Fall Term Schedule
Fall 2023
| Number | Title | Instructor | Time |
|---|
|
DANC 104-1
Roy Wood
TR 12:30PM - 1:45PM
|
|
Contact Improvisation is a duet form where partners use weight, momentum, and inertia to create movement and interact with others. Rooted in dance, martial arts and studies of body awareness, we will work on solo and duet skills - rolling, falling, balance, counter-balance, weight sharing, lifts and spiraling. This skill work combines with interactive games and exercises, leading to more open dancing in a supportive and focused environment. No previous dance training required.
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DANC 106-1
Rose Beauchamp
T 11:05AM - 12:20PM
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|
In this Pilates Lab, students will gain a working knowledge of the Pilates method as it relates to dance training. Students will be introduced to the 6 Essential Principles of Pilates — Centering, Concentration, Control, Precision, Breath, and Flow. Focus will be placed on becoming familiar with the equipment available and fostering the safe approach to its use. The course will address alignment, core support, stabilization, mobilization and flexibility as it integrates Pilates with other dance + conditioning practices. Only students who take Pilates Lab will be allowed to work independently in the lab. For majors/minors/and clusters or permission from the instructor.
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|
DANC 114-1
Cloria Sutton-Dowdell
TR 9:40AM - 10:55AM
|
|
Yoga is defined as union, the uniting together of ourselves in all aspects- body, mind, heart, spirit. This class introduces the student to a hatha yoga method which integrates a dynamic and engaging approach to living through practicing on and off the mat. The goal of this class is to learn how to create a deeper, more enlivened relationship to ones self through honoring ones abilities and limitations, while growing ones skills and sensitivity in the supportive environment of the class community. Students will engage with principles of attitude, alignment and action in a full range of hatha yoga poses, breathing techniques, readings on yoga philosophy, reflection, journaling and discussion. Through this ongoing process, students of yoga are encouraged to cultivate a more expansive and clear perception of self and others. Attendance in selected workshops and performances are required.
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DANC 116-1
Alaina Olivieri
TR 9:40AM - 10:55AM
|
|
Approach ballet technique through the lens of somatic practices, placing an emphasis on dynamic alignment, movement efficiency, connectivity, articulation, phrasing, and breath support. While the primary focus is on an embodied practice, students can expect to develop an appreciation for aspects of the ballet aesthetic while considering theoretical aspects related to historical and socio-cultural contexts.
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|
DANC 130-1
Anne Wilcox
TR 12:30PM - 1:45PM
|
|
Body conditioning aimed to develop and strengthen specific musculature as it pertains to physical demands of dancers, athletes, martial artists, as well as those who wish to explore a mindful, physical and anatomically sound practice. Will introduce fundamental strength training based in Pilates, hands-on bodywork and basic movement sequences designed to help prevent injury as well as build core strength, endurance, coordination and overall physical mobility and stability. For majors/minors/and clusters or permission from the instructor.
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DANC 140-1
Cheryl Johnson
MW 10:25AM - 11:40AM
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|
Development of basic skills, energy, strength, control, continuity, and rhythmic and bodily awareness through the teaching of rhythm tap dance. No previous tap dance experience is expected.
|
|
DANC 145-1
Cheryl Johnson
MW 9:00AM - 10:15AM
|
|
Beginning Jazz Dance is an exploration of roots, techniques, and styles including vernacular jazz dance movements and their relationship to jazz music, pop culture, and musical theatre.
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|
DANC 160-1
Ripp Greatbatch
TR 12:30PM - 1:45PM
|
|
This course explores dance improvisation as a practice and technique for self-expression, performance and composition. By opening our senses and learning tools for generating movement in real-time, students will unite their bodies and minds to engage in spontaneous investigation and creation. Specific theories and techniques based in the work of Meg Stuart, Boris Charmatz and Anne Teresa De Keersmaeker. Analysis will be explored in addition to wider concepts such as scores, collective composition and site-specific work. The main goals of this class are to provide students with the freedom to explore their own movement-based research interests and to develop their individual artistic voices within a structured environment. Students will also strengthen their presence, intuition, self-awareness and decision-making skills.
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|
DANC 170-1
Debra Corea; Janice Cook; Missy Smith
MW 10:25AM - 11:40AM
|
|
From subtle intrinsic movement to whole body integration, students will have the opportunity to experience the essence of several somatic modalities and discover what it means to be fully alive and resourced in movement and stillness. Mindful Awareness provides the foundation for listening inwardly to one’s immediate embodied experience. From this felt sense and the inherent wisdom of the body, students will be encouraged to explore various somatic approaches presented by the co-teachers. This work is powerful for dancers and for those on every academic track who are inquisitive in becoming more compassionate, open, present, resilient and centered. Experiential practice, readings, discussion, and reflective writing will comprise the course. Additional reading, writing and projects required at the graduate level. Open to Juniors and Seniors.
|
|
DANC 171-1
Todd Russell
MW 6:30PM - 7:50PM
|
|
An art form of self-defense with aerobic and dance elements that brings together a harmony of forces. Through history, movement and culture, students gain self-confidence, power, flexibility, endurance, and tools towards self-discovery. Open to all, Capoeira balances the body, mind, and soul and enables one to break through limits, revitalizing oneself for everyday life.
|
|
DANC 181-1
Kerfala Bangoura
MW 3:25PM - 4:40PM
|
|
Dynamic dance traditions of Guinea, West Africa. Accompanied by live music, students learn footwork and movements for several rhythms and acquire familiarity with the physical stance common to many styles of West African dance. Learn to execute movements together with the rhythmic foundation provided by our drummers and become familiar with the origins and cultural significance of each dance, and the songs that accompany them.
|
|
DANC 188-1
William Young
MW 8:00PM - 9:15PM
|
|
Originated in the boroughs of New York City, hip hop has grown to become a global phenomenon, influencing the lives of countless individuals with the core ideals of peace, unity, love and having fun. The class will provide a look into the historical origins and social importance of hip hop culture. The main focus will be on the original dance of hip hop culture - breaking, (also known as bboying). The class format is geared towards physical movement along with lectures, videos and opportunities to attend events in the community.
|
|
DANC 200-1
Anne Wilcox
TR 3:25PM - 4:40PM
|
|
This course will focus on the structure and function of the skeletal and muscular systems primarily in order to explore efficiency of movement, alignment, and body connectivity. Additionally, the class will explore topics that promote well-being such as: nutrition, hydration, rest, joint health, injury prevention, basic injury treatments, and fitness and strength practices that support the demands of dance. The class will include reading, discussion, research, creative approaches, writing, and kinesthetic practice. The course requires 4 workshops that will be scheduled with the class outside of regular class time. For majors/minors/and clusters or permission from the instructor
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|
DANC 202-1
Mariah Steele
TR 11:05AM - 12:20PM
|
|
This course offers an introduction to Peacebuilding and Conflict Studies, while asking how dance and movement practices experienced both as participants and spectators can actively participate in creating a better world for individuals and communities. With perspectives drawn from diverse fields including psychology, anthropology, sociology, physiology, education and dance, students learn how conflict depletes individuals ability to interact with others and how dance practices can help replenish these capacities. Students also develop their leadership and facilitation skills through designing and implementing relevant movement activities for their peers.
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|
DANC 208-1
Robert Loughridge
TR 3:25PM - 4:40PM
|
|
A study of Taijiquan, (also known as Tai Chi Chuan or Tai Chi?), a traditional Chinese martial art, and its intimate relationship to the cosmological, physiological, and philosophical conceptions found in the culture and thought from which it emerged. The course investigates both the traditional Chinese philosophy and movement aspects of Tai Chi in order to better understand the integration of human body, mind, and spirit. The Simplified 24-Step Taijiquan (Ershisi Shi Taijiquan) is learned, along with the foundation skills of the Eight Methods or Energies (Ba Fa), Reeling Silk (Chan Si Gong), Pushing Hands (Tui Shou), and Standing Pole meditation (Zhan Zhuang). Tai Chi is not only a valuable cross training exercise for the dancer, but also provides training for relaxed strength, whole body coordination, balance, centered alignment, timing, weight shifting and moving with fluid grace.
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DANC 209-1
–
TR 2:00PM - 3:15PM
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|
Qi Gong is a ancient Chinese internal art and an early forerunner of Tai Ji Quan. It is an Eastern Movement Discipline (EMD) which embodies a holism of Eastern martial arts and Eastern meditation. This course is a study of the philosophical roots, mindful practices and physical movements of Qi Gong in order to better understand and attain the integration of body, mind, and spirit. Topics will include traditional Chinese cultural concepts such as Yin-Yang theory, Five Element theory and Qi theory and their potential inclusion in modern Western culture. Qi Gong provides the dancer and athlete with healthy lifestyle practices and fitness training for better breathing, body awareness, focus and concentration, mental presence, imagery, and cultivating and expressing energy flow.
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DANC 212-1
Jennifer Kyker
F 10:00AM - 12:20PM
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|
Throughout much of Southern Africa, the word ngoma? means drum. It also refers to specific musical styles that combine drumming, dance, and song. Finally, there is often a ritual dimension to ngoma, which is used in ceremonies focused around individual and social healing. In this class, students will bring ngoma alive by learning to perform various Zimbabwean ngoma genres, with the option of specializing in either drumming or dance. Through video clips, audio recordings, photos, and articles, we will also learn to understand ngoma within a larger cultural framework.
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DANC 218-1
Debra Corea
MW 8:40AM - 10:10AM
|
|
Cultivate awareness of the present moment, which is the only moment available to learn and live. This experiential course invites pausing and reflecting on the habits of mind. Students will be guided in mindfulness and insight techniques, relaxation, and other mindfulness practices. Incorporating mindfulness into daily life, class discussion, reading, and writing assignments will support understanding and personal growth. To facilitate establishing a personal practice, attendance will be required at meditation labs on Fridays online via Zoom. Cluster: Mind-Body Wellness (H1DAN009)
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|
DANC 218-2
Debra Corea
F 9:00AM - 9:50AM
|
|
To facilitate establishing a personal practice, attendance will be required at meditation labs on Fridays online via Zoom.
