with awareness of self-physical being. Students gain a certain consciousness of harmonic breathing and understanding of muscle-joint-skeleton system of their bodies. During the course, with a lot of breathing exercises and applications of well-known techniques such as Alexander, Feldenkrais, Pilates and Yoga, students enrich their ability to connect with their physical being profoundly.

Reference Books

• Anatomy Trains: Myofascial Meridians for Manual Therapists and Movement Professionals, Thomas W. Myers, Elsevier Health Sciences, 2020.
• The Feldenkrais Method, Moshe Feldenkrais- Yochanan Rywerant, Readhowyouwant, CA, 2011.
• Somatics: Reawakening The Mind’s Control of Movement, Flexibility and Health, Thomas Hanna, Hachette Books, 2004.
• Sensing, Feeling and Action: The Experimental Anatomy of Body-Mind Centering, Bonnie Bainbridge Cohen, Wesleyan University Press, 2021

CNDC 105 Modern Dance Techniques- Limon & Horton (2-2) 3

This course is designed to train students in classical styles of ‘modern dance’ which are established by the pioneers of dance manners alternative to ballet. With the rise of modernisation in western part of the world dance also influenced by that and began questioning classical values and rues of dancing. Jose Limon and Lester Horton were two of these pioneers of modern dance who has specific style of movement and understanding of bodily expression is still vivid and useful for contemporary dancers’ education. So this course aims to teach students some of the important fundamentals of dancing craft.

Reference Books

• The Illustrated Dance Technique of Jose Limon, Daniel Lewis, 1999.
• Dance Technique of Lester Horton, Marjorie Perce-Ana Marie Forsythe-Cheril Ball, Princeton Book Company, 1993.
• Introduction to Modern Dance Techniques, Joshua Legg, Princeton Book Company, 2012.
• The Makers of Modern Dance in Germany: Rudolph Laban, Mary Wigman, Kurt Joos, Isa Partsh Bergsohn, Princeton Book Co Pub, 2002.

FMPA 101 Improvisation: Movement, Drama and Sound (2-2) 3

This, faculty coded shared course, aims to gather all the students of department of contemporary dance, department of acting and department of sound arts design, under the shelter of improvisation which is one of the very crucial tool of creative thinking and body-mind awareness. All the students will deal with all three subjects of; sound-voice, body-movement and speech-drama in the course, so they can emphaticise and be able to understand each other’s practice fields better and closer. Students practice thinking and examining necessary notions of creation and composition with the help of improvisation. Along with, they also apprehend abstract concepts like space, being, time, event etc. Besides, they are prepared for coming school years in means of to work and collaborate each other for creative music and performance projects.

Reference Books

• The Moment of Movement, Lynne Ann Blom- L. Tarin Chaplin, Dance Books Ltd., 2011.
• 101 Improv Games for Children and Adults, Bob Bedore, Hunter House, 2004.
• Creativity: Flow and Psychology of Discovery and Invention, Mihaly Csikszentmihalyi, 2013.
• The Inner Game of Music, Barry Green, Doubleday, 1986.

FMPA 103 History of Music (4-0) 4

This course is also faculty coded shared course which aims to convey overall historical cornerstones of western and eastern music to the students. Course is intended to help students to picturing development of the concept of music and differentiate certain eras and cultures from each other. History of music underlines the cultural and sociological aspects of music creation through time and examine its impacts on contemporary art of music and sound. This course is also the part of understanding to related field of each student.

Reference Books

• Concise History Western of Music, Barbara Russano Hanning, 2020.
• The Oxford History of Western Music: Music in the Nineteenth Century, Richard Taruskin, Oxford University Press Inc., 2009.
• A History of Musical Style, Richard L. Crocker, Dover Books on Music, 2011.
• Music is History, Ahmir Questlove Thompson, Abrams Image, 2021.
• The History of Rock: A Definitive Guide to Rock, Punk, Metal and Beyond, Parragon Books, 2012.

FMPA 105 Culture of Thinking (2-0) 2

This philosophy related course is designed for especially young artists in order to inform them about important thinkers and their key ideas in the history of the world. Student meet with highly influential names and their point of views as well as learn the key concepts of history of philosophy by reading and discussing their quoted works. The purpose of this course is to make students more conscious of how thinking practices or certain philosophical issues related with artistic creation throughout the history.

Reference Books

• Philosophy the Basics 5^th Edition, Nigel Warburton, Routledge, 2012.
• The History of Western Philosophy, Bertrand Russell, Simon & Schuster/Touchstone, 1967.
• History of Philosophy: Overview of: Eastern Philosophy, Western Philosophy and the Most Important Thinkers Through the Ages, Michael J. Stewart, 2017.

SOFL 101 Academic English I (3-0) 3

Students who regularly attend this course will have the opportunity to practice a variety of study skills, including but not limited to setting goals, organizing, using time, concentrating, and taking notes. Students will be given important articles written in modern-day English and students will learn to discuss and write responses at an academic level. At the end of the lessons, each student will be able to derive the meaning of unknown words in a reading text, write paragraphs and articles, summarize, discuss and write reply letters.

Reference Books

• The Compass, Nüans Kitabevi, Ankara, 2015.
• IELTS Foundation: Students’ Book, Andrew Preshous, Rachael Roberts, Joanne Gakonga ve Joanna Preshous, MacMillan Education, Oxford, 2012.

FIRST YEAR

SECOND SEMESTER

CNDC 102 Ballet for Contemporary Dancers (2-2) 3

In this course classical ballet class is re-designed accordingly to the special needs of contemporary dancers. The targeted movement skills of our student will be nourished by ballet techniques and expanded by ballet sequences. However, it is very important to protect their musculoskeletal health and ability of moving fluid while they practicing ballet exercises. The students gain useful knowledge of ballet which they match with their contemporary dance practices as well as learn main skills of danceartistry.

Reference Books

• Inside Ballet Technique, Separating Anatomical Fact from Fiction in the Ballet Class, Valerie Grieg.
• Maria Fay’s Floor Barre, Maria Fay, 2003.
• Suki Shrorer on Balanchine Technique, Suki Shrorer, 1999.
• Technique for the Ballet Artiste, Olga Spessivtseva

CNDC 104 Dance Practices (2-2) 3

In this course student try many different type of dance sequences such as jazz, musical, hip-hop, rock’n roll, twist, blues, reggae etc. in order to develop their sense of rhythms and wave of bodies. They are encouraged to discover their own dancing style within various dancing types by creating their own movement sequences and patterns. As the result they raise their self-confidence and quality of stage presence as both actors and dancers.

Reference Books

• Renegades: Digital Dance Cultures from Dubsmash to Tik Tok, Trever Boffone, Oxford University Press, 2021.
• Going to the Palais: A Social and Cultural History of Dancing and Dance Halls in Britain, 1918-1960, James Nott, OUP Oxford, 2015.
• Jazz dance: A History of the Roots and Branches, Lindsay Guarino and Wendy Oliver, University Press of Florida, 2015.
• Ballroom, Boogy, Shimmy, Sham, Shake: A Social and Popular Dance Reader, Julie Walning, University of Illinois Press, 2008.
• Consuming Dance: Choreography and Advertising, Colleen T. Dunagan, Oxford University Press, 2018.

CNDC 106 Modern Dance Techniques- Graham & Cunningham (2-2) 3

In this continuation course, student learns the specific movement techniques and dancing styles of following modern dance choreographers; Martha Graham and Merce Cunningham who were created their own dance training system as well as their own style of embodiment. Experiencing different propositions about manipulating body and expressing through movement students can enhance their performance ability. While having basic knowledge of dancing craft they also have chance to compare and criticise dance techniques and artistic ideas of modern era.

Reference Books

• American Dance: The Complete Illustrated History, Margaret Fuhrur, 2014.
• Martha Graham: The Evolution of Her Dance Theory and Training, Marian Horosko, University Press of Florida, 2002.
• Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey, Julia L. Foulkes.
• Chance and Circumstances: Twenty Years with Cage and Cunningham, Carolyn Brown, Noph Doubleday Publishing Group, 2009.
• The Dancer Prepares: Modern Dance for Beginners, James Penrod – Janis Gudde Plastino.
• Modern Dance Fundamentals, Nola Shurman, lulu.com, 2011.

