2015–16 Undergraduate Index A–Z
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Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Janelle Campoverde
|
Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | W 16Winter | Accompanied by live drumming, we will learn dances originating in Africa and migrating to Brazil during slavery. We will dance to the driving, rapturous beat from Brazil known as samba. For the people of the villages surrounding Rio de Janeiro, samba is considered their most intense, unambivalent joy. In addition, we will dance and sing to contemporary cross-cultural beat from Bahia: Samba-Reggae and the Candomble religious dances of the Orixas. We will also learn dances from other regions of Brazil, such as Baiao, Frevo and Maracatu. | Janelle Campoverde | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Janelle Campoverde
|
Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | F 15 Fall | Accompanied by live drumming, we will learn dances originating in Africa and migrating to Brazil during slavery. We will dance to the driving, rapturous beat from Brazil known as samba. For the people of the villages surrounding Rio de Janeiro, samba is considered their most intense, unambivalent joy. In addition, we will dance and sing to contemporary cross-cultural beat from Bahia: Samba-Reggae and the Candomble religious dances of the Orixas. We will also learn dances from other regions of Brazil, such as Baiao, Frevo and Maracatu. | Janelle Campoverde | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Janelle Campoverde
|
Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | W 16Winter | Accompanied by live drumming, we will learn dances originating in Africa and migrating to Brazil during slavery. We will dance to the driving, rapturous beat from Brazil known as samba. For the people of the villages surrounding Rio de Janeiro, samba is considered their most intense, unambivalent joy. In addition, we will dance and sing to contemporary cross-cultural beat from Bahia: Samba-Reggae and the Candomble religious dances of the Orixas. We will also learn dances from other regions of Brazil, such as Baiao, Frevo and Maracatu. | Janelle Campoverde | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Janelle Campoverde
|
Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | F 15 Fall | Accompanied by live drumming, we will learn dances originating in Africa and migrating to Brazil during slavery. We will dance to the driving, rapturous beat from Brazil known as samba. For the people of the villages surrounding Rio de Janeiro, samba is considered their most intense, unambivalent joy. In addition, we will dance and sing to contemporary cross-cultural beat from Bahia: Samba-Reggae and the Candomble religious dances of the Orixas. We will also learn dances from other regions of Brazil, such as Baiao, Frevo and Maracatu. | Janelle Campoverde | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Walter Grodzik
Signature Required:
Fall Winter
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | In this two quarter program, students will study the history, theory, and practice of 20th century Avant-garde performance, including Surrealist, Dada, Futurist, Cubist, Bauhaus, and other more recent contemporary Performance Art traditions. Emphasis is this program is on experiential learning through workshops stressing technique, theory, and composition and the live performance of original and reconstructed works.In the first quarter, students will study 20th century Western experimental performance art through the reading of texts, performance manifestos, and film screenings. In weekly workshops, students will investigate and practice newly-learned techniques and reconstruct historical performances. Students will also engage their learning through the use of improvisation and the composition of original performance works. There will be multiple rehearsals scheduled each week to reconstruct and create new work. Works in progress will be shared regularly in performance workshop for peer and faculty critique.In the second quarter, students will continue studies of Performance Art in order to create a body of short performances to be presented at the end of the quarter. Students will be heavily involved in both workshops and independent rehearsals in order to realize their final public presentation.This is an advanced program in practice and theory, designed particularly for theater and dance students, however, avant-garde performance works are multidimensional, and students in the performing arts, media arts, and visual arts with musical and kinesthetic sensitivity are welcome.Workshops are progressive and attendance is essential, requiring high levels of maturity, independent time management, and organization. Students need to be able to work collaboratively and should exhibit a high-level of independence. Most experiential learning cannot be "made up", and students are expected to be active and enthusiastic participants in all aspects of the program, at all meetings, and to demonstrate integrative, independent, and critical thinking. | Walter Grodzik | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Savvina Chowdhury and Ratna Roy