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|
DANC 228-1
Mariah Steele
MW 2:00PM - 3:15PM
|
|
This course examines the origins and development of western concert dance during the 20th and 21st centuries. Through lecture, discussion, film/video viewing, reading/writing assignments and movement experiences, we explore a variety of dance artists and their work and acknowledge a broader global perspective in terms of aesthetics, socio-cultural context and continued evolution in the contemporary dance landscape in regards to form, trends, and style. This course will serve as an investigation of dance history from a critical and analytical perspective, interfacing with a variety of theoretical frameworks.
|
|
DANC 237-1
Ripp Greatbatch
MW 2:00PM - 3:15PM
|
|
This course will provide students with an experience of the creative process involving choreographic and improvisational play in professional-style dance rehearsals that are then carried through live performance. Working with the instructor and/or various collaborators, students will diversify their experiences as dancer collaborators and deepen their creative journey as artists. Post performance, the class will provide instruction in contemporary dance technique with an emphasis on performance skills.
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|
DANC 242-1
Seth Reiser
F 12:30PM - 3:30PM
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|
This is an introductory design course aimed at giving students exposure to light as a medium, lighting design, lighting equipment, and visual story telling for performance through class discussion, and practical work. This is a 2 credit course which meets on Fridays 12:30pm-3:30pm. Students should also be prepared to have some flexibility in our effort to create/design dance videos during the semester. More details to follow on the first day of class.
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|
DANC 245-1
–
MW 11:50AM - 1:05PM
|
|
Foundations and Principles of Dance/Movement Therapy examines the ways dance/movement therapy in the west has integrated Asian concepts, natural movement, formal elements of dance, creative processes, music, verbal expression, and constructs drawn from psychology and counseling to treat a wide range of populations. Students will compare and contrast the treatment of individuals seeking help for a range of concerns (e.g., psychosis, autism, anxiety, eating disorders, histories of abuse). Experientials, creative dance, and videotapes of actual sessions with a variety of populations highlight these concepts. Dress comfortably and be prepared to move.
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|
DANC 250A-1
Rose Beauchamp
MW 11:50AM - 1:35PM
|
|
In this course, students practice contemporary dance forms and examine concepts influenced by Laban/Bartenieff theories. Classes explore patterns of total body organization and connectivity, efficiency of movement, weight sensing, and somatic practices. Students develop self-awareness and technical skills while addressing artistry and self-expression. The course looks at Contemporary Dances rich history and its influence on 21st century forms. In addition to movement practice, students participate in discussions, workshops and performances.
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|
DANC 260-1
Mariah Steele
F 12:00PM - 2:00PM
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|
This course provides a forum for dance majors and minors, especially those with a concentration in Dance Studies, to develop their skills for conducting interdisciplinary, practice-based research. Through videos, readings and live events, we investigate the creative processes of professional dance artists making interdisciplinary work and explore in the studio how we might incorporate their processes into our own. We also consider how anthropologists, historians, scientists, educators and other scholars have approached studying dance from their interdisciplinary perspectives. Students enhance their practice-based research skills by developing and facilitating movement workshops, and choreographing a final project that translates research into a topic of their choice into a dance. Pre-requisites: Only available to majors and minors in the Program of Dance and Movement. Recommended to take your Junior year.
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DANC 266-1
Ripp Greatbatch
TR 4:50PM - 6:05PM
|
|
Continuing technical development and comprehension and integration of theory into practice is the focus in this course. Students will practice contemporary dance experientially through examining dance concepts influenced by Laban/Bartenieff theories and by exploring complex choreographic combinations. Classes will explore continuity and connectivity, patterns of total body organization, efficiency of movement, momentum, musculo-skeletal anatomy, strength, alignment, weight sensing, rhythm and somatic practices to develop and improve technical skills. We will also investigate subtlety and individual expression in performance. Experience in dance required. Having already taken DAN250 is helpful. Audits will be approved with permission for dance majors only.
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|
DANC 267-1
Ripp Greatbatch
TR 4:50PM - 6:05PM
|
|
Continuing technical development and comprehension and integration of theory into practice is the focus in this course. Students will practice contemporary dance experientially through examining dance concepts influenced by Laban/Bartenieff theories and by exploring complex choreographic combinations. Classes will explore continuity and connectivity, patterns of total body organization, efficiency of movement, momentum, musculo-skeletal anatomy, strength, alignment, weight sensing, rhythm and somatic practices to deepen the investigation and mastery of technical skills. We will also continue to work on deepening the understanding or artistry as it pertains to subtlety and individual expression in performance. Pre-requisite: DAN 266: Intermediate Contemporary Dance
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|
DANC 276-1
Sara Penner
R 9:40AM - 10:55AM
|
|
“United States law says “Consent and agency over one’s body is a given in the work space.” How, then, can the performance workspace acknowledge and honor our boundaries, while nurturing us to risk, grow, and create our truest, bravest work? How can we as artists learn strategies to poetize the uncomfortable while honoring our boundaries? In this course, we study the history and evolution of consent in performance, allowing students to learn about personal agency, self-advocacy, and how to foster and navigate healthy collaboration across disciplines. The class will give young artists the space to discover and articulate their boundaries through a variety of group exercises and opportunities for self-reflection. Lectures will cover intimacy direction and rehearsal tools, discussions and guest lecturers on gender and feminist theory in relation to performance art, theatre, film and dance. This course is a must for artistic collaborators from directors & choreographers, to actors, musicians, technicians, and performance artists!”
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|
DANC 278-1
Missy Smith
TR 11:05AM - 12:20PM
|
|
Experiment with various methods of dance-making and focus on examining craft in the service of choreographic expression. You will be encouraged to curiously and playfully embody manipulations of movement material to better understand different points of view and to explore the elements of time, space, shape and effort to see how they affect quality and content. Drawing from dance, visual art, music, current events, writings and other sources, we will explore diverse approaches to creativity, experimentation and choreography.
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|
DANC 279-01
Missy Smith
7:00PM - 7:00PM
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|
Dancer as Collaborator is a one-credit movement course engaging students as dancers for choreographic work generated from the DANC 278 Choreography class and/or the Program of Dance and Movements Fall Concert. DANC 279 students act as collaborators in that they embody and perform the choreographers concepts and vision and participate in creative process. Rehearsals will average twice weekly for the bulk of the semester. Pieces created in this course will be included in the Fall concert, the End of the Term Showings, and/or other Program approved performance opportunities throughout the semester. Enrollment is by permission of instructor. Please email requests to m.p.smith@rochester.edu.
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DANC 283-1
Kerfala Bangoura
MW 4:50PM - 6:05PM
|
|
Taught by a long-time member of Les Ballets Africains, the national ballet of Guinea, instructor Fana Bangoura will introduce students in this course to dynamic dance traditions of West Africa and will join with them the power of percussion. Students will also become familiar with the origins and cultural significance of each dance, and the songs that accompany them. By breaking down the drum parts alongside the traditional dance movements, students experience dancing and drumming in perfect unison. This opportunity is geared for both drummers and dancers and is highly recommended for all skill levels.
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|
DANC 365A-1
Kerfala Bangoura
TR 6:45PM - 8:15PM
|
|
Sansifanyi is an ensemble that combines academic study and performance for intermediate and advanced students of African drumming and dance. This course requires a high degree of student commitment. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists, and developing their own solo material. They will also focus on rhythmic timing, and on advanced skills such as how to combine movement with drumming. In addition to the time students spend in class, dancers will have weekly assignments researching, reading, writing, viewing videos, text and article analysis, practicing, and choreographing various rhythms, songs, movements, and sequences. Dancers must also be available for performances both on and off campus throughout the semester.
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DANC 365B-1
Kerfala Bangoura
TR 6:45PM - 8:15PM
|
|
Sansifanyi is an ensemble that combines academic study and performance for intermediate and advanced students of African drumming and dance. This course requires a high degree of student commitment. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists, and developing their own solo material. They will also focus on rhythmic timing, and on advanced skills such as how to combine movement with drumming. In addition to the time students spend in class, dancers will have weekly assignments researching, reading, writing, viewing videos, text and article analysis, practicing, and choreographing various rhythms, songs, movements, and sequences. Dancers must also be available for performances both on and off campus throughout the semester. Students in section B are required to successfully complete section A of this course in order to register. In addition to gaining an in-depth understanding of the history and culture, students in this section will expand their repertoire and improve their skills at dancing/drumming and performing. Students in section B will also gain teaching assistant skills by helping the students in section A with select choreographies taught in the course. Prerequisite: DANC 365 A
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|
DANC 365C-1
Kerfala Bangoura
TR 6:45PM - 8:15PM
|
|
Sansifanyi is an ensemble that combines academic study and performance for intermediate and advanced students of African drumming and dance. This course requires a high degree of student commitment. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists, and developing their own solo material. They will also focus on rhythmic timing, and on advanced skills such as how to combine movement with drumming. In addition to the time students spend in class, dancers will have weekly assignments researching, reading, writing, viewing videos, text and article analysis, practicing, and choreographing various rhythms, songs, movements, and sequences. Dancers must also be available for performances both on and off campus throughout the semester. Students in section C are required to successfully complete section A and B of this course in order to register. Students in this section will advance in their performance and choreographic skills. Students will continue to serve as peer teachers both in and out of the classroom sessions by assisting students in learning the dancing and drumming. Students in this section will oversee the basic teachings of this course including leading preparatory warm up phrases as well as assisting students with known repertory while new materials is being developed for the class by the instructor. Students in this section are required to work on a research-based capstone dance project throughout the semester. Prerequisites: DANC 365 A and DANC 365 B. Audits are only allowed after the course has been taken for credit
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DANC 385-1
Anne Wilcox
F 10:00AM - 12:00PM
|
|
The primary focus of this class is to investigate key elements of performance. Students will perform a variety of work including guest artist and faculty repertory, structured improvisation, and their own choreography. The array of performance opportunities will hone their performance practice and cultivate the unique artistry of each dancer. Other key aspects of the course include attending multiple performances and performing for different audiences. The class will attend multiple Rochester Fringe dance/performances to observe and analyze important performance elements, and will perform for a Rochester Fringe show, for several community partner venues, and for UR audiences as well.