FMPA 102 Self Discover: Movement, Drama and Sound (2-2) 2

In this continuation course all faculty students shares the same place and time for discovering their selves through improvisation. Improvisation is also one of the methods of self-development or character development. As young adults and future artists, one of our students’ urgent issue is to awaken their ambitions about art, curiosity about the meaning of life and to deal with their possible influences on their society. This course guides them to travel their self and to build up their existence by doing inner exploration in their mind.

Reference Books

• Creativity: Flow and Psychology of Discovery and Invention, Mihaly Csikszentmihalyi, 2013.
• Impro: Improvisation and the Theatre, Keith Johnstone, Routledge 1987.
• Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature, Gary Peters, University of Chicago Press, 2017.
• Sudden Music: Improvisation, Sound, Nature, David Rothenberg, University of Georgia Press, 2016.
• Negotiated Moments: Improvisation, Sound, and Subjectivity (ımprovisation, Community, and Social Practice), ed. Gillian Siddall- Ellen Waterman, Duke University Press, 2016.

FMPA 104 History of Performing Arts (4-0) 4

This course is another faculty coded shared course which aims to convey overall historical cornerstones of western and eastern performing arts (theatre and dance) to the students. The course is intended to help students to picturing development of the concept of performing arts and differentiate certain eras and cultures from each other. History of theatre and dance clarify cultural and sociological aspects of stage creations (based on performing) through time and examine its impacts on contemporary dance and theatre practices. This course is also the part of understanding to related field of each student.

Reference Books

• Dance History: An Introduction, Janet Adshead Lansdale – June Layson, Routledge 1994.
• Theatre and Dance, Kate Elswit, Red Globe Press.
• International Encyclopedia of Dance, ed. Selma-Jeanne Cohen, Oxford University Press, 2004.
• Europe Dancing, Perspectives on Theatre. Dance and Cultural Identity, Andre Grau – Stephanie Jordan, Routledge, 2000.
• Modern Theatres: 1950-2020, David Staples, Routledge, 2021.
• History of the Theatre (Performing Arts S), Glynne Wickham, Phaidon Press, 1994.
• Oxford Illustrated History of Theatre
• Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955-1972,Ninotchka Bennahum (Editor), Wendy Perron (Editor), Bruce Robertson (Editor), University of California Press, 2016

FMPA 106 Thinking Practices (2-0) 2

This course is a follow-up of Culture of Thinking and designed for triggering students’ mind for thinking activity. During the course they ask questions and look for answers related with the main issues that they concern about life. As cultivation of their cultural perspectives, course also aims to lighten their minds and clarify their thoughts. They are encouraged to investigate the reason of their existence, purpose of living and what they want to express by their art practices. In addition to those, students collect certain notions of thinking and producing an idea for an artistic creation or activity.

Reference Books

• How to Think About Weird Things: Critical Thinking for a New Age, Theodora Schick – Lewis Vaughn, Mc Graw-Hill.
• Wait What? And Life’s Other Essential Questions, James, E. Ryan, Harper One, 2017.
• The Laws of human Nature, Robert Green, Viking, 2018.

SOFL 102 Academic English II

It is a continuation of the Academic English I course. Students who regularly attend this course will have the opportunity to practice many study skills, including but not limited to setting goals, organizing, using time, concentrating, and taking notes. Students will be given important articles written in contemporary English, and students will learn to discuss and write responses at an academic level. At the end of the lessons, each student will be able to understand the meaning of unknown words in a reading passage and write paragraphs and articles.

Reference Books

• The Compass, Nüans Kitabevi, Ankara, 2015.
• IELTS Foundation: Students’ Book, Andrew Preshous, Rachael Roberts, Joanne Gakonga ve Joanna Preshous, MacMillan Education, Oxford, 2012.

SECOND YEAR

THIRD SEMESTER

CNDC 201 Ballet-Contemporary Combinations (2-2) 3

In this course students continue to exercise ballet movements and combinations in contemporary manner. They experience how to transfer their ballet skills into certain movement quality related to contemporary dance. They improve their abilities of controlling their body at state of movement and refine their performance in terms interpreting sequences of contemporary ballet. In addition to postural sophistication students obtain fluidity, precision and delicacy as dancing bodies.

Reference Books

• XX años con Nacho Duato. Una mirada hacia dentro (Spanish and English Edition), Diego Hurtado de Mendoza, Instituto Nacional de las Artes Escénicas y de la Música (INAEM), 2010.

• Different Drummer: The Life of Kenneth MacMillan, Jann Parry, Faber&Faber, 2009.
• Maguy Marin: Photographies d’une chorégraphie, Claude Bricage
• Ca Quand Meme- Maguy Marin / Denis Mariotte (Brèves Rencontres), Moriotte Marin, 2005.
• Bejart by Bejart, Maurice Bejart-Colette Masson, St Martin’s Press / Congdon & Lattès, 1980.
• Matthew Bourne & His Adventures in Dance: Conversation with Alastair Macaulay, Alastair Macaulay & Matthew Bourne, Faber&Faber 2011.

CgNDC 203 Movement- Release Technique (2-2) 3

This course is prepared for both contemporary dance and acting students in order to improve their movement skills with exercising Release Technique. This technique focuses on breathing, muscle relaxation, anatomical awareness and the use of gravity and momentum to perform movements satisfactorily. This course guides the students towards fast and fluid dynamic quality while dancing and allow them to sense gravity and experience to go with the flow.

Reference Books

• The Nikolais and Louis Dance Technique: A Philosophy and Method of Modern Dance, Alvin Nikolais and Murray Louis, Routledge, 2005.
• Performance Through the Dance Technique of Lester Horton: Second Edition, Bradley Shelver, 2020.
• Dance Imagery for Technique and Performance, Eric Franklin, Human Kinetics, 2013.
• Introduction to Modern Dance Techniques, Joshua Legg, Princeton Book Company, 2012.

CNDC 205 Exploring Masters of Choreography (2-4) 4

The course students informed about chosen master choreographers of Modern and Contemporary Dance history such as Maurice Bejart, Nacho Duato, Maguy Marin, Preljocaj, Christopher Bruce, Jiri Kylian, Mats Ek, William Forsythe, Matthew Bourne and their remarking works. After watching and discussing their individual aspects of doing choreography, student study on extracts of their pieces and analyse their movement quality and choreographic structure generally. Further they try to perform these extracts exactly then create their own variations as if they are the same person stylistically.

Reference Books

• XX años con Nacho Duato. Una mirada hacia dentro (Spanish and English Edition), Diego Hurtado de Mendoza, Instituto Nacional de las Artes Escénicas y de la Música (INAEM),
• Different Drummer: The Life of Kenneth MacMillan, Jann Parry, Faber&Faber, 2009.
• Maguy Marin: Photographies d’une chorégraphie, Claude Bricage
• Ca Quand Meme- Maguy Marin / Denis Mariotte (Brèves Rencontres), Moriotte Marin, 2005.
• Bejart by Bejart, Maurice Bejart-Colette Masson, St Martin’s Press / Congdon & Lattès, 1980.
• Matthew Bourne & His Adventures in Dance: Conversation with Alastair Macaulay, Alastair Macaulay & Matthew Bourne, Faber&Faber 2011.
• Matthew Bourne & His Adventures in Motion Pictures, Matthew Bourne, Faber&Faber 2011.
• Garden of Dance, Jiri Kylian, Theater Instutuut Nederland, 1996.
• Mats Ek- Lesley Leslie-Spinks, Boxforlaget Max Strom.
• William Forsythe and the Practice of Choreography, Steven Speir, Routledge, 2011.

FMPA 201 Interpreting Texts: Literature (3-0) 3

This faculty coded shared course is continuation of philosophy related courses. However, this course focuses on interpreting or reaching out meaning from particular texts in the form of writing, dancing, filming or music. In this first part of ongoing course students reads and discuss extracts from particular examples of western and eastern literature. Reading works as whole is preferred but critical reading and examining the meaning of it will be on the extracts. The purpose of the course is to improve sensibility and interpreting capacity of the students on a written text.

