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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,

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

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

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

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

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

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

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

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

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

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

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 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

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

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

“...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,

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,

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.

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

In this course, we will immerse students into dance-theater, dynamic range of physicality, and how we can construct a lens that can witness and defy. Within Practice: We will challenge dynamic range, wild movement, shifting embodiment, texture, and world-building through contemporary dance forms, improvisation (jazz riffs), theatrical play and humanism, and rhythm. We will

This studio practice course will utilize foundational strength training practices to help orient and organize the architectures of the body in relation to space and time. Concepts of curvature and linearity, the progressive mobilization of effort, and the question of how we meet and move space and how space meets and moves us will be addressed.

Studio Practice is designed to offer each student a rigorous and immersive dance study experience. A deep-dive into practices of critical physicality, students will be supported in making direct connections across an abundance of dance forms that rearrange and blur the boundaries between traditional and emerging techniques. Studio Practice courses focus on the relationships

Studio Practice is designed to offer each student a rigorous and immersive dance study experience. A deep-dive into practices of critical physicality, students will be supported in making direct connections across an abundance of dance forms that rearrange and blur the boundaries between traditional and emerging techniques. Studio Practice courses focus on the relationships

Studio Practice is designed to offer each student a rigorous and immersive dance study experience. A deep-dive into practices of critical physicality, students will be supported in making direct connections across an abundance of dance forms that rearrange and blur the boundaries between traditional and emerging techniques. Studio Practice courses focus on the relationships

Studio Practice is designed to offer each student a rigorous and immersive dance study experience. A deep-dive into practices of critical physicality, students will be supported in making direct connections across an abundance of dance forms that rearrange and blur the boundaries between traditional and emerging techniques. Studio Practice courses focus on the relationships