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|
DANC 389W-1
Rose Beauchamp
TR 12:30PM - 1:45PM
|
|
Students will write, choreograph, perform, implement and/or carry out research, performances and/or projects. All students, regardless of their trajectory (choreography, performance or interdisciplinary research) will write a senior thesis, develop & realize their projects under advisement, consider & discuss various career opportunities & develop curriculum vitae. Practice in grant-writing, budgeting, marketing & general arts management skills will be addressed when appropriate. Creative process, creative & critical thinking are a focus and are carried through to a culminating event, paper, or project. Internships, other coursework as part of the major, co-curricular dance activity, service learning and/or other related activity is meant to support this capstone research both in advance of and in simultaneity with this seminar.
|
Fall 2023
| Number | Title | Instructor | Time |
|---|---|
| Monday and Wednesday | |
|
DANC 218-1
Debra Corea
|
|
|
Cultivate awareness of the present moment, which is the only moment available to learn and live. This experiential course invites pausing and reflecting on the habits of mind. Students will be guided in mindfulness and insight techniques, relaxation, and other mindfulness practices. Incorporating mindfulness into daily life, class discussion, reading, and writing assignments will support understanding and personal growth. To facilitate establishing a personal practice, attendance will be required at meditation labs on Fridays online via Zoom. Cluster: Mind-Body Wellness (H1DAN009)
|
|
|
DANC 145-1
Cheryl Johnson
|
|
|
Beginning Jazz Dance is an exploration of roots, techniques, and styles including vernacular jazz dance movements and their relationship to jazz music, pop culture, and musical theatre. |
|
|
DANC 140-1
Cheryl Johnson
|
|
|
Development of basic skills, energy, strength, control, continuity, and rhythmic and bodily awareness through the teaching of rhythm tap dance. No previous tap dance experience is expected. |
|
|
DANC 170-1
Debra Corea; Janice Cook; Missy Smith
|
|
|
From subtle intrinsic movement to whole body integration, students will have the opportunity to experience the essence of several somatic modalities and discover what it means to be fully alive and resourced in movement and stillness. Mindful Awareness provides the foundation for listening inwardly to one’s immediate embodied experience. From this felt sense and the inherent wisdom of the body, students will be encouraged to explore various somatic approaches presented by the co-teachers. This work is powerful for dancers and for those on every academic track who are inquisitive in becoming more compassionate, open, present, resilient and centered. Experiential practice, readings, discussion, and reflective writing will comprise the course. Additional reading, writing and projects required at the graduate level. Open to Juniors and Seniors.
|
|
|
DANC 245-1
–
|
|
|
Foundations and Principles of Dance/Movement Therapy examines the ways dance/movement therapy in the west has integrated Asian concepts, natural movement, formal elements of dance, creative processes, music, verbal expression, and constructs drawn from psychology and counseling to treat a wide range of populations. Students will compare and contrast the treatment of individuals seeking help for a range of concerns (e.g., psychosis, autism, anxiety, eating disorders, histories of abuse). Experientials, creative dance, and videotapes of actual sessions with a variety of populations highlight these concepts. Dress comfortably and be prepared to move. |
|
|
DANC 250A-1
Rose Beauchamp
|
|
|
In this course, students practice contemporary dance forms and examine concepts influenced by Laban/Bartenieff theories. Classes explore patterns of total body organization and connectivity, efficiency of movement, weight sensing, and somatic practices. Students develop self-awareness and technical skills while addressing artistry and self-expression. The course looks at Contemporary Dances rich history and its influence on 21st century forms. In addition to movement practice, students participate in discussions, workshops and performances. |
|
|
DANC 228-1
Mariah Steele
|
|
|
This course examines the origins and development of western concert dance during the 20th and 21st centuries. Through lecture, discussion, film/video viewing, reading/writing assignments and movement experiences, we explore a variety of dance artists and their work and acknowledge a broader global perspective in terms of aesthetics, socio-cultural context and continued evolution in the contemporary dance landscape in regards to form, trends, and style. This course will serve as an investigation of dance history from a critical and analytical perspective, interfacing with a variety of theoretical frameworks. |
|
|
DANC 237-1
Ripp Greatbatch
|
|
|
This course will provide students with an experience of the creative process involving choreographic and improvisational play in professional-style dance rehearsals that are then carried through live performance. Working with the instructor and/or various collaborators, students will diversify their experiences as dancer collaborators and deepen their creative journey as artists. Post performance, the class will provide instruction in contemporary dance technique with an emphasis on performance skills. |
|
|
DANC 181-1
Kerfala Bangoura
|
|
|
Dynamic dance traditions of Guinea, West Africa. Accompanied by live music, students learn footwork and movements for several rhythms and acquire familiarity with the physical stance common to many styles of West African dance. Learn to execute movements together with the rhythmic foundation provided by our drummers and become familiar with the origins and cultural significance of each dance, and the songs that accompany them. |
|
|
DANC 283-1
Kerfala Bangoura
|
|
|
Taught by a long-time member of Les Ballets Africains, the national ballet of Guinea, instructor Fana Bangoura will introduce students in this course to dynamic dance traditions of West Africa and will join with them the power of percussion. Students will also become familiar with the origins and cultural significance of each dance, and the songs that accompany them. By breaking down the drum parts alongside the traditional dance movements, students experience dancing and drumming in perfect unison. This opportunity is geared for both drummers and dancers and is highly recommended for all skill levels. |
|
|
DANC 171-1
Todd Russell
|
|
|
An art form of self-defense with aerobic and dance elements that brings together a harmony of forces. Through history, movement and culture, students gain self-confidence, power, flexibility, endurance, and tools towards self-discovery. Open to all, Capoeira balances the body, mind, and soul and enables one to break through limits, revitalizing oneself for everyday life. |
