Dance and Movement Studies

The study of dance in higher education encompasses the philosophical, social, scientific and anthropological aspects of movement. These elements are intertwined into the functional and aesthetic/expressive components of dance. Understanding the importance of our bodily movement and nonverbal communication, whether in daily life, in the studio, or on the stage is vital to a positive life experience. It is the first source of understanding who we are which helps us to operate in society and embrace the diversity of other cultures in the world. The creative process is at the core of how a person can investigate and integrate other disciplines, the crux of a liberal arts education. The choices and risks a student must take in the technical training and choreographic process reinforce the act of accepting responsibility and establishing a unique and informed point of view.

A concentration in dance and movement studies is suitable for any student who seeks creative, technical and intellectual challenges. Concentrators are expected to hold high academic standards, to attempt challenging artistic projects, and to create work that reflects individuality and potential. Members of the dance faculty work closely with students both in rehearsals and in class, which provides foundation needed to cultivate creative potential and presence.

A variety of courses are offered that explore the historical, kinesiological, social, movement behavioral, and creative components of dance. Concentrators develop an understanding of dance in relationship to the individual, everyday life, society and culture as well the demands and rewards of artistic work. Further specialization in performance and choreography is possible through a combination of coursework and independent study. Involvement in the various dance productions (student, faculty and guest artist works) as well as the American College Dance Conference held at a different college each year broadens and deepens students'''''''' awareness and skills beyond the classroom.

All courses may be electives for non-majors and serve to broaden their liberal arts education.

While many students choose to study dance further or perform professionally others utilize their understanding of the body and movement behavior to enrich their experience in whatever field they choose. It is our first source of understanding who we are which helps us to operate in society and live fuller lives.

112F Elementary Contemporary Dance.
Fundamentals of contemporary dance incorporating technique, theory and criticism. No previous dance training required., not open to Seniors Maximum enrollment, 25. Stanton.

113S Elementary Jazz Dance.
This course focuses on the basic movement principles found in contemporary jazz technique. The class will also focus on proper alignment and basic anatomical terminology. There will be several quizzes addressing the history of jazz dance as well as movement vocabulary. An introduction to critiquing dance works and several reviews of dance performances will be part of the grading criteria. Required Text: Jazz Dance, Giordano, Gus Maximum enrollment, 25. Elaine Heekin.

114F,S Elementary Ballet.
Beginner-level study of classical ballet with a focus on ballet's basic vocabulary in both barre and center floor exercises, studio-stage directions and designations for the classical positions of the body in space. Work on such stylistic aspects of ballet as musicality, dynamics and use of the head. Readings in kinesiology pertaining to muscular alignment analysis. No previous dance experience required. Maximum enrollment, 25. The Department.

141/142F,S Performance.
The study of dance through performance of a role in a main stage dance concert. Prerequisite, invitation of the department. One-quarter credit per semester. May be repeated for credit. The Department.

158F Performing Culture: Shamans, Tourists, and Cross-dressers.
Examination of performing arts across Asia from traditional theatre to contemporary pop culture, and how performance functions in society. Topics include shamanic rituals, "invented" traditions, tourism, cross-dressing, and other formations of sociocultural identities. The course will be open to first year students and have no prerequisites. (Same as Asian Studies 158 and Theatre 158.) Chuyun Oh.

180S Sound, Performance and Creativity.
An introduction to the development and use of sound in its relationship to performance. Topics include creation of original sound/movement structures, using vocal/body sounds as well as found objects; introduction to sound recording and the digital-audio workstation; aural analyses of music from a variety of genres to understand certain structures and aesthetics; analyses of group pieces developed in class workshops; creation of different types of non-traditional sound/movement scores;creation of audio recordings to be used in conjuncti0n with performances. Individual and group projects. No previous musical, dance or theatre experience required. Maximum enrollment, 14. Lloyd.

201F History of Dance.
Study of the theatrical, social and ritual aspects of dance through cross-cultural comparisons among dance forms. Exploration and analysis of such historical issues as the evolution of dances, the struggle to preserve traditional dances and dance fusions in a global society. Lectures, discussions and films. (Writing-intensive.) No previous dance training required. Maximum enrollment, 20. Paris Wilcox.

[203] Movement Analysis.
Observing, analyzing and recording movement using Laban's principles. Emphasis on cultural and aesthetic concepts of movement as a system of communication. Investigation of alignment techniques, movement behavior and kinesiological principles. No prior dance training required. Maximum enrollment, 15.

204S Pilates For Dance.
A focus on the basic exercises found in the Pilates method of body conditioning including various apparatus (mat, magic circle, reformer, barrel and cadillac). An overview of anatomy as it applies to the Pilates system will be addressed. The history and philosophical approach to the Pilates system will be included. The discipline focuses on the muscles that are the linchpin of good posture and a stable, strong core. Prerequisite, dance technique course taken within the department. Maximum enrollment, 16. Heekin.