Reference Books

• Man’s Search for Meaning, Viktor E. Frankl, Beacon Press, 2006.
• How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines, Thomas J. Foster, Harper Perennial, 2014.
• Critical Thinking: A Guide to Interpreting Literary Texts, Colin Ann Manlove, 2020.

AITT/HIST 201 Atatürk’s Principles and History of Turkish Revolution I

Atatürk’s Principles and History of Turkish Revolution course; telling students how to establish the circumstances under which the Republic of Turkey, forming the government intends to adopt the basic principles of Ataturk. The reason why his principles were transferred to the field of application is explained with case studies that not only the Turkish Nation but also the whole humanity need more than ever.

Reference Books

• Atatürk ve Türk İnkılap Tarihi, Fatma Acun, Siyasal Kitabevi, Ankara, 2016

TUDI/TURK 201 Turkish Language I (2-0)2

The aim of the course is to comprehend the structure and functioning characteristics of the mother tongue to every young person studying in higher education, and to gain the ability to use Turkish correctly and beautifully as a means of written and oral expression in terms of language-thought connection. Another goal is to make a unifying and integrative language prevailing in teaching and to raise young people who have native language awareness.

Reference Books

• Türk Dili, Hasan Kolcu, Umuttepe Yayınları, Kocaeli, 2013.

SECOND YEAR

FOURTH SEMESTER

CNDC 202 Ballet-Contemporary Variations (2-2) 3

The term ‘contemporary ballet’ addresses the dance works which are designed for and performed by dancers from classical ballet backgrounds. Those works are mostly having contemporary dramaturgical approach to classical ballet master pieces or take contemporary issues as subject matter for to create dance in ballet technique. Therefore, aim of this course, is to support students for attaining to ta level of observable dance craft which is mature and subtle as commentators of contemporary ballet. They continue to develop dancing skills as well as body condition during each class. Furthermore, they meet with various contemporary ballet choreographers, familiarize with their chorographical language by interpreting extracts from their works.

Reference Books

• Matthew Bourne & His Adventures in Motion Pictures, Matthew Bourne, Faber&Faber 2011.
• Garden of Dance, Jiri Kylian, Theater Instutuut Nederland, 1996.
• Mats Ek- Lesley Leslie-Spinks, Boxforlaget Max Strom.
• William Forsythe and the Practice of Choreography, Steven Speir, Routledge, 2011

CNDC 204 Movement- Release and Flow (2-2) 3 (Prereq. CNDC 203)

This ongoing course is targeting to develop student’s skills in release technique. During the class they practice more advanced sequences or patterns of the technique for to elaborate their ability of using momentum and the force of gravity. They discover the idea of flow and endlessness in the state of moving as well as controlling speed and articulation of their movements. This course also provides interactivity and merges certain energy flow in between participants which makes the students more alert and awakened to the movement dynamics of every class.

Reference Books

• Dance Imagery for Technique and Performance, Eric Franklin, Human Kinetics, 2013.
• Introduction to Modern Dance Techniques, Joshua Legg, Princeton Book Company, 2012.

• The Essential Guide to Contemporary Dance Techniques, Melanie Clarke, Crowood Press, 2020.

CNDC 206 Applied Choreography (2-4) 4

The content of this course is quality of performance. Students apply certain contemporary choreographers’ -Twyla Tharp, Yvonne Rainer, Siobhan Davies, Lea Anderson, Jonathan Burrows, Anne Teresa De Keersmaker, Emio Greco, Ohad Naharin, Barak Marshall, Jerome Bell, Xavier Le Roy, Sidi Larbi Cherkaoui, Russell Maliphant- master pieces as group or duet and prepare themselves for stage performance. They raise their ability of precision and bodily articulation as well as expression on stage. Also this course helps them to improve their body and mind capacity as performer of full-length stage works.

Reference Books

• Feelings Are Facts: A Life, Yvonne Rainer, The MIT Press, 2013.

• Yvonne Rainer: Work 1961–73, Yvonne Rainer, Primary Information, 2020.

FMPA 202 Interpreting Texts- Music (3-0) 3

In this continuation course related with interpreting the main area is music this time. Students listen important music creations from western classics to contemporary digital compositions then try to figure out their context and meaning. There will be ongoing discussions which guides them to apprehend or read narrative codes of music pieces. Dealing with meaning of a text leads the student towards concerning “meaning” while creating an artistic work.

Reference Books

• How Music Works, David Byrne, Canongate Books Ltd., 2013.
• Interpreting Music, Lawrence Kramer, University of California Press, 2010.
• Gateways to Understand Music, Tim Rice-Dave Wilson, Routledge, 2020.
• The Oxford Handbook of Philosophy in Music Education, Ed. Wayne Bowman-Ana Lucia Frega, Oxford University Press, 2012.
• Understanding Music, Roger Scruton, Bloomsbury, 2009.

AITT/ HIST 202 Atatürk’s Principles and History of Turkish Revolution II (2-0)2

Atatürk’s Principles and History of Turkish Revolution course; telling students how to establish the circumstances under which the Republic of Turkey, forming the government intends to adopt the basic principles of Ataturk. The reason why his principles were transferred to the field of application is explained with case studies that not only the Turkish Nation but also the whole humanity needs more than ever.

Reference Books

• Atatürk ve Türk İnkılap Tarihi, Fatma Acun, Siyasal Kitabevi, Ankara, 2016.

TUDI/ TURK 202 Turkish Language II (2-0)2

The aim of the course is to comprehend the structure and functioning characteristics of the mother tongue to every young person studying in higher education, and to gain the ability to use Turkish correctly and beautifully as a means of written and oral expression in terms of language-thought connection. Another goal is to make a unifying and integrative language prevailing in teaching and to raise young people who have native language awareness.

Reference Books

• Türk Dili, Hasan Kolcu, Umuttepe Yayınları, Kocaeli, 2013.

THIRD YEAR

FIFTH SEMESTER

CNDC 301 Contemporary Dance Mix Techniques (2-2) 3

This course is one of the fundamentals of dance education which trains students with various approaches of movement methods, lots of contemporary dance patterns and sequences. The aim is to improve their dancing quality in terms of performing complicated movements and patterns, and their movement articulation and precision. In this course students have opportunity to amalgamate different styles and movement techniques in the way of establishing their own movement vocabulary.

Reference Books

• The Essential Guide to Contemporary Dance Techniques, Melanie Clarke, Crowood Press, 2020.
• Dance Imagery for Technique and Performance, Eric Franklin, Human Kinetics, 2013.
• Looking at Contemporary Dance: A Guide for the Internet Age, Marc Raymond Strauss, Myron Howard Nadel, Princeton Book Company, 2019.
• The Dancer Prepares: Modern Dance for Beginners, James Penrod– Janice Gudde Plastino, McGraw Hill Education, 2004.
• Moving Together: Making and Theorizing Contemporary Dance, Rudi Laermans, Valise, Antannea Series,

CNDC 303 Basics of Contact Improvisation (2-2) 2

Contact Improvisation is both creative and physical technique and a style of bodily expression in art of movement history. Emerged in 1972 pioneered by Steve Paxton, improvising in physical contact with other bodies is extremely vital for dance training as well as creating movement materials. Contemporary dancers are no longer only applying bodies of choreographers’ orders or wishes. Beyond that they are creative participants of all creative process and performers of the actual stage piece. With this course, student will learn the principles of physical exchanges between moving bodies, nature of improvisation together with other participants and manner of partnering and sharing. The purpose of the technique is also to motivate students to take risk to move against gravity and to transfer weight into a flowing action series.