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | What role does dance, theatre, art and literature play in liberatory struggles? From anti-colonial struggles during the colonial era to ongoing struggles for democracy, this program will explore the role played by art forms and artists in resisting colonial domination, negotiating power structures and offering counter-narratives. Our program will examine forms of resistance that arose in the context of colonial India, as well as those that mark the postcolonial experience of India as a nation of diverse communities. Through our study of history, literature, dance, theatre and political economy, we will examine the ways in which marginalized communities in India have used various art forms to “talk back” to narratives of domination and create public spaces that counter the psychic and social oppressions of colonialism, neocolonialism and neoliberalism today. Some of the art forms we will explore include: the street theatre, dance and literature that played a significant role in anti-colonial struggles; the music, traditions and lives of who contested the strictures of gender and class by living lives that flouted the dominant norms of womanhood and femininity; as well as the music and street theatre of contemporary marginalized communities facing displacement and dispossession. Throughout the quarter, we will use the lenses of political economy to contextualize the backdrop of material conditions in which these art forms were practiced historically, as well as the conditions in which they are performed today. | Savvina Chowdhury Ratna Roy | Tue Tue Wed Thu Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Jehrin Alexandria
|
Course | FR–SRFreshmen–Senior | 2 | 02 | Evening | Su 16 Session I Summer | In this course, students will be learning the basic steps and terminology of Classical Ballet. In addition they will learn a series of exercises that help strengthen and develop their core muscular system. This course is excellent for those who want to increase their flexibility and overall coordination as well as work on their ability to focus and experience a greater self awareness via movement. Basic dance attire is required. | Jehrin Alexandria | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Robert Esposito
Signature Required:
Winter
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | This full time program focuses on the creative process through movement, dance, and symbolic color theory. Using the Tantric chakra system as a dynamic map of progressive mind-body development, the syllabus builds on the fall 2015 program, , and leads to the spring 2016 program, . Although designed to interface effectively with these programs, it also stands on its own and new students with prior experience in movement, dance, or visual art are welcome. The program goal is twofold: to refine awareness of the student's educational and life path through performance art, and to facilitate a dynamic interplay of inner connectivity with outer expressiveness through movement to establish and enrich a sense of cooperative community. We'll explore how aesthetic color theories relate to the chakra system as an inspiration, structure, and methodology for creating dance that speaks deeply and eloquently to the human situation. We'll explore questions such as: What is my purpose or path in life? How can we nurture relationships that help achieve common goals through just and sustainable practices? How can we balance intuitive, creative imagination with concrete techniques producing verifiable results? The chakra system will be studied as both a dynamic structure for understanding human consciousness, and as a developmental process that locates, identifies, and provides methods for working with creative blocks. We will demystify chakra work to generate practical movement toward mind-body integration, clarity of intent, and a sense of community. Text and movement seminars explore the history, theory and practice of Tantric and Taoist philosophy, esoteric anatomy, artistic color theories, and dance kinesiology. Activities alternate, overlap, and integrate drawing/painting, selecting or making sound, and progressive classes in dance technique, theory, and composition in an experimental, non-judgmental, and collaborative workshop environment. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Robert Esposito
Signature Required:
Spring
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | The central focus of this intensive modern dance program is dance composition, including rigorous daily classes in technique, theory, composition, and performance. Compositions are evaluated on the basis of inventiveness, structure, and performance. Choreographic space, shape, time, and motion are used as metaphors for concepts and dynamics of culturally perceived sacred and profane values and meanings. Students create original choreography, drawing content from thematic program premises, their own life experience, and past interdisciplinary study. Conceptual themes include power and powerlessness, belonging and alienation, freedom and inhibition, sadness and happiness, beauty and ugliness.Activities include daily classes in Nikolais/Louis technique, theory, and improvisation; and weekly dance labs in composition, critique, and stage craft. Morning sessions include an advanced Pilates-based floor barre, standing center work stressing rhythmic precision, spatial focus, and balance, and dynamic movement in large space. Afternoon workshops rotate between movement classes in theory, improvisation, composition, text and film seminars, and performance forums in which students share work in progress for peer and faculty review. Each week has a clear theoretical premise