Carefully read Theodore Dalrymple’s Reader, She Married Him–Alas and type a 750 word (minimum) response in which you address EACH of the following four questions in your own words:

1. What is the author’s main argument?

2. How does he support his main argument (evidence, ancillary arguments, etc.)?

3. How does the author respond to the theories of cosmopolitanism and anti-cosmopolitalism?

4. Do you agree or disagree with Dalrymple’s analysis? Why or why not? (Feel free to include observations from your own experience or that of friends, relatives, or acquaintances.)

Servant Evangelism Report Instructions

Based on the material presented in this course, plan and participate in at least 2 servant evangelism projects, with 2 different people. One or both of these should be completed outside of the church setting or church events. Whenever possible, intentionally seek to reach into your “Jerusalem”where you live, work, and play. For each project, prepare a report of 1–2 pages typed, 12-point font, Times New Roman, and double spaced, explaining your creation of and participation in an activity to build relationships and eventually (intentionally) open the door to sharing Christ with a hurting world. Include how the opportunity developed, and how those being served responded; state if you were able to share the Gospel, how will you follow up, evaluation, etc. If you were unable to share the gospel, please explain the reasons. Consult the attached grading rubric for details of what your reports should include. Keep in mind that the projects must be within the timeline of this 8-week course. The point is to develop a consistent lifestyle of servanthood that displays Christ to the world.

NOTE: Since this is Servant “Evangelism,” not just community service, you should be intentional in trying to share the gospel. Do not just plan servant events without also planning how you will approach sharing the gospel! If you are intentional with the gospel, you will be surprised how often people will respond to your service by asking “why” are you serving them? At this point, DO NOT miss the opportunity to tell the person that you cannot help but serve them because you are so overwhelmed by the love that Christ showed all of us when He willingly served us by dying on the cross for our sin! Thus, He paved the way for all of us to be redeemed through the power of His resurrection . . . all we have to do is believe, repent, and be willing to surrender to Him as Lord! This may not be exactly what you say. But please know, if you do not intend to share the gospel as you serve, you probably will not!

Each of the 2 encounters must be summarized in a report of 1- 2 pages, using 12-point, Times New Roman font, and double-spaced.

So, with this in mind, be very specific in your encounters with people, and utilize the “Three P” process below:

1. P- PERSONAL: The servant evangelism encounters must be      personal, face-to-face encounters done within this 8-week term.
2. P- PRACTICAL/PHYSICAL: In each of the encounters you      must meet the physical needs of another unsaved individual. Even      though prayer and Bible study are essential to the Christian life and      growth, these are unacceptable forms of servant evangelism and do not meet      the requirements of this assignment. Simply talking with, or counseling      someone, does not meet the requirements. This assignment is for you to meet the physical needs of another unsaved      individual with the hopes of bridging the conversation and service to the      Gospel (Matthew 25:31–46; James 2:14–20).
3. P- PENNILESS: In each of the servant evangelism      encounters you may not receive money for your work. This must be a      free service to those you are serving.

Submit Servant Evangelism Report 1 by 11:59 p.m. (ET) on Sunday of Module/Week 3.

Submit Servant Evangelism Report 2 by 11:59 p.m. (ET) on Sunday of Module/Week 4.

Please read Chapters 9 in your text and review the attached Prezi board as well.

Jerome Robbins:

A choreographic master of storytelling through dance.

Please view the following from his massive catalog of work:

West Side Story:

Prologue: https://www.youtube.com/watch?v=bxoC5Oyf_ss&t=4s

Watch West Side Story’s Prologue and note how much storytelling takes place through movement and style. This Prologue is near to a complete ballet with hardly any dialogue, so much storytelling is accomplished here at the opening of this story, with movement and action alone. Robbins gently moves us into the world of dance as the Jets walk down the street together, so that the viewer is subtly brought into the world of dance, without being jolted into a dance vocabulary.

.

