Academic Courses

In the Iliad, Paris' desire for the famously beautiful Helen leads to the Trojan War, the devastating conflict between the Trojans and the Greeks retold and reimagined time and again in ancient Greek literature. The stories of Troy and its aftermath were performed not only as epic poems (as in the Iliad and the Odyssey), but also re-enacted by singing and dancing choruses, dramatized on the tragic stage, and recounted in oratory. Beginning with the Homeric epics, this course explores the recurring and ever-shifting debates, longings, hostilities, and aspirations that drive Greek literature and shape its reception, with a particular focus on questions of performance context and audience. Our attention to sound, movement, and staging will be enriched by consideration of select examples from the rich reception history of Greek myth in modern theater and dance. The nexus of performance, conflict, and desire will also give us a distinct perspective on many important topics within the study of Greek culture, including the embodiment of personal and collective identities, the workings of Athenian democracy, and the development of literary genres. This course will include readings from, e.g., Homer, Sappho, Herodotus, Aeschylus, Sophocles, Euripides, Aristophanes, Thucydides, and Plato, as well as viewings of relevant performance works. All readings are in translation. [ more ]

This course is an introduction to the analysis of historical and socio-political context of movement-based performances. While readings and viewings will focus on dance genres practiced at Williams and beyond, an important element of the course will be the practice of documenting, interpreting, and writing about performances. The course will enable students interested in dance, theater, and visual arts to hone their skills in the practice of analyzing still and moving images, while also offering students of history and art history the opportunity to develop competency in historical research. This is primarily a discussion-based seminar course. Learning objectives: to understand the social and political contexts for various artistic and performative genres; to develop the ability to document, analyze, and write about dance as a socio-historical practice; to explore interdisciplinary modes of engaging with movement-based performances. [ more ]

In this class, participants learn the fundamentals of ballet technique, in a manner both safe and challenging. This is an absolute beginning course: EVERYONE is welcome! In barre work and center/traveling exercises, the class will begin to develop a working understanding of basic positions of the arms and legs; individual steps such as turns and jumps; and simple combinations. Through repetition and logical progression artistry, musicality, strength and coordination will develop and grow. This course may be repeated for credit. *NOTE: this course can be taken for partial academic credit (credit which doesn't count toward the number required for graduation, but which does appear on one's final transcript) or Physical Education credit. For those who wish PE credit, please register through the PE department. For those who would like to receive FULL ACADEMIC CREDIT, see DANC 105 BFF! (Ballet Film Festival!) [ more ]

This studio course is designed for students with little or no experience in modern dance technique. All interested in dance are welcome! Students will be immersed in the physicality, principles, and aesthetics of basic modern dance through progression of floor work, standing work, and traveling movement. Skills that will be acquired include strength, coordination, musicality, correct body alignment, and spatial awareness needed for movers. Live musical accompaniment will enhance students' understanding of the relationship between music and movement. [ more ]

There is a reason why collective activism and impulses toward revolution are called "movements." Movements have bodies, actions, rhythms, voices, and stories. They are embodied, and they create change through this embodiment. During the summer of 1964, the Motown anthem Dancing In the Street (D.I.T.S.) became a joyful expression of the desire to take up space, in tune with the powerful political and social justice movements of the time. D.I.T.S. continues to be sung by contemporary artists as an expression of celebration and as a call to action, highlighting the cyclical nature of time and experience. What brought people into the streets in communities across the globe in 1964, in 2020, and beyond? With this question in mind, we will examine, discuss, and respond to the ways in which artistic expression can document lived experiences, and deploy similar tactics to explore and document our present lives. How have artists documented and driven forward major themes in social justice, both in the past and in our current times? A primary focus of consideration will be the anti-lynching movement across time, which has given rise to the art and aesthetics of the Civil Rights, Black Lives Matter, and Say Her Name Movements. Grounding this work will be a deep exploration of "Strange Fruit," an artistic tour de force that began life as a poem in response to a photographic image and grew to encompass dance, visual art, theatre, media, and music--particularly the enduring and repeating renditions by artists like Billie Holiday, Pearl Primus, and Nina Simone. The course trajectory will be deeply affected by the students who take part, offering their own stories and experiences in conversation with the work of influential creative practitioners. Inspired by our own origin stories and the roll call of cities heard in D.I.T.S., we will consider the ways in which dance, music, theatre, visual art and other forms of creative expression are made to be shared, causing culture and experiences to bear witness and become meaningful beyond the boundaries of origin. Course meetings will include viewings and discussions of creative expression in various media and formats through an ethnographic performance studies lens, further examining the role of the artist as witness/documentarian, activist, and agent of change. This work will serve as a catalyst in the production of original performance offerings (solo and group-based) that will be shared with a public audience. [ more ]

