Fall 2024

Course System Home Course Listing Fall 2024

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Showing 25 Results of 338

Senior Seminar in Society, Culture, and Thought — SCT4750.01, section 1

Fall 2024
Instructor: Eileen Scully
Days & Time:
Credits: 2
Students undertaking culminating work in Society, Culture, and Thought (SCT) complete individual research projects. The process generally begins with students presenting ideas and proposals in their sixth-term Plan Meetings. To support these projects, SCT faculty offer a combined research seminar (2 credits) and various specialized group tutorials (2 credits). These are co
Society Culture and Thought

Senior Seminar in Society, Culture, and Thought — SCT4750.02, section 2

Fall 2024
Instructor: Eileen Scully
Days & Time:
Credits: 2
Students undertaking culminating work in Society, Culture, and Thought (SCT) complete individual research projects. The process generally begins with students presenting ideas and proposals in their sixth-term Plan Meetings. To support these projects, SCT faculty offer a combined research seminar (2 credits) and various specialized group tutorials (2 credits). These are co
Society Culture and Thought

Senior Thesis Workshop — DAN4803B.01

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
BFA students only This course is designed to be the culmination of the BFA program for all dance majors. Each student will propose a thesis project, develop goals and objectives for the semester, and present their work. Modes of practicing, situating and expressing thesis project research will be mobilized and extended through ongoing critical dialogue. We will attend to, in
Dance (BFA)

Sewing Fundamentals — DRA2130.02, section 2

Fall 2024
Instructor: Richard MacPike
Days & Time:
Credits: 1
Students will learn the basics of sewing. Included will be various hand stitches used in garment construction and repair as well as learning how to use a sewing machine. Module dates: September 24 27, October 4, 8, 11, 15
Dance Drama

Sewing Fundamentals — DRA2130.01, section 1

Fall 2024
Instructor: Richard MacPike
Days & Time:
Credits: 1
Students will learn the basics of sewing. Included will be various hand stitches used in garment construction and repair as well as learning how to use a sewing machine. Module dates: September 3, 6, 10, 13, 17, 20
Dance Drama

Silkscreen Printmaking — PRI2122.01, section 1

Fall 2024
Instructor: Corinne Rhodes
Days & Time:
Credits: 2
Screen printing is an extremely versatile means of reproducing a 2-D image onto a variety of objects.  Hand-drawn, painted, photographic and digital images can all be used singularly and in combination with each other.  Preparation and processing is relatively simple and multiples can be produced quickly. In this class, we will print with non-toxic, water-based inks.
Visual Arts

Silkscreen Printmaking — PRI2122.02, section 2

Fall 2024
Instructor: Corinne Rhodes
Days & Time:
Credits: 2
Screen printing is an extremely versatile means of reproducing a 2-D image onto a variety of objects.  Hand-drawn, painted, photographic and digital images can all be used singularly and in combination with each other.  Preparation and processing is relatively simple and multiples can be produced quickly. In this class, we will print with non-toxic, water-based inks.
Visual Arts

Stage Management Process — DRA2251.01

Fall 2024
Instructor: Davison Scandrett
Days & Time:
Credits: 2
At the center of almost every live performance is a single human being who quite literally runs the show: the stage manager.  This course will explore the stage manager’s role as both an artist and an administrator, using the SM’s wide-ranging responsibilities as a roadmap to understanding the production process and all the people involved in it.  Through readings,
Dance Drama

Structures of Power in Society — ANT2210.01

Fall 2024
Instructor: Miroslava Prazak
Days & Time:
Credits: 4
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
Society Culture and Thought

Studies Lab — DAN5402B.01

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits:
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
Dance (MFA)

Studio Practice + Process: Afro-Contemporary Performance Making: Sampling + Poetics + Sonics — DAN4805B.01

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 3
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
Dance (BFA)

Studio Practice + Process: Insistence/Persistence: Dancing/Drawing/Writing — DAN4808B.03

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 3
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
Dance (BFA)

Studio Practice + Process: Minor De Luxe: a mass(mess) for body and other rogue im/materials — DAN4804B.03

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 3
“...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,
Dance (BFA)

Studio Practice + Process: Moving From the Inside Out — DAN4806B.02

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 3
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,
Dance (BFA)

Studio Practice + Process: Play Effort Catharsis — DAN4807B.04

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 3
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.
Dance (BFA)

Studio Practice: Ballet Forms — DAN4815B.01, section 1

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This is a studio practice course in Contemporary Ballet technique with explorations into neoclassical and contemporary choreography. The course will focus on Ballet as an evolving form through attention to expressivity, musicality and even improvisation. Cultural influences on the form will be examined in relation to contemporary dance practices. Recognizable warm up exercises
Dance (BFA)

Studio Practice: Ballet Forms — DAN4815B.02, section 2

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This is a studio practice course in Contemporary Ballet technique with explorations into neoclassical and contemporary choreography. The course will focus on Ballet as an evolving form through attention to expressivity, musicality and even improvisation. Cultural influences on the form will be examined in relation to contemporary dance practices. Recognizable warm up exercises
Dance (BFA)

Studio Practice: Ballet Forms — DAN4814B.01, section 1

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This studio practice course in Ballet is based on the American style influenced by George Balanchine. We will deep-dive into our exploration of neoclassical and contemporary ballet modalities while focusing on anatomical alignment, strength, flexibility, coordination, connectivity, and expressivity. Through our practice, we will discover the freedom within the movement. The
Dance (BFA)

Studio Practice: Ballet Forms — DAN4814B.02, section 2

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This studio practice course in Ballet is based on the American style influenced by George Balanchine. We will deep-dive into our exploration of neoclassical and contemporary ballet modalities while focusing on anatomical alignment, strength, flexibility, coordination, connectivity, and expressivity. Through our practice, we will discover the freedom within the movement. The
Dance (BFA)

Studio Practice: Combined Contemporary Modern Dance Forms — DAN4810B.02, section 2

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This course proposes a transrelational investigation of two distinct contemporary approaches to movement practice. Calliste:  Inspired and influenced by artist, choreographer Camille Brown, this course investigates various styles of the African diaspora, fusing and contrasting footwork and shaping of Afro-Caribbean dance and includes step dancing, body percussion, hip hop
Dance (BFA)

Studio Practice: Combined Contemporary Modern Dance Forms — DAN4810B.01, section 1

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This course proposes a transrelational investigation of two distinct contemporary approaches to movement practice. Calliste:  Inspired and influenced by artist, choreographer Camille Brown, this course investigates various styles of the African diaspora, fusing and contrasting footwork and shaping of Afro-Caribbean dance and includes step dancing, body percussion, hip hop
Dance (BFA)

Studio Practice: Contemporary Diasporic Dance Forms — DAN4813B.02

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 1
Inspired and influenced by artist, choreographer Camille Brown, this course investigates various styles of the African diaspora, fusing and contrasting footwork and shaping of Afro-Caribbean dance and includes step dancing, body percussion, hip hop and street dance. Students in this course will be encouraged to investigate in and through movement the “possibilities of the
Dance (BFA)

Studio Practice: Contemporary Modern Dance Forms — DAN4812B.01

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 1
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, harness
Dance (BFA)

Studio Practice: Contemporary Modern Dance Forms — DAN4809B.02, section 2

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
The class integrates a technical movement base with short phrases of full, supple, expansive movements that prepare students to tackle complex phrases at the end of each class. The work in class is designed to enable the student to manipulate his or her energy and strength in ways that are sharp, clear, specific, and contained in one instance and wild, abandoned, expansive and
Dance (BFA)

Studio Practice: Contemporary Modern Dance Forms — DAN4809B.01, section 1

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
The class integrates a technical movement base with short phrases of full, supple, expansive movements that prepare students to tackle complex phrases at the end of each class. The work in class is designed to enable the student to manipulate his or her energy and strength in ways that are sharp, clear, specific, and contained in one instance and wild, abandoned, expansive and
Dance (BFA)