Spring Term Schedule
Spring 2022
| Number | Title | Instructor | Time |
|---|
|
DANC 106-1
Anne Wilcox
M 10:25AM - 11:40AM
|
|
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 and Minors or permission of instructor”.
|
|
DANC 106-2
Anne Wilcox
W 12:30PM - 1:45PM
|
|
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 and Minors or permission of instructor.
|
|
DANC 109-1
Rose Beauchamp
M 11:50AM - 1:05PMW 11:50AM - 1:05PM
|
|
In this class, students will learn the basics of costume design for dance. Students will gain hands on experience in sewing and costume making as they explore elemental design concepts including color, texture, and line. Students will take on the role of costume designer for the Program of Dance + Movement’s dance concert, working with choreographers to envision, design and craft costumes.
|
|
DANC 110-1
Rose Beauchamp
TR 12:30PM - 1:45PM
|
|
Introduction to dance technique, specifically in Jazz, Ballet and Contemporary Modern Dance. Emphasis will be on the development of basic skills, energy, strength, control, breath, alignment, continuity and connectivity, and rhythmic and bodily awareness. No prior training is necessary or expected.
|
|
DANC 114-1
Cloria Sutton-Dowdell
MW 2:00PM - 3:15PM
|
|
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 160-1
Mariah Steele
TR 2:00PM - 3:15PM
|
|
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 Anne Bogart, William Forsythe and Laban Movement 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.
|
|
DANC 171-1
Todd Russell
MW 4:50PM - 6:20PM
|
|
An art form of self-defense with aerobic and dance elements that brings together these harmony of forces. Through looking into history, movement and culture, students will gain self-confidence, power, flexibility, and endurance in a positive environment with proper progressions. Open to those of any background and fitness level. Capoeira allows you to balance the body, mind, and soul by enabling one to break through limits and revitalize oneself for everyday life.
|
|
DANC 190-1
Katrina Scott
MW 6:30PM - 7:45PM
|
|
Traditional Folkloric roots of Middle Eastern Dance, focusing on specific Bedouin dance styles of North Africa (Raks Shaabi). Discourse and research will address issues of gender and body image. Improving strength, flexibility and self-awareness of the body, the class work will include meditative movement, dance technique, choreography and improvisation. No prior dance experience necessary.
|
|
DANC 195-1
Mariah Steele
TR 11:05AM - 12:20PM
|
|
Exploration of world cultures through dance. Dance literacy through movement and embodied dance history. Investigates historical and anthropological significance of dance as well as provides an experience of the movement qualities of different world cultures.
|
|
DANC 211-1
Robert Loughridge
TR 3:25PM - 4:40PM
|
|
Dancers, musicians, actors, painters, philosophers, poets, warriors, healers, and artists of every discipline historically have utilized the Chinese internal arts of Tai Chi and Qi Gong as tools for the mobilization of qi, or energy, in order to achieve health, healing, and mind-body-spirit integration. This course combines movement, meditative, and breathing exercises and traditional forms with readings, video viewings, creative exercises, exploratory projects, and discussions of literature and philosophy to explore how the practice and philosophy of these transformative arts can lead to mental and physical balance, body-mind integration, self-discovery, creative expression, and peak athletic and enhanced artistic performance. (Four Credit Hours).
|
|
DANC 218-1
Debra Corea
MW 8:40AM - 10:10AM
|
|
This experiential course invites pausing and reflecting on the habits of mind. Cultivate awareness of the present moment, which is the only moment available to learn and live. 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 DANC 218 meditation labs on specified Fridays. You must register for Lab when registering for the main section. Cluster: Mind-Body Somatics
|
|
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
|
|
DANC 228-1
Mariah Steele
MW 12:30PM - 1:45PM
|
|
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 230-1
Debra Corea
MW 10:25AM - 12:20PM
|
|
Freshly experience inhabiting a human body and its postural alignment through the deep work of noticing and embracing anatomical processes. A counter-pose to the pressures of college life, discover embodiment as a resource for self-awareness, support, ease, and stress relief. Show up, slow down, pay attention, meditate, feel, sense, and relax. Explore form and the nature of mind through yogic practices. Color anatomical drawings, read about human structures, reflect on one’s unique living anatomy, write responses, join inquiry discussions, and adopt simple daily practices outside of class. Students are required to schedule a 1:1 meeting with the instructor outside of regular class time to design a project based on their distinct interests and needs. This class incorporates various aspects of the 8 limbs of yoga, particularly self-study. For a more movement focused yoga course see DANC 114 and DANC 225. Contact the instructor for more information and admittance to the course. Open to Juniors and Seniors. Cluster: (H1DAN009) Mind-Body Somatics
|
|
DANC 235-1
Anne Wilcox
TR 11:05AM - 12:20PM
|
|
If there is one thing we, as humans, can count on, it’s that things change. Whether on a cellular, environmental, political, ideological, or physical level, change is a constant in our lives and in our world. This new Humanities for Life course will incorporate multiple disciplines to provide greater scope and perspective on change and observe how artists from dance, music, and fine arts have creatively explored the subject. Psychology, Economic, Political Science, Linguistic, and Sustainability scholars will contribute to the course’s rich discussion and investigation. “What is my personal relationship with change?” is one of the course’s primary questions. As a final creative project, students will use movement, writing, music, art, and/or spoken word to express their own ideas about change. Classes will regularly explore embodied practice, creative and reflective writing, and expansive discussion to dive into this important inquiry.
