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Course Criteria
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2.00 Credits
Primarily a studio course of classes combining contemporary modern dance technique, some balletic barre work, and instruction in the Michio Ito method. Inspired by elements in his own training at the Dalcroze Institute, Ito preceded Martha Graham in developing a systematized approach to modern dance that reflected the artist's individual aesthetic preferences and that played a role in his choreography. The course examines similarities and contrasts between contemporary modern dance training and the Ito method, which emphasizes development of musicality, coordination, and performing presence. Some reading and video material and one final project with both written and movement components. Prerequisite: upper-level placement in modern dance, ballet, or jazz.
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3.00 Credits
This class is designed for all levels of undergraduate students. The class provides students with an outline and historical background of contemporary dance development in Asia. The course covers dances from India, Japan, Korea, and Southeast Asia, as well as China, Hong Kong, and Taiwan. Students read and discuss the issues of identity and aesthetic of contemporary dance, and also examines these issues through theories of cultural study, post-colonialism, diaspora, essays on various performances, and dance works related to the topics. This class also helps students get a better understanding of the Asian dance community in the postmodern and globalized world through lectures, observations, demonstrations, practices, and discussions. Ideally, students leave this course with a general knowledge of contemporary dance history and the most updated information on these Asian countries.
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2.00 Credits
The mind and the body are not only connected, they are a fundamental unity, always functioning in a coordinated state. Whether or not we coordinate them well or badly is a choice we make, whether we are conscious of choosing or not. Many so-called "physical" exercises, activities, and arts suffer from a lack of adequate skills of sensation, attention, perception, and conscious control. Conversely, many so-called "mental" activities lack adequate awareness of the physiological, bodily underpinnings of thought. Like a person learning to play a musical instrument, one's ability to coordinate the mental and physical aspects of Self toward one's best personal potential is a skill requiring study of strategies and techniques for good practice in "being well." Such ideas and methods are not "new age," but can be traced back through more than a century in the work of investigators such as F.M. Alexander, progressive educator John Dewey, anthropologist Raymond Dart, and many others. Through direct experience and related readings, this class introduces students to "somatic," or "integral" practices-activities that are inherently more effective at developing the aspects of Self in a coordinated and authentically holistic manner. We then learn to apply our understanding to all kinds of activities, both mental and physical, from chores to exercise, from arts to sports, from hobbies to vocations. Some kind of prior movement training (e.g., athletics, martial arts, dance, etc.) is preferable, but not required.
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3.00 Credits
This course examines the origins and major developments in ballet theory, technique, and production practice, emphasizing their relationship to concepts of ethnicity and classicism. Issues considered include: the influence of classic Greco-Roman theater on the themes, aesthetic ideals, and theorization of ballet; analysis of ethnic content not only in thematic material but in ballet movement vocabulary and training process; the conscious reformulation in the United States of European ballet as an equally American art form; the expansion of Euro-American "classical ballet" in the work of Balanchine and Tudor; the appropriation of ballet by non-Western countries (such as China and Japan) and its impact on native dance genres; typical construction of the ballet dancer's body and movement, including gender definition, in relationship to a specific ethnic community context. Seminar format with lectures, discussion, and video materials. Three five- to seven-page papers and final. No prerequisites.
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3.00 Credits
Students are introduced to the city's rich artistic history as well as the world of contemporary movement arts in Europe through two weeks of dramaturgical field research in Paris. With a diversified sampling of performances, museum visits and discussions animated by program faculty, students experience hands-on the rich history Paris has on display. Museums visited include the Musée du Louvre, Musée de la Mode et du Costume, Musée d'Orsay, Centre Georges Pompidou, Musée des Arts et Métiers, Musée Cluny, and the Rodin Museum. Museums and live performances serve as our main "books" for this intensive hands-on course. Museum visits and performances are supplemented by readings and assignments on a chosen theme and performance history; and regular seminars with the specific aim of investigating a variety of dramaturgical approaches that contemporary European directors employ when considering the use of objects, props, costume design, sound design, lighting design, and movement. Additionally, students attend several contemporary dance theater performances.
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3.00 Credits
Continuing upon the field research carried out in Paris, student work groups begin to concretize their creative projects at a rural retreat center for artists in Burgundy, France. Beginning with a day of intensive introduction to design and construction principles in accordance with the program theme, the design faculty helps students prepare for the "Imagination Fair" presentations that mark the midway point and serve to launch each group's creative process collaboration in Mélisey. After these presentations, students get to work on realizing their choreography and construction projects: the collaborative creation of dances (solos, duos. and trios) using a variety of found objects, props, costumes, and/or instruments created by dancers and designers for the final production. Each year, in addition to the U.S. teaching faculty, a number of European artists active in their profession offer valuable master classes that coincide with the program theme and help prepare students for their final projects. Work hours are interspersed with French-language meals during which students are encouraged to speak French with the host family and with their peers and teachers. Additional field trips are organized to introduce students to the rich cultural and agricultural heritage of the Burgundy region. Prerequisites: Dance 360 (Made in France I: Old Paris/New Europe).
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3.00 Credits
Same as Drama 372
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1.00 - 3.00 Credits
Students may receive credit for work on special dance-related production projects conceived by students and supervised by faculty. Contracts must be signed by the student, faculty supervisor, and the coordinator of Dance 400 before work on the project commences. Students should register for this course after work is completed. Prerequisite: permission of the dance faculty. Credit to be determined in each case.
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3.00 Credits
Emphasis on versatility in movement vocabulary and on more complex and intensive technical work with discussion of theory inherent in the studio work. Related reading and projects. Variable content; may be repeated for credit in a subsequent semester. Prerequisite: Dance 302 or permission of the instructor.
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3.00 Credits
Continuation of Dance 401 with emphasis on more complex and intensive technical work. Variable content; may be repeated for credit in a subsequent semester. Prerequisites: Dance 401 and permission of the instructor.
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