205F Kinesiology.
An investigation of the musculoskeletal system and use of biomechanical principles to improve efficiency of motor behavior. Emphasis on joint, muscular and alignment analysis. Lectures, discussions and practical application of movement concepts. No prior dance training required. Maximum enrollment, 30. Walczyk.

208F Martial Arts and Dance.
An investigation into the relationship between martial arts and dance emphasizing the abstraction of movements of self-defense into dance. The study of many cultures that utilize body awareness and movement efficiency in their performance and fighting forms. A major component is the implementation of impact weapons such as olisi (Philippines/Malaysia) and the jo (Japan). Prerequisite, any dance, athletic or martial art experience. Maximum enrollment, 35. Walczyk.

213S Intermediate Contemporary Dance.
The study of contemporary dance incorporating technique and theory. Emphasis on alignment and efficiency of movement focusing on increasing strength and flexibility. May be repeated for credit. Prerequisite, Dance 112, 113, or 114 or permission of instructor. Maximum enrollment, 25. Heekin.

[215S] Intermediate Ballet.
Continuation of the study of ballet. Technique classes are combined with studies in kinesiology, dance theory and dance criticism. May be repeated for credit. Prerequisite, 114, or consent of instructor. Maximum enrollment, 25.

[216] Intermediate Jazz Dance.
Prerequisite, Any dance training in contemporary, ballet or jazz. Developing the technical skill and comprehension of jazz vocabulary and history beyond the elementary level. Focusing on proper alignment and increasing strength, flexibility, enduence as applied to jazz technique. Maximum enrollment, 25.

[250] Ballet in the Twentieth Century.
Study of the history of ballet from the Imperial Ballet of the Tsars to the present. Study of Diaghilev's Ballets Russes, the Ballet Russe de Monte Carlo, New York City Ballet, American Ballet Theatre, the Royal Ballet of England and the Kirov and Bolshoi of Russia. Examination of aesthetic principles and their influence on the development of modern ballet. Study of dancers, choreographers, composers and visual artists associated with the ballet world. (Writing-intensive.) No previous dance experience required. Maximum enrollment, 20.

[305] Composition.
A study of the elements of choreography, emphasizing personal development in movement invention, phrasing and design. Improvisation, costume, set, props, music and technical theatre are introduced. Prerequisite, consent of instructor. Maximum enrollment, 15.

307F Choreography.
The application of fundamentals from 305 to more complex choreographic work, incorporating set, props, costume and text. Exploration and analysis of other art forms as related to dance composition. Prerequisite, 305 or consent of instructor. Maximum enrollment, 15. Walczyk.

308S Advanced Martial Arts and Dance.
A continuation of 208, emphasizing martial arts from Africa, Asia, Southeast Asia and South America. Students will study cultural background, history, philosophy and terminology along with practical application of movement theories. Prerequisite, 208 or consent of instructor. Maximum enrollment, 25. Walczyk.

[313] Advanced Contemporary Dance and Repertory.
The study of contemporary dance incorporating technique and theory. Emphasis on performance techniques and ability to comprehend the conceptual framework of movement. Supplemental training in Pilates, jazz and yoga. Guest artists invited each year to teach master classes. May be repeated for credit. Prerequisite, 213 or consent of instructor. Required for students to perform in a faculty or guest artist's work for the Family Weekend Concert. Maximum enrollment, 25.

315F Advanced Ballet.
The study of classical ballet emphasizing style and performance quality in addition to technical mastery of the ballet vocabulary. Meets five times weekly. While out-of-class assignments are minimal, daily attendance, effort and consistent improvement in the technical and stylistic aspects of this art form are of critical importance. May be repeated for credit. Prerequisite, 215 or consent of instructor. Maximum enrollment, 25. Stanton.

322S Men On Stage: Masculinity and Desire in Physical Performance.
An interdisciplinary exploration of masculinity through the analysis of male performers from concert dance to pop culture. Students will examine how the male body onstage has constructed traditional or non-conventional notions of masculinity, sexuality, and desire across time and space. Themes include male performers in hip-hop, drag, ballet, modern dance, theatre, musical, cross-dressing, and pop music videos from early modern to contemporary era. The class will consist of lectures, discussions, student presentations, and creative responses and activities. No prior performance experience is necessary. (Same as Women's and Gender Studies 322 and Theatre 322.) Oh, Chuyun.

550F,S Senior Thesis.
A research paper or a field study in movement behavior and its analysis/notation. Open to senior concentrators only. The Department.

560F,S Senior Performance/Choreography.
A performance of dance works, the choreography of dance works or both. Substantial written component comprising research into the historical, theoretical and socio-cultural contexts of the chosen work. Following submission of the monograph and completion of production, each student will participate in the evaluation of her/his project with an evaluating committee. Open to senior concentrators only. The Department.