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For this performance project, Roberts will be making and teaching movement material, and experimenting with solo, duet, and group forms. The dancers will play an integral part in the shaping of dynamics and phrasing of the piece, working throughout to develop their performance of set material. Coaching will focus on individual musicality and phrasing, 'group timing,' and

This performance project examines contradicting or opposing movement qualities, such as stillness/activity and fluidity/awkwardness, in both pedestrian and technical movements. Using delicate images to heighten perception, we will explore the sense of time and space as experienced internally (i.e. with memories) as well as the sense of time and space experienced externally.

How can we be together and create something together, when we are physically not in the same space and time? In light of the above question, this course will be fully remote, facilitated through a combination of synchronous remote sessions and individual outside-class projects. Throughout the course, with body-centered minds, we will interview each other, and exchange

How can we be together and create something together, when we are physically not in the same space and time? In weekly sessions, with body-centered minds, we will interview each other, and exchange conversations, poems, ideas, songs, drawings and inspirations. In addition, movement practices will be introduced in each weekly session in order to activate and facilitate the body

Dance Workshop has been held at Bennington College since its beginning in 1932. It is a meeting place for all dance students, dance faculty, and staff. Here, students of all levels, undergraduate through graduate, show and discuss works in progress. All of the participants practice articulating and refining their own processes, and all are involved in learning how to see and

Dance Workshop has been held at Bennington College since its beginning in 1932. It is a meeting place for all dance students, dance faculty, and staff. Here, students of all levels, undergraduate through graduate, show and discuss works in progress. All of the participants practice articulating and refining their own processes, and all are involved in learning how to see and

Dance Workshop has been held at Bennington College since its beginning in 1932. It is a meeting place for all dance students, dance faculty, and staff. Here, students of all levels, undergraduate through graduate, show and discuss works in progress. All of the participants practice articulating and refining their own processes, and all are involved in learning how to see and

Dance Workshop has been held at Bennington College since its beginning in 1932. It is a meeting place for all dance students, dance faculty, and staff. Here, students of all levels, undergraduate through graduate, show and discuss works in progress. All of the participants practice articulating and refining their own processes, and all are involved in learning how to see and

Dance Workshop has been held at Bennington College since its beginning in 1932. It is a meeting place for all dance students, dance faculty, and staff. Here, students of all levels, undergraduate through graduate, show and discuss works in progress. All of the participants practice articulating and refining their own processes, and all are involved in learning how to see and

Dance Workshop has been held at Bennington College since its beginning in 1932. It is a meeting place for all dance students, dance faculty, and staff. Here, students of all levels, undergraduate through graduate, show and discuss works in progress. All of the participants practice articulating and refining their own processes, and all are involved in learning how to see and

Dancers working presently in the contemporary, experimental dance world do so in relation to the historical definitions of “the dancer,” all while deconstructing and recontextualizing its meaning. Dancers are makers in their own right inside choreographic structures. In this course, we will work with specific choreographic structures and scores, and use them as a frame to help

This class is aimed to instruct dancers on the Art of Drumming , and drummers on the Art of Dancing. The drummers are in conversation with the dancers and the dancers in conversation with the drummers; they learn from each other. In Africa, to become a dancer you had to learn to be a drummer; if you are a drummer you had to learn to move. Movement and sound are connected to the

This course will be taught in collaboration with Joseph Alpar’s Klezmer Ensemble. Both courses result in shared public performances in May. “Klezmer is a musical tradition of the Ashkenazi Jewish communities of Central and Eastern Europe. With its breakneck

This is a multi-modal course that examines how the body serves as a repository for knowledge. It is open to any student who wishes to explore the complex ways in which histories form around discourses of the body, culture, aesthetic philosophy, and power. Specifically, we will examine the theoretical proposals embedded in the history of

"The Inferno" will be read in a large variety of highly creative English translations. Dante will be considered as a poet, a religious thinker, and an exiled public servant enraged at the bad governance of his native Florence. Students will be encouraged to debate Dante's poetic inventions, lyrical, rhetorical, and metaphysical, as well as his principal social

Much of modern biology is rooted in insights of a series of 18th and 19th-century naturalist-scientist-explorers who built upon extensive and inspired observation, sometimes in the course of travels in (then) remote and challenging parts of the world. Their writings often took the form of journals interlarded with theoretical speculation, and some achieved great popularity

Much of modern biology is rooted in the insights of a series of 18th and 19th-century naturalist-scientist-explorers who built upon extensive and inspired observation, sometimes in the course of travels in (then) remote and challenging parts of the world.  Their writings often took the form of journals interlarded with theoretical speculation, and achieved great popularity

Digital technologies have fundamentally shifted how social justice movements operate. "Organizing without organizations" and "laptop activism" are no longer novel or fringe activities. The social media tools we rely on to gather in public can also be antagonistic toward individual participants. This course explores the digital tools and data archives that inform modern

Have you ever seen advertisements on your personal email site directly related to some messages you sent? Social scientists employ some of the same text-mining tools that advertisers do, drawing conclusions about individuals' moods, political views, personalities, and power relationships based on Twitter feeds and Facebook posts. In this course, you will learn the basic

How do we organize data to solve complex problems efficiently? This course studies the fundamental structures and algorithms that form the cornerstone of computational problem-solving. Building upon the programming foundations established in CS1, we will explore how algorithmic thinking and sophisticated data organization enables us to tackle increasingly challenging

Data in a computer is simply patterns of bits, often represented as ‘1’s and ‘0’s. But what that data represents ranges from complex text (poetry, dialog, exposition, debate) to rich graphics in 2 or 3 dimensions, either still or animated, and increasingly as physical sculpture, robot choreography, mixed media, and augmented reality. Data visualization is the study of how to

In the age of “Big Data”, the problem of storing, managing and gaining insight from data is more pressing than ever. Additionally, the world of data management has exploded, with more products and services on offer than ever before. In this class, we will explore the problem of storing, managing and querying structured, semi-structured, and unstructured data by learning how

Born to a multilingual family and culture, with connections to both India and Pakistan, and educated at Cambridge in the UK, Rushdie was already a celebrated writer when an Iranian clerical fatwa against him in 1989 launched him to another level of fame (or infamy). Iranian Supreme Leader Ayatollah Khomeini charged Rushdie with blasphemy in his novel, Satanic

How does something that cannot be directly experienced or given a fixed form become materialized in art? This advanced seminar examines the representation, imagination, and materialization of death in modern and contemporary art. We will examine death as more than a recurring subject in art and consider it also as a problem that artists continually attempt to make visible,