|
|
DANC 242-1
Seth Reiser
M 1:15PM - 3:15PM
|
|
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 and meets throughout the semester from 1:15pm-3:15pm on Mondays. Students will be required to attend dance performances and will help install the light plot. The class is built around specific performance dates that will provide the students with an opportunity to light a dance piece.
|
|
DANC 253-1
Kerfala Bangoura
MW 3:25PM - 4:40PM
|
|
Experience dancing African styles from traditional cultures of Guinea, West Africa, as well as studying cultural history and context from which and in which they are practiced and performed. Technical emphasis will focus on musicality and complex choreographicarrangement. Students will practice dances and drum songs. Required outside work includes performance attendance, video viewing, text and article analysis, research and written work.
|
|
DANC 253-2
Kerfala Bangoura
F 3:30PM - 4:45PM
|
|
Experience dancing African styles from traditional cultures of Guinea, West Africa, as well as studying cultural history and context from which and in which they are practiced and performed. Technical emphasis will focus on musicality and complex choreographicarrangement. Students will practice dances and drum songs. Required outside work includes performance attendance, video viewing, text and article analysis, research and written work.
|
|
DANC 254-1
Cheryl Johnson
MW 10:25AM - 11:40AM
|
|
An examination of the origins and the evolution of the art of tap dancing in American History. Tap dancing is a twentieth century term, but the practice it labels is much older, at least as old as the United States.? (What The Eye Hears: A History of Tap Dancing by Brian Seibert). The branches of the jazz dance tree are many and variedAnother branch on the tree represents tap dance, which shares most of the rhythmic proclivities of jazz dance, but expresses them mainly through the feet.? (Jazz Dance: A History of the Roots and Branches edited by Lindsay Guarino and Wendy Oliver). Through lecture, video & practice we will examine the art of tap dancing.
|
|
DANC 266-1
Rose Beauchamp
TR 9:40AM - 10:55AM
|
|
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 DANC 250 is helpful.
|
|
DANC 267-1
Rose Beauchamp
TR 9:40AM - 10:55AM
|
|
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: DANC 266: Intermediate Contemporary Dance
|
|
DANC 268-1
Nanako Mandrino
TR 11:05AM - 12:20PM
|
|
Practice and performance of classical and contemporary ballet with a contemporary approach in order to serve the dancer of any style of movement. Within the ballet form, classes will explore efficiency of movement, breath, anatomical mechanics, strength, alignment and through-line, weight, rhythmic accuracy, clarity of space, shape and effort, and somatic practices to develop and improve technical skills. Prerequisites: DAN 116 or permission from Instructor.
|
|
DANC 279-01
Missy Smith
–
|
|
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. |
|
DANC 288-1
Rose Beauchamp
MW 9:00AM - 10:15AM
|
|
This course serves as an introduction to the basic principles of Laban Movement Analysis (LMA) and Bartenieff Fundamentals (BF) as systems for analyzing the complexity of human movement based on the theories of Rudolf Laban and Irmgard Bartenieff. Course includes an exploration of relevant historical and contextual information, the theoretical frameworks of Body, Shape, Space, and Effort, and patterns of total body connectivity. Course content will be examined through movement experiences, performance, observation, improvisation, film/video viewing, readings, group discussions, and written assignments. Descriptive analysis, contextual interpretation and creative collaborations are integral to the course. Additionally, the multidisciplinary applications of LMA and BF will be addressed.
|
|
DANC 305-1
Missy Smith
TR 9:40AM - 10:55AM
|
|
This is a community engaged course where students will be guided in working with women in recovery, elders and others with specific needs through collaboratively designed plans and projects with community partners. Each project will be tailored to fit the unique needs of the partner communities after students have learned about the organizational missions and have worked in collaboration with partners to design mutually beneficial dance or movement experiences. The focus of each project may range from awareness raising, community building, collaboration, personal expression through dance, self-care, mindfulness, conflict resolution and more. Students are expected to visit community sites and carry out project activities that fall outside of regular class meetings. Transportation will be provided where necessary.
|
|
DANC 360W-1
Anne Wilcox
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.
|
|
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. Prerequisite: Audition on first day of class or for dancers, one of the following: DANC 181/182, DANC 283, DANC 253, DANC 285: For drummers one of the following: MUSC 168A, MUSC 168B, MUSC 146
|
|
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
|
|
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.
|
|
DANC 391-1
–
–
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
Spring 2022
| Number | Title | Instructor | Time |
|---|---|
| Monday | |
|
DANC 106-1
Anne Wilcox
|
|
|
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 and Minors or permission of instructor”. |
|
|
DANC 109-1
Rose Beauchamp
|
|
|
In this class, students will learn the basics of costume design for dance. Students will gain hands on experience in sewing and costume making as they explore elemental design concepts including color, texture, and line. Students will take on the role of costume designer for the Program of Dance + Movement’s dance concert, working with choreographers to envision, design and craft costumes. |
|
|
DANC 242-1
Seth Reiser
|
|
|
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 and meets throughout the semester from 1:15pm-3:15pm on Mondays. Students will be required to attend dance performances and will help install the light plot. The class is built around specific performance dates that will provide the students with an opportunity to light a dance piece. |
|
| Monday and Wednesday | |
|
DANC 218-1
Debra Corea
|
|
|
This experiential course invites pausing and reflecting on the habits of mind. Cultivate awareness of the present moment, which is the only moment available to learn and live. 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 DANC 218 meditation labs on specified Fridays. You must register for Lab when registering for the main section. Cluster: Mind-Body Somatics |
|
|
DANC 288-1
Rose Beauchamp
|
|
|
This course serves as an introduction to the basic principles of Laban Movement Analysis (LMA) and Bartenieff Fundamentals (BF) as systems for analyzing the complexity of human movement based on the theories of Rudolf Laban and Irmgard Bartenieff. Course includes an exploration of relevant historical and contextual information, the theoretical frameworks of Body, Shape, Space, and Effort, and patterns of total body connectivity. Course content will be examined through movement experiences, performance, observation, improvisation, film/video viewing, readings, group discussions, and written assignments. Descriptive analysis, contextual interpretation and creative collaborations are integral to the course. Additionally, the multidisciplinary applications of LMA and BF will be addressed. |
|
|
DANC 230-1
Debra Corea
|
|
|
Freshly experience inhabiting a human body and its postural alignment through the deep work of noticing and embracing anatomical processes. A counter-pose to the pressures of college life, discover embodiment as a resource for self-awareness, support, ease, and stress relief. Show up, slow down, pay attention, meditate, feel, sense, and relax. Explore form and the nature of mind through yogic practices. Color anatomical drawings, read about human structures, reflect on one’s unique living anatomy, write responses, join inquiry discussions, and adopt simple daily practices outside of class. Students are required to schedule a 1:1 meeting with the instructor outside of regular class time to design a project based on their distinct interests and needs. This class incorporates various aspects of the 8 limbs of yoga, particularly self-study. For a more movement focused yoga course see DANC 114 and DANC 225. Contact the instructor for more information and admittance to the course. Open to Juniors and Seniors. Cluster: (H1DAN009) Mind-Body Somatics |
|
|
DANC 254-1
Cheryl Johnson
|
|
|
An examination of the origins and the evolution of the art of tap dancing in American History. Tap dancing is a twentieth century term, but the practice it labels is much older, at least as old as the United States.? (What The Eye Hears: A History of Tap Dancing by Brian Seibert). The branches of the jazz dance tree are many and variedAnother branch on the tree represents tap dance, which shares most of the rhythmic proclivities of jazz dance, but expresses them mainly through the feet.? (Jazz Dance: A History of the Roots and Branches edited by Lindsay Guarino and Wendy Oliver). Through lecture, video & practice we will examine the art of tap dancing. |
|
|
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 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 253-1
Kerfala Bangoura
|
|
|
Experience dancing African styles from traditional cultures of Guinea, West Africa, as well as studying cultural history and context from which and in which they are practiced and performed. Technical emphasis will focus on musicality and complex choreographicarrangement. Students will practice dances and drum songs. Required outside work includes performance attendance, video viewing, text and article analysis, research and written work. |
|
|
DANC 171-1
Todd Russell
|
|
|
An art form of self-defense with aerobic and dance elements that brings together these harmony of forces. Through looking into history, movement and culture, students will gain self-confidence, power, flexibility, and endurance in a positive environment with proper progressions. Open to those of any background and fitness level. Capoeira allows you to balance the body, mind, and soul by enabling one to break through limits and revitalize oneself for everyday life. |
|
|
DANC 190-1
Katrina Scott
|
|
|
Traditional Folkloric roots of Middle Eastern Dance, focusing on specific Bedouin dance styles of North Africa (Raks Shaabi). Discourse and research will address issues of gender and body image. Improving strength, flexibility and self-awareness of the body, the class work will include meditative movement, dance technique, choreography and improvisation. No prior dance experience necessary. |
|
| Tuesday and Thursday | |
|
DANC 267-1
Rose Beauchamp
|
|
|
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: DANC 266: Intermediate Contemporary Dance |
|
|
DANC 266-1
Rose Beauchamp
|
|
|
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 DANC 250 is helpful. |
|
|
DANC 305-1
Missy Smith
|
|
|
This is a community engaged course where students will be guided in working with women in recovery, elders and others with specific needs through collaboratively designed plans and projects with community partners. Each project will be tailored to fit the unique needs of the partner communities after students have learned about the organizational missions and have worked in collaboration with partners to design mutually beneficial dance or movement experiences. The focus of each project may range from awareness raising, community building, collaboration, personal expression through dance, self-care, mindfulness, conflict resolution and more. Students are expected to visit community sites and carry out project activities that fall outside of regular class meetings. Transportation will be provided where necessary.
|
|
|
DANC 195-1
Mariah Steele
|
|
|
Exploration of world cultures through dance. Dance literacy through movement and embodied dance history. Investigates historical and anthropological significance of dance as well as provides an experience of the movement qualities of different world cultures. |
|
|
DANC 235-1
Anne Wilcox
|
|
|
If there is one thing we, as humans, can count on, it’s that things change. Whether on a cellular, environmental, political, ideological, or physical level, change is a constant in our lives and in our world. This new Humanities for Life course will incorporate multiple disciplines to provide greater scope and perspective on change and observe how artists from dance, music, and fine arts have creatively explored the subject. Psychology, Economic, Political Science, Linguistic, and Sustainability scholars will contribute to the course’s rich discussion and investigation. “What is my personal relationship with change?” is one of the course’s primary questions. As a final creative project, students will use movement, writing, music, art, and/or spoken word to express their own ideas about change. Classes will regularly explore embodied practice, creative and reflective writing, and expansive discussion to dive into this important inquiry.
|
|
|
DANC 268-1
Nanako Mandrino
|
|
|
Practice and performance of classical and contemporary ballet with a contemporary approach in order to serve the dancer of any style of movement. Within the ballet form, classes will explore efficiency of movement, breath, anatomical mechanics, strength, alignment and through-line, weight, rhythmic accuracy, clarity of space, shape and effort, and somatic practices to develop and improve technical skills. Prerequisites: DAN 116 or permission from Instructor. |
|
|
DANC 110-1
Rose Beauchamp
|
|
|
Introduction to dance technique, specifically in Jazz, Ballet and Contemporary Modern Dance. Emphasis will be on the development of basic skills, energy, strength, control, breath, alignment, continuity and connectivity, and rhythmic and bodily awareness. No prior training is necessary or expected. |
|
|
DANC 360W-1
Anne Wilcox
|
|
|
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. |
|
|
DANC 160-1
Mariah Steele
|
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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 Anne Bogart, William Forsythe and Laban Movement 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 211-1
Robert Loughridge
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Dancers, musicians, actors, painters, philosophers, poets, warriors, healers, and artists of every discipline historically have utilized the Chinese internal arts of Tai Chi and Qi Gong as tools for the mobilization of qi, or energy, in order to achieve health, healing, and mind-body-spirit integration. This course combines movement, meditative, and breathing exercises and traditional forms with readings, video viewings, creative exercises, exploratory projects, and discussions of literature and philosophy to explore how the practice and philosophy of these transformative arts can lead to mental and physical balance, body-mind integration, self-discovery, creative expression, and peak athletic and enhanced artistic performance. (Four Credit Hours). |
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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. Prerequisite: Audition on first day of class or for dancers, one of the following: DANC 181/182, DANC 283, DANC 253, DANC 285: For drummers one of the following: MUSC 168A, MUSC 168B, MUSC 146 |
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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 106-2
Anne Wilcox
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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 and Minors or permission of instructor. |
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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 |
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DANC 253-2
Kerfala Bangoura
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Experience dancing African styles from traditional cultures of Guinea, West Africa, as well as studying cultural history and context from which and in which they are practiced and performed. Technical emphasis will focus on musicality and complex choreographicarrangement. Students will practice dances and drum songs. Required outside work includes performance attendance, video viewing, text and article analysis, research and written work. |
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