Dance at the Gym: https://www.youtube.com/watch?v=Fl32I2CTzKs

This is a wonderful example of movement telling story. The 2 gangs- The Sharks and The Jets have a dance battle at their high school gym, in competition with one another for the upper hand. In the midst of this, the two principal characters meet- it is love at first sight for Tony and Maria each from a different gang, as this is a re-telling of Shakespeare’s Romeo and Juliet. Notice how effective the simple movement is at telling the story of love at first sight. In my opinion, Tony and Maria’s movement together is more effective at expressing their feelings than the dialogue that they speak after the ballet.

Cool: https://www.youtube.com/watch?v=wugWGhItaQA

Robbins really defines what it means to absolutely have to dance. There is an old theatre adage that explains the need to sing and dance, when words are no longer enough- you must sing, when singing is no longer enough to express emotion- you must dance. Robbins carves out the character arcs of the Jets’ gang here in Cool so beautifully. There is so much tension in their buildup to the climactic dance moment where they bust free and explode, then bring it back down again to a low simmer. Complex emotions beautifully expressed through dance.

Fiddler on the Roof:

Bottle Dance: https://www.youtube.com/watch?v=gSvhD0Htt_I

Robbins expresses joy and celebration in his interpretation of a Russian Jewish bottle dance, here from the show, Fiddler on the Roof. Without this movement, the song would not nearly have the resonance that it does.

DANCE IN HOLLYWOOD:

We looked at some of the most famous dream ballets from Agnes DeMille, in Carousel and Oklahoma– storytelling to further the plot of the play (or film), through dance. Some other notable dance in film:

Gene Kelly:

Singin’ in the Rain from Singin’ in the Rain:

https://www.youtube.com/watch?v=D1ZYhVpdXbQ

Moses Supposes from Singin’ in the Rain:

https://www.youtube.com/watch?v=tciT9bmCMq8

Compare and contrast these 2 ballets, Our Love Is Here To Stay, from An American in Paris. The iconic film was recently made into a Broadway musical. The dancers in the stage version were both professional ballet dancers and the choreography is by Christopher Wheeldon, from the NYC Ballet. His version is much more dance-y and technical, the film version is more about style and feeling. Both very effective.  You will have a journal entry question below regarding this comparison.

1. An American in Paris with Gene Kelly and Leslie Caron (original movie):https://www.youtube.com/watch?v=Rppk5Qp6XYY
2. An American in Paris with Robert Fairchild and Leanne Cope (Broadway cast):https://www.youtube.com/watch?v=WUj3e7E0gok

Fred Astaire:

There are so many brilliant Fred Astaire films and numbers, it is hard to narrow it down for the purposes of this class.

Please view the following. He was known for his perfection and style:

Swing Time with Ginger Rogers:

https://www.youtube.com/watch?v=mxPgplMujzQ

I Won’t Dance from Roberta: notice his amazing footwork

https://www.youtube.com/watch?v=6CTR3d2Ly80

Bob Fosse

We viewed some of the work of Bob Fosse earlier in the semester, with his Rich Man’s Frug from Sweet Charity. We will take a look at a few other Bob Fosse works. His style was unparalleled, it is hard to find a style of choreography that is so singularly identifiable, as Bob Fosse’s is. He took his shortcomings as a dancer (lack of extension, etc.) and turned it into an exaggerated style that is seemingly very simple, but in actuality, very complex. There is a wonderful new series that debuted this week on the FX channel called Fosse/Verdon. It is produced by Lin-Manuel Miranda of Hamilton and is a wonderful look into their world.

Please view the following Fosse clips:

Brief trailer on Bob Fosse from the PBS American Masters documentary:

https://www.youtube.com/watch?v=7uIPkwCYxKU

From Sweet Charity, the brilliant Big Spender– so little movement, so much style and storytelling. These are “taxi dancers” that work in a dance hall, this is a brilliant flip of the male gaze, the women here become the voyeurs and it becomes about the female gaze.

https://www.youtube.com/watch?v=iG3VfKlfDEk

From the musical, Cabaret, Mein Herr is an iconic Fosse number. Cabaret was originally a Broadway show, made into a movie starring Liza Minelli (Judy Garland’s daughter) and Joel Grey. Notice the use of chairs here, iconic Fosse.

https://www.youtube.com/watch?v=lxmz3RcNNBE

Nowadays and Hot Honey Rag from Chicago:

https://www.youtube.com/watch?v=4y_U-nciIks

Steam Heat from The Pajama Game:

https://www.youtube.com/watch?v=0szHqIXQ2R8

Fosse’s Chicago was made into an Oscar-winning movie by Rob Marshall, who directed and choreographed. Marshall is directing the upcoming sequel to Mary Poppins- Mary Poppins Returns.

Please view this number, Cell Block Tango from the film, it is a little different than the Broadway version as it is not the Fosse version.

https://www.youtube.com/watch?v=qrrz54UtkCc

Opening Sequence from All That Jazz. This movie is about a choreographer (an auto-biography about Bob Fosse, based on the Fellini movie 8 ½). Roy Scheider plays the Fosse figure here and we are taken through a Broadway audition.

https://www.youtube.com/watch?v=L2e9acreKmQ

Michael Bennett:

In the same vein as the opening sequence of All That Jazz, is A Chorus Line. There is a wonderful documentary called Every Little Step about the Broadway revival. Below is the trailer, if you are interested, it is definitely worth a watch, one of the best Broadway documentaries ever made. The legendary Michael Bennett, wrote, directed, and choreographed A Chorus Line. The music is by Marvin Hamlisch. The show is about the life of a Broadway dancer. Bennett’s choreography is iconic.

https://www.youtube.com/watch?v=-jn9qQATNRs

The revival Broadway cast performing on the 2007 Tony Awards:

https://www.youtube.com/watch?v=XelEnue5hbk

There is a current production of A Chorus Line at Signature Theatre in Arlington, VA.

https://www.youtube.com/watch?v=HLDPAKj1Ew0

A recent production of A Chorus Line at City Center in NY. Here is a preview:

https://www.youtube.com/watch?v=AU7dvkRwGlc

Broadway Today:

Hamilton brought to life a new way of storytelling. Dance using multiple vocabularies like hip hop, jazz, ballet, modern, and abstract movement to tell an epic story.

Hamilton’s Tony Award performance of the number, Yorktown:

https://www.youtube.com/watch?v=b5VqyCQV1Tg

TAP:

We will snapshot throughout American history- from the early 20th century to today. Michelle Dorrance was recently awarded a MacArthur Genius Grant for her work in tap.

Nicholas Brothers– one of the first acts to perform as tap dancers- vaudeville act. They were tremendous, they were triple threat performers and acrobats as well.

Tap legend Gregory Hines talks about the Nicholas Bros.

https://www.youtube.com/watch?v=MMLClb4F3ng

Gregory Hines from the movie White Nights:

https://www.youtube.com/watch?v=1Ykhgj4Wonk

Savion Glover from So You Think You Can Dance

https://www.youtube.com/watch?v=jQ40aKtPlXc

Michelle Dorrance on the Stephen Colbert Show

https://www.youtube.com/watch?v=KHg96T2e32M

JOURNAL ENTRY QUESTIONS:

1. Compare the 2 clips from An American in Paris. How do they differ in choreographic style? Which do you think works better and why?
2. Why do you think Robbins work in West Side Story is considered to be the penultimate in choreographic storytelling? Use examples from the Prologue, Dance at the Gym, and Cool.
3. Gene Kelly and Fred Astaire are two legends from the same time period. What is different about their own personal styles of dance? Use examples from the clips above.
4. What is truly unique about Bob Fosse’s choreographic style? Use examples from the clips we viewed this week.
5. Why do you think the show A Chorus Line resonated so deeply and has remained a staple of American musical theatre?
6. How is Andy Blankenbuehler’s choreography in Hamilton different from Robbins’ choreography? How is it similar?
7. How has tap dancing evolved from the Nicholas Brothers to Gregory Hines to Savion to today with Michelle Dorrance?

 Identify how Panera sandwiches exemplify the idea that people make choices that maximize their satisfaction and that everyone acts in their own “self-interest.”