Reference Books

• Contact Improvisation: An Introduction to a Vitalizing Dance Form, Cheryl Plant, McFarland and Company,
• Taken by Surprise: A Dance Improvisation Reader, Ann Cooper Albright, David Gere, Wesleyan University Press,
• Contact Improvisation: Moving, Dancing, Interaction: With an Introduction to New Dance Thomas Kaltenbrunner, Meyer & Meyer Sport,
• Caught Falling: The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas, David Koteen -Nancy Stark Smith, Wesleyan University Press, 2008.
• Dancing Deeper Still: The Practice of Contact Improvisation, Martin Keogh, Intimately Rooted Books,
• Encounters with Contaact: Dancing Contact Improvisation, Ann Cooper Albright, Oberlin College Theater and Dance Program,
• BODIES ALIVE: A dance journey across the Contact Improvisation Landscape, Liesbeth de Jong–Sarah Guilleux, Danse Contact Imrovisation,

CNDC 305 Creating Dance Pieces (2-2) 3

This course is a complementary for contemporary dance educations since it deals with creativity. Following improvisation practices students will be ready for creating dance pieces by their own. During the course, similar with design educations, there will be 2 or 3 projects will be defined which students are expected to be involved with as creators at first then performers if needed. These projects’ subject matters vary but in their first experiences students will focus on two or three dancers and related with abstract concepts to reveal. They choose a subject or an idea to study on then work for to embody them by movements. At this level they need to investigate movement materials to reveal their ideas and take decisions about how to compose them, what will be the surroundings (sound, costume, place, light, etc.). After this each of the projects presented to a crowd and students will get the feedback from both audience and lecturers with an after-talk session then they evaluate themselves as future artists in terms of how the intentions meet with the resulted version of the content.

Reference Books

• Basic Concepts of Modern Dance: A Creative Approach, Gay Cheney, Princeton Book Co Pub, 1989.
• Choreographing Discourses : A Mark Franko Reader, Mark Franko Taylor & Francis Inc,
• On Choreography and Making Dance Theatre, Mark Bruce, Publisher Bloomsbury Publishing PLC 2018.
• The Intimate Act Of Choreography, Lynne Anne Blom – L. Tarin Chaplin, University of Pittsburgh Press, 1982.
• Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance, Bojana Cvejic, Palgrave MacMillan, 2017.

CNDC 307 Exchanged Experiences-Dance (2-2) 3

This course is intended to meet students with dance professionals closer and collect knowledges from their personal experiences in the field. The guest teachers, and dancers whom are working in contemporary manner of dance are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to art of movement. The guests will chance to share their knowledge and expertise with the next generation. This encounter nourishes mutually and makes remarkable impacts on each other’s artistic life.

FMPA 301 Interpreting Texts- Film & Drama (3-0) 3

As following philosophy related courses, this one is focusing on Film and Drama examples as studied texts. During the term student will watch videos of cinematic works and recorded theatre pieces with the film versions of dramatic texts of auteur directors with a critical eye. They try to investigate the ways in which these ‘texts’ conveys the concerning issues and discuss the related opinions of auteurs. Students also comprehends to being an ‘auteur’ and appreciate of having an individual, unique look to the world as artist within this course. Lastly they argue to be meaningful or what it supposed to be in case of narration or dramatic expression.

Reference Books

• Reading Theatre, Anne Ubersfeld, University of Toronto Press,1999.
• How to Read a Film: Movies, Media, and Beyond, James MonacoOxford University Press,
• Film As Film: Understanding And Judging Movies, F. Perkins, Da Capo Press, 1993.
• Understanding Film Texts: Meaning and Experience (Understanding the Moving Image), Patrick Phillips, British Film Institute, 2001.

THIRD YEAR

SIXTH SEMESTER

CNDC 302 Contemporary Dance-Flying Low (2-2) 3

In this following course students will experience most recent contemporary technique “Flying Low” created by David Zambrano. As living educator and dance creator Zambrano is giving workshops in all around the world. Flying Low technique; offers simple movement patterns that involve breathing, speed and energy release in relation with the floor mostly. The main idea is moving in and out of the ground and improve dancers’ physical perception and alertness of their skeletal structure, of the connection joints and centre of the moving body. The other idea which is one of the basis of Flying Low is to imagine body is constantly spiralling and this urges the needed momentum of moving fluid and connected. Therefore, students will gain a strong knowledge by practice towards to their professional dancing life with the support of this course.

Reference Books

• The Essential Guide to Contemporary Dance Techniques, Melanie Clarke, Crowood Press, 2020.
• Dance Imagery for Technique and Performance, Eric Franklin, Human Kinetics, 2013.
• Looking at Contemporary Dance: A Guide for the Internet Age, Marc Raymond Strauss, Myron Howard Nadel, Princeton Book Company, 2019.
• The Dancer Prepares: Modern Dance for Beginners, James Penrod– Janice Gudde Plastino, McGraw Hill Education, 2004.
• Moving Together: Making and Theorizing Contemporary Dance, Rudi Laermans, Valise, Antannea Series,

CNDC 304 Contact Improvisation- Passing Through (2-2) 3 (Prereq. CNDC 303)

As a prerequisite course of Basics of Contact Improvisation, this course planned as on-going group improvisation sessions inspired by Paxton’s approaches at the beginning. Towards the last week of the course student also learns and experience the Passing Through technique which is offered and composed Zambrano. With this course student will understand how to activate their motor abilities in order to be aware and ready for to response creatively to changes in the environment. They train their skills of simultaneity and spontaneity by opening themselves to sudden acts and impacts of other participants. Students learn to listen each other’s body and dynamic quality of movement session which is certainly not identical with any other physical experience.

Reference Books

• Caught Falling: The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas, David Koteen -Nancy Stark Smith, Wesleyan University Press, 2008.
• Dancing Deeper Still: The Practice of Contact Improvisation, Martin Keogh, Intimately Rooted Books,
• Encounters with Contaact: Dancing Contact Improvisation, Ann Cooper Albright, Oberlin College Theater and Dance Program,
• BODIES ALIVE: A dance journey across the Contact Improvisation Landscape, Liesbeth de Jong–Sarah Guilleux, Danse Contact Imrovisation,

CNDC 306 Practicing Choreography (2-2) 3

As continuation course of Creating Dance Pieces, students focus on to create a choreography for larger number of performers. The intention of this course is encourage the student to lead a group of dancer for creating a dance piece for 3-5 minutes long. Therefore, they can examine how to motivate, conduct and lead the dancers towards his/her own idea or ambition. They are divided into groups and each of the students will be able to try the whole process of choreography and staging until the end of the term. As the benefits of the course, students learn the principles of choreographic process and designing a dance piece by the critics and guidance of lecturers in class time. And while practicing choreography they will also be responsible of how to present their creation on stage and to a crowd in terms of staging; costume, sound, lighting and scenography. Students will be able to take feedback and examining themselves with live performances.

Reference Books

• Thinking through Dance: Philosophy of Dance Performance and Practices, ed. Jenny Bunker – Anna Pakes – Bonnie Rowell, Dance Books Ltd, 2013.
• Dance and the Lived Body, Sondra Horton Fraleigh, University of Pittsburgh Press, 1996.
• Choreographing Discourses : A Mark Franko Reader, Mark Franko Taylor & Francis Inc,
• On Choreography and Making Dance Theatre, Mark Bruce, Publisher Bloomsbury Publishing PLC 2018.
• The Intimate Act Of Choreography, Lynne Anne Blom – L Tarin Chaplin, University of Pittsburgh Press, 1982.
• Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance, Bojana Cvejic, Palgrave MacMillan, 2017.

CNDC 308 Exchanged Experiences-Choreography (2-2) 3

This following course is intended to meet students with dance creators or choreographers closer and collect knowledge from their personal experiences in the field. The guest artists, choreographers or dance company leaders are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to create dance piece. The guests will chance to share their knowledge and expertise with the next generation. This encounter, nourishes mutually and expected to make remarkable impacts on each other’s artistic life.

FMPA 302 Interpreting Texts-Dance and Performance Arts (3-0) 3

As following philosophy related courses, this one is focusing on Dance and Drama examples as studied texts. During the term student will watch videos of contemporary dance and and recorded performance art (live-art) works of well-known companies and artists. They try to investigate the ways in which a performance as a ‘texts’ conveys the concerning issues and discuss the related opinions of creative participants. Students also comprehends to be part of creative process as leading or performing person as well as the nature of artistic collaboration and interdisciplinary environment of contemporary practices. Lastly they may argue the impacts of such creations on society with the political and ethical responsibilities of art.