explored daily from a technical, compositional, and axiological perspective. Choreographic craft elements of space, shape, time, and motion are explored as sociocultural metaphors ranging from the mundane to the sublime, from anxiety to ecstasy. In Week 6, a focus on stage craft is added, including small and large group work, preparing choreography for presentation, working with music, costumes, scenery, props, and lighting for dance.Lectures, films, and seminars will review the history of various art forms, and compare the creative process in dance, painting, architecture, and poetry. Seminars situate texts, film and art in critical, aesthetic, historical, and sociocultural contexts. Writing will balance creative and analytical styles, including weekly journals and debriefs. The program culminates with a public concert of selected student work. Choreography will be selected based on inventiveness, structure, and performance quality. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Robert Esposito
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | This is a modern dance-based program linking the major principles of dance and visual art. Dance is primarily a kinetic art based in the human body. When presented to an audience, dance is also a visual art. Our work will be hands-on, working with both physical and perceptual forces. Embodied physical forces, like gravity, time, space, effort, motion, and momentum, will be linked to visual perceptual forces like shape, perspective, line, volume, and color. Together they present an aesthetic impression that is interpreted by an audience as sensation, emotion, thought, and behavior. Using texts and movement, we will review basic anatomy, learning the musculoskeletal structure and function of major body parts by isolating and then integrating them into a whole-body movement practice serving as an instrument of artistic design. We will gradually integrate the major principles of visual art, creating dance compositions in the studio, while simultaneously designing visual components of choreography like costuming, prop and set design, lighting, staging, and presentation. Please note: This is a movement-based program and students should be prepared for continuous, disciplined and well-focused physical activity.Dance technique, practiced daily, will begin with learning an advanced Pilates “floor-barre”, building physical strength, stamina, range of motion, body awareness, and control. We will then add aesthetic dance exercises designed to refine physical movement into an expressive, fine art practice. The architecture, notation, and functionality of dance are based in Laban and Bartenieff movement analysis. Activities include a Pilates floor barre, Nikolais-Louis dance technique, dance theory/improvisation, composition, and performance, augmented by anatomical and object drawing, a study of color theory, and designing and constructing visual components of theatrical production. Previous dance experience at the beginner/intermediate level is advised. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Jehrin Alexandria
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Day | Su 16 Session I Summer | This two-week, Monday through Friday class runs from July 11-24th and is for students of any level of dance experience. The morning session consists of Ballet and the Beamish Bodymind Balancing System. This system has been used by elite dancers, singers and actors around the world to help prevent injuries, increase flexibility, strength and focus while decreasing tension in the body and mind. The afternoon session consists of contemporary, modern and other dance forms. | Jehrin Alexandria | Mon Tue Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Jamie Colley
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Evening and Weekend | F 15 Fall | Odissi, one of the major classical dances of India, combines both complex rhythmic patterns and expressive mime. This class will be devoted to the principles of Odissi dance, the synthesis of foot, wrist, hand and face movements in a lyrical flow to express the philosophy of yoga based dance. Throughout the quarter, we will study the music, religion, and history of Indian dance and culture. | Jamie Colley | Tue Thu Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Jamie Colley
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Evening and Weekend | S 16Spring | Odissi, one of the major classical dances of India, combines both complex rhythmic patterns and expressive mime. This class will be devoted to the principles of Odissi dance, the synthesis of foot, wrist, hand and face movements in a lyrical flow to express the philosophy of yoga based dance. Throughout the quarter, we will study the music, religion, and history of Indian dance and culture. | Jamie Colley | Tue Thu Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Kabby Mitchell
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | Su 16 Summer | In this class, students will learn introductory basics of jazz movement (isolated extremities, polyrhythmic African styles and basic anatomy) by exploring the historical aspects and origins of the African Diaspora and European influences in North America through movement, youtube offerings, and discussions. Students will gain greater flexibility and coordination by executing fun yet challenging dance combinations. No previous experience necessary. | Kabby Mitchell | Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer |