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Course Criteria
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1.00 Credits
Ballet history from 1500 through 1910 studied through the lens of contemporary science and philosophy, and as facilitated by technological developments. Ballet's beginnings in the Italian City-States of the Renaissance and the court of Louis XIV of France, to the classical ballet form forged by Marius Petipa in Russia. Topics include: Descartes' principles of reason and mathematics made manifest in the aristocratic world view, physical behavior and Ballets du Cour at the court of Louis XIV; gas lighting, hashish, French Romanticism and ballet iconography in theatrical presentation of the Romantic period; the human body as machine and the development of ballet technique. Instructor: Dickinson and Walters
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1.00 Credits
Works by Fokine, Nijinski, Balanchine, Tudor, Tharp, Forsythe, and other major choreographers in the classical idiom, and how they initiated, influenced, absorbed and responded to modernist and post-modernist ideas and trends. The transformation of the classical aesthetic through the century. Instructor: Walters
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1.00 Credits
Modern dance as an art of individuals who created new dance styles that challenged established systems of culture and pushed the boundaries of good taste. Reflection and commentary on contemporary mores and events, international influences from France, new anthropological studies, German expressionism and the religions of Asia, Native Americans and African Americans. The Americanization of theatrical dance in the bicultural environment of the United States during the 1930s and '40s. Instructor: Dickinson or Shah
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1.00 Credits
An examination of American modern dance since the 1950s, which reinstructed what kinds of movements were considered ''dance'' and what kind of dance was considered art. Postmodern dance as iconoclastic and inclusive, embracing performance art and film, theater and hip hop, fostering the rebirth of modern dance in Europe between 1970-90, and now re-absorbing and recycling the new forms it helped to create. Videos of dancing, guests, workshops, performances. Instructor: Shah
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1.00 Credits
The basic elements of movement (time, space, weight, flow) and their choreographic applications explored through structured improvisation, short movement studies, viewing of videotaped dances, and selected readings. Experimentation with devices for movement manipulation and choreographic forms through longer movement studies. Prerequisite: a beginning level dance technique course (modern, ballet, jazz, or African) or consent of instructor. Instructor: Dickinson, Khalsa, or Woods Valdés
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1.00 Credits
Continuation of the basic elements of movement, choreographic devices and forms explored in 135S. The use of props, sets, lighting and costuming; the relationship of music to dance. Choreographing and directing ensembles. Prerequisite: Dance 135S or consent of instructor. Instructor: Dickinson or Khalsa
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1.00 Credits
The makings of solo performance. Creation of personal presentation through journal writing, memory exploration, and personal interests. Exploration of text through voice work, storytelling, and choreography of the solo performer through movement, gesture, and props. Previous theater or dance experience required. Instructor: Staff
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1.00 Credits
National and regional forms of dance and dance-theatre of India. Ancient treatises on Indian dramaturgy, and the expressive interpretation of the poetics in the traditional forms of performance. Rasa theory of aesthetic rapture and audience reception. Social forms of entertainment in their cultural context. Colonialism and nationalism in relation to classical dance; dance as an integral component of the national and regional identity of the people; dance as an emerging public culture in post-independence India; Indian dance in Diaspora. Guest artists, videos, and dance demonstrations. Instructor: Shah
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1.00 Credits
Asian dance and dance theater performance genres and the cultural aesthetics that inform them. Cultural traditions of China, Korean, Japan, India, Indonesia, Thailand and Cambodia. Religious, ritual, folk and royal court forms of artistic performance. The mythology, legends and symbolic interpretations that underlie the thematic core of these performance traditions; spiritual importance of disciplined training; the intercultural translation and adaptation of Asian performance disciplines to the West. Instructor: Shah
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1.00 Credits
The functional anatomy of the musculoskeletal system (muscles, bones, and joints) as specifically applied to dance technique approached through observation, analysis, and movement exploration. Concepts of efficient use and questions of misuse of the body in motion or at rest. Instructor: Staff
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