|
|
DANC 188-1
William Young
|
|
|
Originated in the boroughs of New York City, hip hop has grown to become a global phenomenon, influencing the lives of countless individuals with the core ideals of peace, unity, love and having fun. The class will provide a look into the historical origins and social importance of hip hop culture. The main focus will be on the original dance of hip hop culture - breaking, (also known as bboying). The class format is geared towards physical movement along with lectures, videos and opportunities to attend events in the community. |
|
| Tuesday | |
|
DANC 106-1
Rose Beauchamp
|
|
|
In this Pilates Lab, students will gain a working knowledge of the Pilates method as it relates to dance training. Students will be introduced to the 6 Essential Principles of Pilates — Centering, Concentration, Control, Precision, Breath, and Flow. Focus will be placed on becoming familiar with the equipment available and fostering the safe approach to its use. The course will address alignment, core support, stabilization, mobilization and flexibility as it integrates Pilates with other dance + conditioning practices. Only students who take Pilates Lab will be allowed to work independently in the lab. For majors/minors/and clusters or permission from the instructor. |
|
| Tuesday and Thursday | |
|
DANC 114-1
Cloria Sutton-Dowdell
|
|
|
Yoga is defined as union, the uniting together of ourselves in all aspects- body, mind, heart, spirit. This class introduces the student to a hatha yoga method which integrates a dynamic and engaging approach to living through practicing on and off the mat. The goal of this class is to learn how to create a deeper, more enlivened relationship to ones self through honoring ones abilities and limitations, while growing ones skills and sensitivity in the supportive environment of the class community. Students will engage with principles of attitude, alignment and action in a full range of hatha yoga poses, breathing techniques, readings on yoga philosophy, reflection, journaling and discussion. Through this ongoing process, students of yoga are encouraged to cultivate a more expansive and clear perception of self and others. Attendance in selected workshops and performances are required. |
|
|
DANC 116-1
Alaina Olivieri
|
|
|
Approach ballet technique through the lens of somatic practices, placing an emphasis on dynamic alignment, movement efficiency, connectivity, articulation, phrasing, and breath support. While the primary focus is on an embodied practice, students can expect to develop an appreciation for aspects of the ballet aesthetic while considering theoretical aspects related to historical and socio-cultural contexts. |
|
|
DANC 202-1
Mariah Steele
|
|
|
This course offers an introduction to Peacebuilding and Conflict Studies, while asking how dance and movement practices experienced both as participants and spectators can actively participate in creating a better world for individuals and communities. With perspectives drawn from diverse fields including psychology, anthropology, sociology, physiology, education and dance, students learn how conflict depletes individuals ability to interact with others and how dance practices can help replenish these capacities. Students also develop their leadership and facilitation skills through designing and implementing relevant movement activities for their peers. |
|
|
DANC 278-1
Missy Smith
|
|
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Experiment with various methods of dance-making and focus on examining craft in the service of choreographic expression. You will be encouraged to curiously and playfully embody manipulations of movement material to better understand different points of view and to explore the elements of time, space, shape and effort to see how they affect quality and content. Drawing from dance, visual art, music, current events, writings and other sources, we will explore diverse approaches to creativity, experimentation and choreography. |
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DANC 104-1
Roy Wood
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Contact Improvisation is a duet form where partners use weight, momentum, and inertia to create movement and interact with others. Rooted in dance, martial arts and studies of body awareness, we will work on solo and duet skills - rolling, falling, balance, counter-balance, weight sharing, lifts and spiraling. This skill work combines with interactive games and exercises, leading to more open dancing in a supportive and focused environment. No previous dance training required. |
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DANC 130-1
Anne Wilcox
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Body conditioning aimed to develop and strengthen specific musculature as it pertains to physical demands of dancers, athletes, martial artists, as well as those who wish to explore a mindful, physical and anatomically sound practice. Will introduce fundamental strength training based in Pilates, hands-on bodywork and basic movement sequences designed to help prevent injury as well as build core strength, endurance, coordination and overall physical mobility and stability. For majors/minors/and clusters or permission from the instructor. |
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DANC 160-1
Ripp Greatbatch
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This course explores dance improvisation as a practice and technique for self-expression, performance and composition. By opening our senses and learning tools for generating movement in real-time, students will unite their bodies and minds to engage in spontaneous investigation and creation. Specific theories and techniques based in the work of Meg Stuart, Boris Charmatz and Anne Teresa De Keersmaeker. Analysis will be explored in addition to wider concepts such as scores, collective composition and site-specific work. The main goals of this class are to provide students with the freedom to explore their own movement-based research interests and to develop their individual artistic voices within a structured environment. Students will also strengthen their presence, intuition, self-awareness and decision-making skills. |
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DANC 389W-1
Rose Beauchamp