Reference Books

• Performance Now: Live Art for the Twenty-First Century, RoseLee Goldberg, Thames & Hudson, 2018.
• Performance Art: From Futurism to the Present, Rose Lee Goldberg, Thames & Hudson, 2011.
• The Oxford Handbook of Dance and Theatre, Nadine George-Graves, Oxford University Press, 2015.
• Dance Dramaturgy: Modes of Agency, Awareness and Engagement, Ed. Pil Hansen, Darcey Callison, Palgrave Maxmillan, 2016.
• Choreographic Dwellings: Practising Place, G.Schiller – S. Rubidge,Palgrave Maxmillan, 2014.
• Choreographing Intersubjectivity in Performance Art, Wynne-Jones, Victoria, Palgrave Maxmillan, 2021.
• Gestural Imaginaries : Dance and Cultural Theory in the Early Twentieth Century, Lucia Ruprecht, Oxford University Press, 2019.
• A Widening Field: Journeys in Body and Imagination, Miranda Tufnell- Chris Crickmay, Dance Books Ltd., 2015.
• Dance: Documents of Contemporary Art, Ed. by Andre Lepecki, MIT Press Ltd, 2012.
• Poetics of Contemporary Dance, Laurence Louppe ,Dance Books Ltd., 2010.
• Move. Choreographing You: Art and Dance Since the 1960s, Ed. Stephanie Rosenthal, 2011.
• Imaginative Bodies: Dialogues in Performance Practices, Guy Cools, Valiz, 2017.

FOURTH YEAR

SEVENTH SEMESTER

CNDC 401 Collaborative Project (2-2) 3

In this course, student raise their skills of to collaborate with students of other creative disciplines in the process of a contemporary dance project. They will be paired with a student of other departments of the faculty or university and design their project as collaborated artist. They should study on context of their subject matters and how to project it into an art work together. Students will work together through the final presentation and evaluated as partners. The benefits of this course is to experience art practices in recent methods and forms especially in collaboration which is the most common approaches to creativity.

Reference Books

• How to Collaborate? Questioning Togetherness in the Performing Arts, Ed. Silke Bake, Peter Stamer and Christel Weiler, Passagen Verlag Ges.M.B.H, 2016.
• Artistic Research in Performance through Collaboration, Martin Blain, Helen Julia Minors, Palgrave Macmillan, 2020.
• Collaboration in Performance Practice: Premises, Workings and Failures, Ed. Colin Noyale, Stefanie Sachsenmaier, Palgrave MacMillen, 2016.
• Teaching Collaboration for the Performing Arts: A Collaborative Drama Program Designed for the Community College Level, VDM Verlag Dr. Müller, 2010.

CNDC 403 Exchanged Experiences-Physical Theatre and Performance Art (2-2) 3

As continuing course it is intended to meet students with experts of Physical Theatres and Performance Art -which are the most common kinds of artistic practices of our time- closer and collect knowledge from their personal experiences in the field. The guest artists, creators, leaders and academics are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to create physical theatre and performance art. The guests will chance to share their knowledge and expertise with the next generation. This encounter, nourishes mutually and expected to make remarkable impacts on each other’s artistic life.

CNDC 405 Ensemble Stage Production I (2-4) 4

This course is organized as department coded shared course with all students of the faculty. As our education approach we concern our student’s performance quality and creative participatory as well as stage experiences very much. So at the graduation year a full length interdisciplinary stage production will be designed and produced by our faculty and the students. Students work as groups or as ensemble led by three lecturers from each departments and the whole is artistically directed by chosen faculty member for that year. During the semester students, guided by lecturers in order to framing their creative work and processing it towards a completed production. This course is the first phase of creating an ensemble stage production which every fourth year students and faculty members be involved with in organizational co-operation and artistic collaboration. Therefore, the target of the course is to complete draft version of the production by the end of semester. Students will be evaluated by the group of lecturers through the term by their contribution and reliability as both creative performers for ongoing performance processes and production.

Reference Books

• Encountering Ensemble, John Britton, Methuen Drama, 2013.
• Ensemble Works: An Anthology, Ferdinand Lewis, Theatre Communications Group, 2005.
• Ensemble Theatre Making: A Practical Guide, Rose Burnett Bonczek, David Storck, Routledge, 2013.
• The Contemporary Ensemble: Interviews with Theatre-Makers, Ed. Duška Radosavljević, Routledge, 2013.
• Illustrated Theatre Production Guide, John Ramsey Holloway–Zachary Stribling, Routledge, 2020.

FOURTH YEAR

EIGHTH SEMESTER

CNDC 402 Graduation Project and Portfolio (2-2) 3

The purpose of this course is to give students the opportunity of creating their own art piece from idea to performance including promotion and public presentation. Student are guided by their lecturers through the whole progress of creation till its performance on stage. They are expected to keep a journal through process. They learn how to promote themselves as artists and how to apply and behave in auditions within digital media and as printed materials. In addition to those, they perform their piece at least 4 times live and they may release the digital version of it in social media.

Reference Books

• The Complete Audition Book for Young Actors: Comprehensive Guide to Winning Enhancing Acting Skills, Roger Ellis Meriwether Pub, 2003.
• The Monologue Audition: A Practical Guide for Actors, Karen Kohlhaas, Nick Hern Books, 2009.
• Dance Auditions: Preparation, Presentation, Career Planning, Eric Brandt Nielsen, Princeton Book Co Pub, 1983.
• Musical Theatre Auditions and Casting: A performer’s guide viewed from both sides of the audition table, Neil Rutherford, Methuen Drama, 2012.
• See all The Audition Book: Winning Strategies for Breaking into Theatre, Film and Television, Ed Hooks, Back Stage Books,
• 50 Tips: Audition Success, Graeme Pickering, 2019.

CNDC 404 Exchanged Experiences-Dance Industry (2-2) 3

As continuing course it aims to acknowledge students about the nature of ‘dance industry’ in terms of international curatorship, arts management, marketing methods, health practices, film and video commercials, music videos, concert performances etc. The guest artists, creators, producers, promoters, artistic directors, market planners, strategists and so on, are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to create physical theatre and performance art. The guests will chance to share their knowledge and expertise with the next generation. This encounter, nourishes mutually and expected to make remarkable impacts on each other’s professional life.

CNDC 406 Ensemble Stage Production II (2-4) 4 (Prerequisite CNDC 405)

This course is the second phase of the full-length ensemble stage production which is designed to present to public. As it is organized as department coded shared course with all students of the faculty it is led by three lecturers and artistically directed by the chosen faculty member. This course aims to gather and operate all of our faculty members’ efforts and artistic contribution into one big stage production. At this phase the target is to add necessary quality and precision to the draft which has been created in the last semester. Along with, all the visual components of stage production such as music and sound, costume, scenography, lighting, etc. will be designed and applied to the work. It is expected to present our faculty and university with a fully equipped and qualified stage work or performance and to share with the society and media. With this course student experience to be part of a full-length production and gain professional knowledge as creative performers of the future. . Also during the spring term this production is performed and participates local and global organization on behalf of our university and country.

Reference Books

• Unbuttoned: The Art and Artists of Theatrical Costume Design, Shura Pollatsek, Routledge, 2016.
• Costume in Performance: Materiality, Culture, and the Body, Donatella Barbieri, Bloomsbury Publishing, 2019.
• The Costume Supervisor’s Toolkit: Supervising Theatre Costume Production from First Meeting to Final Performance, Rebecca PrideRoutledge, 2018.
• Digital Costume Design and Collaboration: Applications in Academia, Theatre, and Film, Rafael Jaen, Routledge, 2017.
• Performance Costume: New Perspectives and Methods, Ed. Sofia Pantouvaki , Peter McNeil, Bloomsbury Publishing 2021.
• Costume and Design for Devised and Physical Theatre, Tina Bicat, Crowood Press, 2012.
• Staging Ideas: Set & Costume Design for Theatre: Set and costume design for theatre, Stephen Curtis, Currency Press Pty.Ltd., 2014.
• Light Fantastic: The Art and Design of Stage Lighting Max Keller Prestel 2010.
• The Art of Light on Stage: Lighting in Contemporary Theatre, Yaron Abulafia, Routledge, 2015.
• Performance Lighting Design: How to Light for the Stage, Concerts and Live Events, Nick Moran Bloomsbury Publishing 2018.
• Stage Lighting Design: The Art, the Craft, the Life, Richard Pilbrow, Design Pr, 2000.
• Stagecraft Fundamentals: A Guide and Reference for Theatrical Production, Rita Kogler Carver, Routledge, 2018.
• Digital Scenography: 30 Years of Experimentation and Innovation in Performance and Interactive Media, Néill O’Dwyer , Scott Palmer , Joslin McKinney, Bloomsbury Publishing 2021.
• Scenography and Art History: Performance Design and Visual Culture, Ed. Astrid Von Rosen- Viveka Kjellmer, Bloomsbury Publishing, 2021.
• Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting, Karen Brewster–Melissa Shafer 2011.

