Final Quiz
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School
San Diego State University *
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Course
181
Subject
Arts Humanities
Date
Jan 9, 2024
Type
Pages
4
Uploaded by DoctorLightning12698
Question 1
1 / 1 pts
1. Fortnite’s use of individuals’ vernacular choreography and Beyonce’s use of De
Keersmaekers’s choreography both give rise to questions around authorship–who owns
a dance and who benefits from that dance-making.
True
False
Question 2
1 / 1 pts
2. Kimberlé Crenshaw’s concept of intersectionality applies to Desmond’s orientalist
perspective on Ruth St. Denis’s “
Radha”
in 1906.
Because of the intersections of St. Denis’s whiteness, femaleness, and Americaness,
St. Denis is empowered by her white American status to perform world-wide and lead a
company. She was, however, restricted by her culture in how she was permitted to
move her hips or wear a costume.
In performing a false Indian dance as a “goddess,” she was able to transgress her white
female identity to gain permission to be seen as erotic by taking on an “exotic”
personhood.
True
False
Question 3
1 / 1 pts
3. Cohen’s analysis of The Hard Nut and Judith Butler’s scholarship assert that gender
can be performed on stage and that gender is performative in daily life.
True
False
Question 4
1 / 1 pts
4. Kealiinohomoku’s approach to ballet reminds non-Natives to look at American Indian
dances like Apache Crown Dancing and Native American Hoop Dancing as primitive
and from a mono-culture.
True
False
Question 5
1 / 1 pts
5. Throughout this class we have interrogated meaning in dance and, like Deborah
Jowitt, Professor Anna Brown Massey has largely suggested that there is no absolute
meaning to many dances. Instead, through intertextual interpretation, we can come to a
subjective consensus.
True
False
Question 6
1 / 1 pts
6. Both Keallinohomoku’s scholarship on ballet and the concept of orientalism apply to
this course because although the course is titled “Introduction to Dance,” the content is
of American and European dance forms, which implies a hegemonic relationship
between this area of the world and “non-western” regions.
True
False
Question 7
1 / 1 pts
7. There are limitless lenses through which we can observe dance. Some that have
been taught in this course are Laban’s efforts, Asante’s Commonalities in African
Dance, Gottschild’s Africanist Aesthetics, Crenshaw’s intersectionality, Jowitt’s
emphasis on description, and intertextuality.
True
False
Question 8
1 / 1 pts
The assertion of sovereignty and innovation is evident in at least two dance forms
taught in this course:
1. Percussive forms of dance in the United States can be partially traced to the
innovation of enslaved Africans even once drums were rendered illegal for them to play
2. Native Americans continued to practice and re-create dances even while religious
dance practices were made illegal by the federal government.
True
False
Question 9
1 / 1 pts
Dance’s purpose is manifold: it can be used to assert sovereignty, to protest police
violence, to satirize gender roles, to flip the script on cultural appropriation, to create
spontaneous movement by sharing weight with others, to subvert enslaver’s power, to
take on someone else’s identity, to challenge gender identity, to promote a politician, to
embody people’s mortality, and more.
True
False
Question 10
1 / 1 pts
This has been a challenging semester for all, with the weight of the pandemic unevenly
distributed among us. Anna has been gladdened by your critical thinking and creativity.
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True
False