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Students will write, choreograph, perform, implement and/or carry out research, performances and/or projects. All students, regardless of their trajectory (choreography, performance or interdisciplinary research) will write a senior thesis, develop & realize their projects under advisement, consider & discuss various career opportunities & develop curriculum vitae. Practice in grant-writing, budgeting, marketing & general arts management skills will be addressed when appropriate. Creative process, creative & critical thinking are a focus and are carried through to a culminating event, paper, or project. Internships, other coursework as part of the major, co-curricular dance activity, service learning and/or other related activity is meant to support this capstone research both in advance of and in simultaneity with this seminar. |
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DANC 209-1
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Qi Gong is a ancient Chinese internal art and an early forerunner of Tai Ji Quan. It is an Eastern Movement Discipline (EMD) which embodies a holism of Eastern martial arts and Eastern meditation. This course is a study of the philosophical roots, mindful practices and physical movements of Qi Gong in order to better understand and attain the integration of body, mind, and spirit. Topics will include traditional Chinese cultural concepts such as Yin-Yang theory, Five Element theory and Qi theory and their potential inclusion in modern Western culture. Qi Gong provides the dancer and athlete with healthy lifestyle practices and fitness training for better breathing, body awareness, focus and concentration, mental presence, imagery, and cultivating and expressing energy flow. |
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DANC 200-1
Anne Wilcox
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This course will focus on the structure and function of the skeletal and muscular systems primarily in order to explore efficiency of movement, alignment, and body connectivity. Additionally, the class will explore topics that promote well-being such as: nutrition, hydration, rest, joint health, injury prevention, basic injury treatments, and fitness and strength practices that support the demands of dance. The class will include reading, discussion, research, creative approaches, writing, and kinesthetic practice. The course requires 4 workshops that will be scheduled with the class outside of regular class time. For majors/minors/and clusters or permission from the instructor |
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DANC 208-1
Robert Loughridge
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A study of Taijiquan, (also known as Tai Chi Chuan or Tai Chi?), a traditional Chinese martial art, and its intimate relationship to the cosmological, physiological, and philosophical conceptions found in the culture and thought from which it emerged. The course investigates both the traditional Chinese philosophy and movement aspects of Tai Chi in order to better understand the integration of human body, mind, and spirit. The Simplified 24-Step Taijiquan (Ershisi Shi Taijiquan) is learned, along with the foundation skills of the Eight Methods or Energies (Ba Fa), Reeling Silk (Chan Si Gong), Pushing Hands (Tui Shou), and Standing Pole meditation (Zhan Zhuang). Tai Chi is not only a valuable cross training exercise for the dancer, but also provides training for relaxed strength, whole body coordination, balance, centered alignment, timing, weight shifting and moving with fluid grace. |
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DANC 266-1
Ripp Greatbatch
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Continuing technical development and comprehension and integration of theory into practice is the focus in this course. Students will practice contemporary dance experientially through examining dance concepts influenced by Laban/Bartenieff theories and by exploring complex choreographic combinations. Classes will explore continuity and connectivity, patterns of total body organization, efficiency of movement, momentum, musculo-skeletal anatomy, strength, alignment, weight sensing, rhythm and somatic practices to develop and improve technical skills. We will also investigate subtlety and individual expression in performance. Experience in dance required. Having already taken DAN250 is helpful. Audits will be approved with permission for dance majors only. |
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DANC 267-1
Ripp Greatbatch
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Continuing technical development and comprehension and integration of theory into practice is the focus in this course. Students will practice contemporary dance experientially through examining dance concepts influenced by Laban/Bartenieff theories and by exploring complex choreographic combinations. Classes will explore continuity and connectivity, patterns of total body organization, efficiency of movement, momentum, musculo-skeletal anatomy, strength, alignment, weight sensing, rhythm and somatic practices to deepen the investigation and mastery of technical skills. We will also continue to work on deepening the understanding or artistry as it pertains to subtlety and individual expression in performance. Pre-requisite: DAN 266: Intermediate Contemporary Dance |
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DANC 365A-1
Kerfala Bangoura
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Sansifanyi is an ensemble that combines academic study and performance for intermediate and advanced students of African drumming and dance. This course requires a high degree of student commitment. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists, and developing their own solo material. They will also focus on rhythmic timing, and on advanced skills such as how to combine movement with drumming. In addition to the time students spend in class, dancers will have weekly assignments researching, reading, writing, viewing videos, text and article analysis, practicing, and choreographing various rhythms, songs, movements, and sequences. Dancers must also be available for performances both on and off campus throughout the semester. |
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DANC 365B-1
Kerfala Bangoura
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Sansifanyi is an ensemble that combines academic study and performance for intermediate and advanced students of African drumming and dance. This course requires a high degree of student commitment. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists, and developing their own solo material. They will also focus on rhythmic timing, and on advanced skills such as how to combine movement with drumming. In addition to the time students spend in class, dancers will have weekly assignments researching, reading, writing, viewing videos, text and article analysis, practicing, and choreographing various rhythms, songs, movements, and sequences. Dancers must also be available for performances both on and off campus throughout the semester. Students in section B are required to successfully complete section A of this course in order to register. In addition to gaining an in-depth understanding of the history and culture, students in this section will expand their repertoire and improve their skills at dancing/drumming and performing. Students in section B will also gain teaching assistant skills by helping the students in section A with select choreographies taught in the course. Prerequisite: DANC 365 A |
