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This course requires no previous dance experience, and is open to anyone who is interested in the art of absence or art that deals with the presence of things we cannot see — the invisibles, empty space and silence – found across different art forms and practices.
This course examines the complex relationship between language, culture, and society through an interdisciplinary lens, incorporating perspectives from linguistic anthropology, sociolinguistics, and discourse analysis. Students will explore how linguistic practices both reflect and shape identities, power dynamics, cultural norms, and worldviews as we cover topics such as linguistic relativity, regional variation, racialization, politeness, and markers of gender and class.
Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.
Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.
This class will introduce students to basic concepts of improvised dancing with particular focus on effort. Class will begin with an embodied check-in and a gentle warm-up. Weekly exercises will move students through various investigations regarding effort, from organ systems to Buddhist teachings to personal preferences to the laws of Physics. While the course's references will be wide-ranging, the objective of the class will always be to learn by doing and to physicalize knowledge.
Borrowed from the subtitle of Lois Ellfeldt & Edwin Carne's seminal 1971 Dance Production Handbook, "Later is Too Late" became a mantra for the course instructor after finding a well-worn copy of the paperback in his roadbox for the Merce Cunningham Dance Company. In this course we will examine the specific technical challenges and design opportunities presented in the production of dance performance, including the role that planning and management can play in overcoming the structural inequities and lack of resources endemic to the form. Through readings,