String Chamber Ensemble — MPF4235.01
Music for string ensemble to be selected according to number and level of participants.
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Structural Geology and Field Methods — ES4104.01
Students in this course will learn to visualize and analyze the three-dimensional, dynamic complexity of the solid Earth. Understanding how our planet works requires knowing how to extrapolate limited surface data downward to unseen depths using geometric tools and logical abstractions. The class includes a significant field component to learn data collection techniques. In
Structure and Function of Biomolecules — CHE4278.01
How do collections of inanimate molecules drive complex biological processes that define what it means to be living? There is no simple answer. This course introduces the chemical and physical properties of biological building blocks, with an emphasis on the structure and reactivity of biological macromolecules. These macromolecules are examined in detail to understand how
Structure and Interpretation of Computer Programs — CS4380.01
A classic computer science textbook, SICP (Structure and Interpretation of Computer Programs, also known as "the wizard book") is a deep examination of some of the core ideas of programming and computer science, including an introduction to functional programming, mutable state, register machines, and building a compiler from first principles. This course will work through its
Structures of Power in Society — ANT2210.01
Behind any social scene, mundane or extraordinary, lie structures of power. The goals of anthropology include unmasking these structures–the deep complexities of how humans organize themselves in groups. In this course we will explore the structures of gender, kinship, sexuality, race, ethnicity, and class to learn and develop analytical tools to navigate carefully, see deeply
Structures of Power in Society — ANT2210.01
Behind any social scene, mundane or extraordinary, lie structures of power. The goals of anthropology include unmasking these structures--the deep complexities of how humans organize themselves in groups. In this course we will explore the structures of gender, kinship, sexuality, race, ethnicity, and class to learn and develop analytical tools to navigate carefully, see deeply
Student to Student: A College Access Mentoring Program at Mount Anthony Union High School — APA4132.02
In this course college student mentors will work with high school student mentees to develop college aspirations and contribute to mentees’ knowledge about the college application process. Each week college students will meet with the instructor for the first two hour block on the Bennington College campus in which we will discuss literature about mentoring and college access,
Student to Student: A College Access Mentoring Program at Mount Anthony Union High School — APA4132.01
In this course, college student mentors will work with high school student mentees to develop college aspirations and contribute to mentees’ knowledge about the college application process. Each week college students will travel to Mount Anthony Union High School to meet with their college student mentees for an hour. We will then return to Bennington College campus for the
Studies in American Music History — MHI4103.01
Citizens of Bennington College make music---and listen to music---in America. What does that mean? Obscure corners of the American past still ring in the music we make, but we play on unaware. Why do we like this music but not that? How are our tastes shaped by a heritage we know little or nothing about? The dark sins of minstrel music that tracked into Broadway and Hollywood
Studies Lab — DAN5402B.01
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is it different than research? Or, as Kevin Quashie suggests, does it perhaps re-situate the activities of
Studies Lab — DAN5402B.01
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps re-situate the activities of
Studies Lab — DAN5402B.01, section 1
Where and how does study happen? What is the value of study, and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter, and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps
Studies Lab — DAN5402B.02, section 2
Where and how does study happen? What is the value of study, and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter, and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps
Studies Lab — DAN5402B.01
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps re-situate the activities of
Studies Lab — DAN5402B.02
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is study different than research? How? Or, as Kevin Quashie suggests, does study perhaps re-situate the
Studies Lab — DAN5402B.01, section 1
Where and how does study happen? What is the value of study, and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter, and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps
Studies Lab — DAN5402B.02, section 2
Where and how does study happen? What is the value of study, and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter, and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps
Studio Practice + Process: Afro-Contemporary Performance Making: Sampling + Poetics + Sonics — DAN4805B.01
Morning sessions of the course will explore the connection between traditional West African grooves and contemporary/modern modalities. The expression of polyrhythms through House Music, Afrobeat, Afro Jazz and traditional West African sonics act as a compass toward the manipulation of rhythm. Writing + improvisation will be tools we use to wander through the voicing of
Studio Practice + Process: Dreaming as Code: Somatic Time Travels, Grooves, and Otherwise — DAN4823B.04
Studio Practice sessions will be a divulgence into pleasure practices. Students will engage in improvisation practices rooted in methods of bone deep listening, memory work, call and response, collective dream mapping, and storytelling. Phrasework will be offered as an invitation to engage in polyrhythmic technicality, groove based aesthetics, and playfulness in rigor and risk
Studio Practice + Process: Insistence/Persistence: Dancing/Drawing/Writing — DAN4808B.03
Morning sessions will begin with guided research practices that examine relationships between curiosity, desire, strength, organizations of effort/force and ideology/aesthetics: practices of critical physicality! Phrase-work will be shared as a portal to play. Choreographed material will act as a set of coordinates that anchor an exploration of exaggeration and sensation. We’ll
Studio Practice + Process: Love’s Alchemy: Transformative Practices That Merge Notions of Ritual, Care, and Study — DAN4829B.01
The practice sessions are inspired and influenced by artist and choreographer Camille Brown. The movement practices investigate various styles of the African diaspora including but not limited to step dancing, body percussion, fusing and contrasting footwork, hip hop, and street dance. Students will be encouraged to explore in and through movement the “possibilities of the
Studio Practice + Process: Minor De Luxe: a mass(mess) for body and other rogue im/materials — DAN4804B.03
“...as if I’d lost my center of gravity” (Christina Sharpe, Ordinary Notes)
Swerving between forms, against containment, minor de luxe is something like a fall;
a study on turbulence and beauty.
CLASS remains UNDER CONSTRUCTION
“YOU READY?”
Site
Collapse
Scale
Enclosure
Archive
Matter
Material
Immaterial
Always,
Studio Practice + Process: Moving From the Inside Out — DAN4806B.02
Matteson: An investigation of off-balanced yet precise multi-focused movement and partnering. Classes begin with mindful walking, rolling, and flow pattern practices followed by “yes dance” improvisations to gather our attention and set a tone of tender touch. From there, we progress through a series of spiraling sequences that establish a buoyant relationship with the floor,
Studio Practice + Process: Play Effort Catharsis — DAN4807B.04
BFA students only
Jenkins: This class aims to maximize each student’s movement possibilities in a safe, yet rigorous container. We will hone our kinesthetic awareness particularly focusing on the perception of weight and gravity in movement. Class begins with floor work, drawing from meditation, yoga, somatic practices, and Laban/Bartenieff developmental movement principles.
Studio Practice + Process: The Ecstasy of Influence — DAN4822B.03
T/H/E
E/C/S/T/A/S/Y
O/F
I/N/F/L/U/E/N/C/E
How might other artists offer us glimpses of their tools and strategies for scaling conceits and concepts however simple or complex? How might we speculate, infer, convey and deploy those tools and strategies as approximated methods, borrowing and creating an actively relational network of useful and useless practices? This course is