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DANC 365C-1
Kerfala Bangoura
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Sansifanyi is an ensemble that combines academic study and performance for intermediate and advanced students of African drumming and dance. This course requires a high degree of student commitment. Dancers who enroll in Sansifanyi will learn choreographic techniques for West African dance and gain experience dancing as soloists, and developing their own solo material. They will also focus on rhythmic timing, and on advanced skills such as how to combine movement with drumming. In addition to the time students spend in class, dancers will have weekly assignments researching, reading, writing, viewing videos, text and article analysis, practicing, and choreographing various rhythms, songs, movements, and sequences. Dancers must also be available for performances both on and off campus throughout the semester. Students in section C are required to successfully complete section A and B of this course in order to register. Students in this section will advance in their performance and choreographic skills. Students will continue to serve as peer teachers both in and out of the classroom sessions by assisting students in learning the dancing and drumming. Students in this section will oversee the basic teachings of this course including leading preparatory warm up phrases as well as assisting students with known repertory while new materials is being developed for the class by the instructor. Students in this section are required to work on a research-based capstone dance project throughout the semester. Prerequisites: DANC 365 A and DANC 365 B. Audits are only allowed after the course has been taken for credit |
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DANC 276-1
Sara Penner
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“United States law says “Consent and agency over one’s body is a given in the work space.” How, then, can the performance workspace acknowledge and honor our boundaries, while nurturing us to risk, grow, and create our truest, bravest work? How can we as artists learn strategies to poetize the uncomfortable while honoring our boundaries? In this course, we study the history and evolution of consent in performance, allowing students to learn about personal agency, self-advocacy, and how to foster and navigate healthy collaboration across disciplines. The class will give young artists the space to discover and articulate their boundaries through a variety of group exercises and opportunities for self-reflection. Lectures will cover intimacy direction and rehearsal tools, discussions and guest lecturers on gender and feminist theory in relation to performance art, theatre, film and dance. This course is a must for artistic collaborators from directors & choreographers, to actors, musicians, technicians, and performance artists!”
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DANC 218-2
Debra Corea
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To facilitate establishing a personal practice, attendance will be required at meditation labs on Fridays online via Zoom.
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DANC 212-1
Jennifer Kyker
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Throughout much of Southern Africa, the word ngoma? means drum. It also refers to specific musical styles that combine drumming, dance, and song. Finally, there is often a ritual dimension to ngoma, which is used in ceremonies focused around individual and social healing. In this class, students will bring ngoma alive by learning to perform various Zimbabwean ngoma genres, with the option of specializing in either drumming or dance. Through video clips, audio recordings, photos, and articles, we will also learn to understand ngoma within a larger cultural framework.
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DANC 385-1
Anne Wilcox
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The primary focus of this class is to investigate key elements of performance. Students will perform a variety of work including guest artist and faculty repertory, structured improvisation, and their own choreography. The array of performance opportunities will hone their performance practice and cultivate the unique artistry of each dancer. Other key aspects of the course include attending multiple performances and performing for different audiences. The class will attend multiple Rochester Fringe dance/performances to observe and analyze important performance elements, and will perform for a Rochester Fringe show, for several community partner venues, and for UR audiences as well.
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DANC 260-1
Mariah Steele
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This course provides a forum for dance majors and minors, especially those with a concentration in Dance Studies, to develop their skills for conducting interdisciplinary, practice-based research. Through videos, readings and live events, we investigate the creative processes of professional dance artists making interdisciplinary work and explore in the studio how we might incorporate their processes into our own. We also consider how anthropologists, historians, scientists, educators and other scholars have approached studying dance from their interdisciplinary perspectives. Students enhance their practice-based research skills by developing and facilitating movement workshops, and choreographing a final project that translates research into a topic of their choice into a dance. Pre-requisites: Only available to majors and minors in the Program of Dance and Movement. Recommended to take your Junior year.
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DANC 242-1
Seth Reiser
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This is an introductory design course aimed at giving students exposure to light as a medium, lighting design, lighting equipment, and visual story telling for performance through class discussion, and practical work. This is a 2 credit course which meets on Fridays 12:30pm-3:30pm. Students should also be prepared to have some flexibility in our effort to create/design dance videos during the semester. More details to follow on the first day of class. |
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