DEPARTMENTAL ELECTIVE COURSES:

CNDC 220 Body Conditioning I (2-2) 3 (University Elective)

This course is not only for dance students but for all students to get fit and shaped and relieve some uneasiness and discomforts of their bodies. This introductory and elementary study supports everybody for to live easy and fluid daily life. By focusing on the body conditioning techniques such as Pilates (matt-work), Alexander, Feldenkrais, Yoga, Thai Chi, Gyrotonic it aims to teach students, useful and healthy exercises which keep the body in tone and right posture, provide core strength, flexible and longer muscles and relaxed joints. Two times a week bodies responses and they understand the details of conditioning the body by movement. Students may have to design their daily exercise routine according to their personal needs or in order to obtain flexibility or strength for certain part of their body. Buy the guidance of lecturers they also learn how to prevent injuries or heal their chronic pains.

Reference Books

• Pilates Evolution – The 21st Century, Joseph Pilates–Judd Robbins Presentation Dynamics,
• The Genius of Flexibility: The Smart Way to Stretch and Strengthen Your Body, Robert Donald Cooley, Touchstone, 2005.

CNDC 221 Laban Movement Analysis I (2-2) 3 (Faculty Elective)

This course is planned for to convey principles and approach of Rudolph Laban whom is a very important scholar of “art of movement/dance” as both artist and scientist to all faculty students. The method also known as Laban/Bartenieff Movement Analysis is a sign system or language for to describe, visualise, interpret and document all of human movements. It is also used in other sciences such as anatomy, kinesiology, psychology, Labanotation as well as human productivity researches. This analysis method is not only for dancers, actors, musicians, athletes, physical and occupational therapists, but also a widely used tool in the fields of psychotherapy, peace studies, anthropology, business consulting, leadership development, health & wellness, today. With this course student will develop certain awareness of the fundamentals of movement and effort in relation with space. It will guide the participants towards better quality of movement articulation as well as controlling and operating their effort and energy efficient.

Reference Books

• Laban for all, John Dalby, Routledge, 2019.
• Laban for Actors and Dancers: Putting Laban’s Movement Theory into Practice – A Step-by-Step Guide, Jean Newlove, Nick Hern Books, 1993.
• Modern Educational Dance, Rudolf Von Laban, Princeton Book Company Pub, 1975.

CNDC 222 Contemporary Dance Repertory (2-2) 3

This course is planned as a complementary course of dance techniques courses in order to give extra opportunity to dance students whom wants to develop themselves as interpreters or qualified dancers. Each term, course content focuses on applying three or four well-known contemporary choreographers’ masterful pieces to examine first then apply. Students experience the style of Siobhan Davies, Lea Anderson, Xavier Le Roy, Anne Teresa De Keersmaker, Emio Greco, Ohad Naharin, Meg Stuart, Jerome Bell.

Reference Books

• Meg Stuart – Are We Here Yet?, Meg Stuart-Jeroen Peeters, Presses Du Reel, 2011.
• The Struggle with the Angel: A Poetics of Lloyd Newson’s Strange Fish, Janet Adshead-Lansdale, Princeton Book Co Pub, 2007.
• Inspiration Emio Greco-Pieter C. Scholten. The Multiplicity of Dance. Dissemination of Knowledge. Contamination of Cultures. Food for Thought, Francesca Magnini, Artegrafica, 2015.
• Jérôme Bel: Dance, Theatre, and the Subject, Gerald Siegmund, Palgrave Macmillan, 2017.
• Embodied Philosophy in Dance: Gaga and Ohad Naharin’s Movement Research, Einav Katan-Schmid, Palgrave Macmillan, 2016.
• Drumming: Anne Teresa De Keersmaeker / Rosas,Noe Soulier, Mercatorfonds, 2021.

CNDC 320 Development of Physical Theatre (Tanz Theater) (3-0) 3

This course contains the emergence and development of Physical Theatre or Tanz Theater in late 20^th century to till our time. Which is very important and popular in contemporary dance world recently. Since it is a combination of theatre and dance this course appeals acting and dance students together. Students apprehend the need of this alternative movement expression and features of this kind of narration first, compares the well-known creators’ approaches to movement and directing as both choreographer and story teller later. They watch videos and discuss the remarking works of Maguy Marin, Kurt Joos, Pina Bausch, Lloyd Newson, Wim Vandekeybus, Sascha Waltz etc.

Reference Books

• Wim Vandekeybus, David Byrne– Mauro Pawlowski–Peter Verhelst, Lannoo Publishers, 2016.
• The Pina Bausch Sourcebook: The Making of Tanztheater, Ed. Royd Climenhaga, Routledge, 2013.
• Pina Bausch’s Dance Theater: Company, Artistic Practices, and Reception, Gabriele Klein, 2020.
• Sasha Waltz: Installations, Objects, Performances, Nike Bätzner, Angela Lammert, Fabian Offert, Christiane Riedel, Hatje Cantz,
• Dance of Death: Kurt Jooss and the Weimar Years, Suzanne Walther, Routledge, 1994.

CNDC 321 Practicing Physical Theatre (2-2) 3

As a complementary course of Development of Physical Theatre (Tanz Theater) this semi practical course gives opportunity to examine and experience the creative processes of physical narration. The special techniques of physical theatre such as risk technique, partnering are conveyed and students are encouraging to find their physical language or expression to narrate certain situations, emotional states and social issues. The main target of this course is to experience creative process of a unique piece of physical theatre as creative collaborators of a project, rather than just apply someone else’s narrations. Because Physical Theatre practices are mostly created by their own participants and choreographed originally by or for its creators.

Reference Books

• Physical Theatres: A Critical Introduction, Simon Murray–John Keefe, Routledge,
• Through the Body: A Practical Guide to Physical Theatre, Dymphna Callery, Routledge,
• Theatre of Movement and Gesture, Jacques Lecoq, Routledge,
• The Body Speaks: Performance and Expression, Lorna Marshall, Griffin, ‎2002.

CNDC 322 Dance Dramaturgy (3-0) 3

Dance or Movement Dramaturgy is one the branches of dramaturgical practices of performing arts which focuses on to make dance creations or narratives accessible and comprehensible by audience. A dramaturg is both an outer and inner supporter, investor, examiner, sense maker of the creative process of a performative art product either dance or theatre. This course aims to transfer the idea of to load meaning into movement or drama related creations and to concern whether if our intentions are accessible by the audience. By the discussion sessions on video samples of dance works especially students expands their thinking and questioning skills about art of dance.

Reference Books

• Dance Dramaturgy: Modes of Agency, Awareness and Engagement (New World Choreographies), ed. Pil Hansen–Darcey Callison, Palgrave Macmillan, 2017.
• Dance Dramaturgy: Definitions, Perspectives, Projections, Ray Miller, Edited by Nadine George-Graves, Oxford University Press, 2015.

CNDC 323 Societal Sharing I (2-2) 3

One of our faculty’s goal is to contact with local community with our neighbourhood in means of sharing our interest and experiences about music, dance and theatre. This course operates as an umbrella of various facilities and workshops related with dance which are scheduled for kids and adults. These activities (courses, workshops) are arranged by the lecturer of this course and leading or teaching responsibilities are taken by the third year dance students. So students will experience to share their knowledge of moving with health and joy, to teach or guide into practices and to create dance together with different age and backgrounded people. The purpose is to give students and community members of all ages a mutual chance to grow in exchange within the neighbourhood whom will be our future audiences or students or dance creators.

Reference Books

• Making Dances That Matter: Resources for Community Creativity, Anna Halprin (Author), Rachel Kaplan, Wesleyan University Press, 2019.
• Returning to Health: With Dance, Movement & Imagery, Anna Halprin, LifeRhythm, 2002.
• Yvonne Rainer – Moving and Being Moved, Yvonne Rainer, Roma Publications, 2017.

CNDC 420 Body Conditioning II (2-2) 3 (University Elective)

This course is the advanced version of Body Conditioning I. It contains much harder and complicated exercise sequences of Pilates, Yoga and weight related work in order to kip bodies in good condition of health and flexibility in moving. Since this course is planned for all our students it may be advice to the ones who has certain background of body working or has Body Conditioning I. Another purpose of this course is to protect the dancers body in fit and make ready for the high energy demanding stage performances. Two times a week bodies responses and they understand the details of conditioning the body by movement. Students may have to design their daily exercise routine according to their personal needs or in order to obtain flexibility or strength for certain part of their body. Buy the guidance of lecturers they also learn how to prevent injuries or heal their chronic pains.

Reference Books

• Pilates Evolution – The 21st Century, Joseph Pilates–Judd Robbins Presentation Dynamics,
• The Genius of Flexibility: The Smart Way to Stretch and Strengthen Your Body, Robert Donald Cooley, Touchstone, 2005.

CNDC 421 Thinking on Dance (3-0) 3

This course is intended to evoke aesthetic values related to the art of dance and concerning philosophical approaches interpreting the dance creations. It is about to think and argue the necessity, the impacts, the power, the nature of dancing, and performing. Students are motivated to ask questions related to discourse of dance and to search for answers of them. Extracts from philosophical and academic texts are chosen and read then discussed. Towards to graduation this course provides certain thinking and arguing practices the future dance artist.

Reference Books

• The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci, Elise Archias, Yale University Press, 2016.
• Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955-1972, Ninotchka Bennahum (Editor), Wendy Perron (Editor), Bruce Robertson (Editor), University of California Press, 2016.
• Unworking Choreography: The Notion of the Work in Dance, Frédéric Pouillaude, Oxford University Press, 2017.
• Dance and the Corporeal Uncanny: Philosophy in Motion, Philipa Rothfield, Routledge, 2022.
• Choreography Invisible: The Disappearing Work of Dance, Anna Pakes, Oxford University Press, 2020.
• Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance, Graham McFee, Dance Books Ltd, 2018.
• The Bloomsbury Handbook of Dance and Philosophy, eds. Rebecca L. Farinas–Julie Van Camp, Bloomsbury Academic, 2021.
• Exhausting Dance: Performance and the Politics of Movement, Andre Lepecki, Routledge, 2006.
• Singularities: Dance in the Age of Performance, Andre Lepecki, Routledge, 2016.
• The Senses in Performance, by Sally Banes (Editor), Andre Lepecki (Editor), Routledge, 2007.

CNDC 422 Societal Sharing II (2-2) 3

This is designed as the following course of Societal Sharing I, to obtain second occasion. One of our faculty’s goal is to contact with local community with our neighbourhood in means of sharing our interest and experiences about music, dance and theatre. This course operates as an umbrella of various facilities and workshops related with dance which are scheduled for kids and adults. These activities (courses, workshops) are arranged by the lecturer of this course and leading or teaching responsibilities are taken by the fourth year dance students. So students will experience to share their knowledge of moving with health and joy, to teach or guide into practices and to create dance together with different age and backgrounded people. The purpose is to give students and community members of all ages a mutual chance to grow in exchange within the neighbourhood whom will be our future audiences or students or dance creators.

Reference Books

• Making Dances That Matter: Resources for Community Creativity, Anna Halprin (Author), Rachel Kaplan, Wesleyan University Press, 2019.
• Returning to Health: With Dance, Movement & Imagery, Anna Halprin, LifeRhythm, 2002.
• Yvonne Rainer – Moving and Being Moved, Yvonne Rainer, Roma Publications, 2017.

FACULTY ELECTIVE COURSES:

FMPA 220 Design for Performing Arts (2-2) 3 (University Elective)

This course is about scenography, discipline related to any design issue for performing arts productions. Also known as “design for stage” it involves with costume lighting and set or space design all together. The aim of this course is to give design notions to the performing art students while they are creating dance, theatre and music as well as to the art and design students as an option of designing for performing arts. It is intended to amalgamate design perspectives with performing practices through a certain aesthetic value which completes art production. In this course students from all departments have opportunity to think creatively and find design solutions together for the sake of art.

Reference Books

• Perform: Designing for the Performing Arts, Pelli Clarke(Author), Ted Whitten (Editor), Images Publishing, 2018.
• What is Scenography?, Pamela Howard, Routledge, 2009.
• From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images Heinemann Drama,Rosemary Ingham, 1998.
• The Dramatic Imagination: Reflections and Speculations on the Art of the Theatre, Robert Edmond Jones, Routledge, 2004.
• A Practical Guide to Stage Lighting, Steven Louis Shelly, Routledge, 2016
• An Introduction to Theatre Design, Stephen Di Benedetto, Routledge, 2012
• Collaborators, ed. Kate Burnett, Society of British Theatre Designers, 2007.
• Exploring Scenography, Malcolm Griffiths, Society of British Theatre Designers, 2002.
• Scenography/Szenografie, Atelier Brückner, Avedition.

FMPA 221 Icons and Styles of 20^th Century Decades (3-0) 3 (University Elective)

The culture of western industrial or capitalized society gave birth to the concepts of “icon” and “style” along with “fashion” and “trends”. These terms are very influential onto social events, artistic approaches, behavioural manners, organization of living spaces and so on. Therefore, as today’s and future artists and designers it is vital to understand dynamics of time and change through decades. History of humankind and civilization includes many cornerstones but especially from the contemporary point of view, 20^th century decades have affected our time very deeply. This course aims to convey the time flow of 20^th century icons and styles which still effects our artistic and creative practices along with the differences between each decade. Student apprehend the historical aspects of artistic practices and appreciates the value of “inspiration” and “retrospective” approaches.

Reference Books

• 1900s: Decades of the 20th Century by Milan Bobek (Author, Editor), Eldorado Ink 2005.
• Dressing the Decades: Twentieth-Century Vintage Style, 2016, Emmanuelle Dirix, Yale University Press.
• High Styles: Twentieth-Century American Design, by Whitney Museum of American Art, Summit Books, 1985.
• Architecture in the 20th Century, Peter Gössel–Gabriele Leuthäuser, Taschen, 2020.
• Lipstick Traces: A Secret History of the Twentieth Century, Greil Marcus, Twentieth Anniversary Edition, 2009, Belknap Press: An Imprint of Harvard University Press.
• Passing Parade, A history of Popular Culture in the Twentieth Century, Richard Maltby, Southside, 1990.
• Icons of the 20th Century: 200 Men and Women Who Have Made a Difference, Barbara Cady – Jean Jacques Naudet, Over Look Books, 1998.

FMPA 222 Culture of Performance Art (3-0) 3 (University Elective)

Performance Art is an art form or art exhibition of actions enacted by the artist and his/her collaborators. It may be documented or live, includes spontaneously happened events in front of the audience or public. It is traditionally interdisciplinary in the context of both fine arts and performing arts. Generated in 20^th century Avant garde art, it is very powerful in terms of politics and social impacts currently. Its goal to take public attention to the urgent issues of life and trigger the massive reaction to the wrongness or in sufficiency of the governor or authorities from an aesthetic point of view. Culture of Performance Art course focuses to convey historical overview and guide students to grab notions, criteria and nuances of this art form. The aim of the course is to feed students culturally about Performance Art and enable them to comprehend and discuss the texts about the meanings and influences of this very special art practice.

Reference Books

•Performance Art: From Futurism to the Present (World of Art), Roselee Goldberg, Thames & Hudson, 2001.

• The Analysis of Performance Art: A Guide to its Theory and Practice, Anthony Howell, Routledge 1999.
• Performance / Media / Art / Culture: selected Essays 1983-2018, Jackie Apple- ed. Marina LaPalma, Intellect Books.
• Staging Spectators in Immersive Performances: Commit Yourself!, ed. Doris Kolesch – Theresa Schütz – Sophie Nikoleit, Routledge, 2019.
• The Twenty-First Century Performance Reader, ed. Teresa Brayshaw – Anna Fenemore – Noel Witts, Routledge, 2020.
• Performance: Live Art Since the ’60s, Roselee Goldberg, Thames&Hudson, 2004.

FMPA 223 Poem (3-0) 3 (University Elective)

Poetry is the art form deals with the words and their meanings and sound or music mutually. It deals with to find appropriate and less amount of words to express thoughts and feelings which generates a kind of play in everybody’s mind. Poem is a practice of thinking before of writing. It is both related with music (sound and rhythm) therefore with mathematics and language and meaning therefore philosophy. Poem reveals a subject’s look or view to something by translating them into words as well as combination of these word. Poem is abstraction, design activity along with philosophical effort. Therefore, this course supports the student’s ability of abstract thinking and designing along with imagining and indirect phrasing. It aims to emphasize alternative ways of thinking and creating also encourage students to deal with designing and creating within words which is more intangible then movement, action and sound. There are poem reading and analysis also writing practices during the course.

Reference Books

• A Poetry Handbook First Edition, Mary Oliver, Mariner Books, 1994
• Truth Be Told: A Poetry Prompt, Amanda Hawkins, Blurb, 2021.
• The Practicing Poet: Writing Beyond the Basics, ed. Diane Lockward, Terrapin Books, 2018.
• Writing Poetry: Creative and Critical Approaches (Approaches to Writing), Chad Davidson- Gregory Fraser, Red Globe Press, 2008.

FMPA 320 Promoting a Performance (2-2) 3 (University Elective)

This course is for all students of the Faculty of Performing Arts and Faculty of Design, Faculty of Art, Faculty of Communication. During the course students experience to plan, think and design visual components (poster, leaflet, flyer, logo, photo, digital media materials) which are necessary to promote or advertise their own theatre, dance and music creations in collaboration with the other faculty students. In the course there will be promotion projects which needs to developed and realized as group. The aim is to share abilities and exchange knowledge about both performing and visualizing in between students of different disciplines. Beyond that they may understand nature of their own practices mutually and how they may increase creativity if they work as a team.

Reference Books

• Standing Room Only: Strategies for Marketing the Performing Arts, Philip Kotler- Joanne Scheff Bernstein, Harward Business Review Press, 1997.
• Communication Design: Insights from the Creative Industries, Derek Yates-Jessie Price, Fairchild Books, 2015.

FMPA 321 Popular Culture (3-0) 3 (University Elective)

Popular culture also called mass culture or pop culture indicates a set of practices, beliefs, objects that are dominant or in the foreground in a society at a certain time period. These entities influences, attracts, motivates, manipulates people in masses. Related with recognition and fame also those values form culture of a society by encompassing the activities and feelings produced as a result of popular or dominant objects. In our contemporary life; dance, acting and music are strong tools like weapons of influencing and directing masses toward certain products, opinions or choices. Therefore, it is crucial that a creator or practitioner of performing arts should concern the phenomenon of popularity and its results. There is an issue of responsibility of any artist whom closely interacts with the society. So this theoretical course intends to give students understanding and ethical awareness about popularity and popular culture in order to find their own approaches and take responsibilities over the masses as influencers or creators of popular entities.

Reference Books

• Pop Culture Freaks: Identity, Mass Media, and Society, Dustin Kidd, routledge, 2018.
• Reading Pop Culture: A Portable Anthology, Jeff Ousborne, Bedford/St. Martin’s, 2015.
• The Pop Culture Zone: Writing Critically about Popular Culture Allison D. Smith- Trixie G. Smith, Cengage Learning, 2014.
• Introducing Philosophy Through Pop Culture, ed. Richard Irwin, wley-Blackwell, 2010.

FMPA 322 Performance Arts Practices (3-0) 3 (University Elective)

This course is the practical component of Culture of Performance Art course. Students whom have taken this prior course are welcome to experience creating live performances concerning contemporary issues. They deal with current problems of our world or society and emerge art actions or live events to raise public awareness about them. There will be projects that student can perform individually and within a group and have opportunity for public sharing due to collect feedbacks and evaluate their reactions.

Reference Books

• Performance Art: From Futurism to the Present (World of Art), Roselee Goldberg, Thames & Hudson, 2001.
• The Analysis of Performance Art: A Guide to its Theory and Practice, Anthony Howell, Routledge 1999.
• Performance / Media / Art / Culture: selected Essays 1983-2018, Jackie Apple- ed. Marina LaPalma, Intellect Books.
• Staging Spectators in Immersive Performances: Commit Yourself!, ed. Doris Kolesch – Theresa Schütz – Sophie Nikoleit, Routledge, 2019.
• The Twenty-First Century Performance Reader, ed. Teresa Brayshaw – Anna Fenemore – Noel Witts, Routledge, 2020.
• Performance: Live Art Since the ’60s, Roselee Goldberg, Thames&Hudson, 2004.

FMPA 323 Traditional Street Events I (2-2) 3

This practical elective course is planned for students of Faculty of Performing Arts in order to raise their interest about traditional performing art forms. During the course they learn about local dance, acting and music culture and forms then work for reshaping or commenting with contemporary manner. Later they perform their individual or group pieces in the street of our city periodically. As a result of these live and in open air performances they get used to perform within close interaction with the audience and enforces their self-confidence as well as quality of performing. Besides this course also give way to relate local community with the members of our faculty as well as to sense cultural heritage of our geography.

FMPA 420 Site Specific Dance/Theatre/Art (3-0) 3 (University Elective)

One of the performing and fine art forms is site-specific ones which are created specifically for a place/space/architecture. In the form of dance, theatre or fine arts the productions are deeply related with the topography and nature of the chosen space (e.g. historical building, junkyard, forest, mountain, carpark, train station, abandoned building, warehouse, docks, bus stop, butcher shop, shopping mall) in order to appreciate its forgotten value or unknown beauty. Artists rehearse in there to investigate specific aspects and value if chosen area and perform in it alive ideally. In this course student examine the examples of site specific projects and develop their own ideas for the spaces in their local environment. As individual or group they will experience how to think alternatively and interacted with physical environment and appreciate the “space” as a creative collaborator for their projects.

Reference Books

• Site Dance: choreographers and the Lure of Alternative Spaces, Melanie Kloetzel – Carolyn Pavlik, Oxford University Press, 2011.
• Moving Sites: Investigating Site-Specific Dance Performance, ed. Victoria Hunter, Routledge, 2015.
• Off Sites: Contemporary Performance beyond Site-Specific, Bertie Ferdman, Southern Illinois University Press, 2018.
• Performance, Place and Documentation, Nick Kaye, Routledge, 2000.
• Choreographic Dwellings: Practicing Place, ed. G. Schiller-S. Rubidge, Palgrave, 2014.

FMPA 421 Creating Video Performance/Art (2-2) 3 (University Elective)

In our time especially within the pandemic situation, opportunity of live performances and encountering with audience are limited and restricted. So digital platforms became very popular in solution to continue producing art events. Therefore, our students must be familiar with the technology (digital tools of recording and editing) and its advantages for sharing their works with the public. Recently these forms called as digital theatre, digital dance or digital art. They can be performed as alive or shared as video production. So this course gives students opportunity of practicing video making and post-production which will be appropriate for to share in social media platforms.

Reference Books

• Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, Steve Dixon, MIT Press.
• Digital Theatre: The Making and Meaning of Live Mediated Performance, US & UK 1990-2020, Nadja Masura, Palgrave Studies in Performance and Technology, 2020.
• Theatre and Performance in Digital Culture: From Simulation to Embeddedness, Matthew Causey, Routledge 2009.
• Theatre and the Digital, Bill blake, Macmillan International Higher Education, 2014.
• Digital Dance: The Effects of Interaction between New Technologies and Dance, Verena Anker, VDM Verlag, 2008.

FMPA 422 Traditional Street Events II (2-2) 3

This course is continuation of Traditional Street Events I. It aims to give students a second chance of practicing to reform and revised local cultural dance, theatre and music samples along with to perform and share with neighbourhood alive. This course is also planned for to increase touristic attraction in local environment with modernized traditional art events. Along with it aims to develop cultural awareness in the society about the artistic and historical heritage of our land. As a result of live and in open air performances of their own creations, students get used to perform within close interaction with the audience and enforces their self-confidence as well as quality of performing. Besides this course also give way to relate local community with the members of our faculty as well as to sense cultural heritage of our geography.