There is a reason why collective activism and impulses toward revolution are called "movements." Movements have bodies, actions, rhythms, voices, and stories. They are embodied, and they create change through this embodiment. During the summer of 1964, the Motown anthem Dancing In the Street (D.I.T.S.) became a joyful expression of the desire to take up space, in tune with the powerful political and social justice movements of the time. D.I.T.S. continues to be sung by contemporary artists as an expression of celebration and as a call to action, highlighting the cyclical nature of time and experience. What brought people into the streets in communities across the globe in 1964, in 2020, and beyond? With this question in mind, we will examine, discuss, and respond to the ways in which artistic expression can document lived experiences, and deploy similar tactics to explore and document our present lives. How have artists documented and driven forward major themes in social justice, both in the past and in our current times? How do artists and their work document and comment on the past, embody the present, and perform the future into existence? A primary focus of consideration will be the use of storytelling as a vehicle for artistic expression that connects people and ideas across time and space. When Grandmaster Flash and The Furious Five drop "The Message" in 1982, the Bronx is burning, and the birth of Hip-Hop has people returning to the streets. Disco's velvet rope comes down and urban America comes together to celebrate the life they can live, aspire toward a life they want to live, and spread the word about the realities they face along the way. The cypher creates space for verse, hooks, samples, and dance, and the world becomes a canvas as graffiti artists work to claim space and contribute to a new canon. With global urban music like Hip-Hop, Reggae, and Afrobeat as a backdrop, we will examine the impact of vernacular African American dance and music, and its presence in various performance traditions. The course trajectory will also be deeply affected by the students who take part, offering their own stories and experiences in conversation with the work of influential creative practitioners. Inspired by our own origin stories and the roll call of cities heard in D.I.T.S., we will consider the ways in which dance, music, theatre, visual art and other forms of creative expression are made to be shared, causing culture and experiences to bear witness and become meaningful beyond the boundaries of origin. Course meetings will include viewings and discussions of creative expression in various media and formats through an ethnographic performance studies lens, further examining the role of the artist as witness/documentarian, activist, and agent of change. This work will serve as a catalyst in the production of original performance offerings (solo and group-based) that will be shared. We will examine how dancers/choreographers: Fatima Robinson, and Rennie Harris use dance and media to tell personal stories and document public events. Musicians/performers: Dr. Dre, James Brown, Beyonce, Public Enemy, Kendrick Lamar and visual artists: Titus Kaphar, Hank Willis are creators whose work will be referenced. Writers and poets: Jeff Chang, Gregory Tate, Tricia Rose, Suheir Hammad, Gill Scott-Herron. What questions are artists posing? What statements are they making? What can be made that responds to this work and that reflects your own stories? Course meetings will include: 1. Weekly movement and listening sessions that embody the Hip Hop aesthetic 2. Weekly discussion of readings, media and other course materials 3. Making a solo or a collaborative project during the semester to be shared as a final project [ more ]

Modern African diasporic dance creates a conversation between the past and the present; it brings forth memories of the African "homeland" and of the dispersal of African bodies around the world, while simultaneously engaging the current joys, pains, challenges, and cultural growth of Black people. Through movement and rhythm, dancers experience the embodied knowledge of previous generations, while connecting to contemporary cultural, political, and economic realities. Katherine Dunham devoted her life to exploring and exposing the multiple layers and complexities of the African diasporic experience through her ethnographic dance choreographies, her dance technique, her schools, her music, and her writing. Dunham's work as a dance anthropologist, artist, educator, and humanitarian is manifested in Dunham Technique; the technique is a fusion of African diasporic dance, ballet and modern dance, and functions as an embodied medium for cultural communication. The technique is considered "a way of life" as it uses theory and philosophy to engage participants in a holistic experience that is not only physical, but also intellectual, emotional, and spiritual. Through this combination of physicality, history, theory, and philosophy, Dunham Technique is a tool to understand one's inner self and place oneself within a historical and cultural framework. In this course, students will explore the history, theory, and philosophies of Dunham Technique and Katherine Dunham, while actively participating with the technique's movement concepts and vocabulary. Students will engage in the fundamentals of a Dunham Technique movement class through center floor work, barre exercises, progressions, and choreography. The course will combine the studio experience of the physical technique with lectures and discussions. Students will learn about the three theories of Dunham Technique (Form and Function, Intercultural Communication, and Socialization through the Arts) and its three philosophies (Self-Examination, Detachment, and Discrimination) while also learning the history and historical context of the technique and its creator. [ more ]

This course offers a full-spectrum introduction to a number of Latin American social dance forms, including samba, salsa, tango, and the Suriname Maroon genre, awasa. Through critical listening and viewing assignments, performance workshops, and readings from disciplines spanning ethnomusicology, anthropology, dance studies, Latin American studies and history, students will combine a technical understanding of the musical and choreographic features of these genres with a consideration of their broader contexts and social impact. Among the questions that will drive class discussions are: How do sound and movement interrelate? What aspects of gender, sexuality, class, race and ethnicity arise in the performance and consumption of Latin American genres of social dance? How do high political, economic, and personal stakes emerge through activities more commonly associated with play and leisure? This class is driven by academic inquiry into these various social dance practices; it does not prioritize gaining performance skills in the genres discussed. While there will be experiential components included throughout the course (for instance music or dance workshops), the majority of the class will be conducted in a discussion/seminar format. While the ability to read musical notation is helpful, it is not required. [ more ]

A subtle but deep, calming yet powerful conditioning/training tool used by many dancers and athletes; the work is done entirely on one's back, side, and front body (that is, no standing)and is designed for subtle strengthening/lengthening and safe alignment throughout the body. People who study the technique almost immediately appreciate the calm, somewhat meditative manner in which participants are encouraged to work. (Though there are many other wonderful techniques/regimens, this is NOT the same thing as other classes called "Barre" or "PureBarre".) Instructors must be annually certified in order to teach "true" Zena Rommett Floor Barre(TM). Previous ballet training required for this session--please contact [email protected] to inquire about eligibility. [ more ]

We will examine two forms that embody continuity of tradition or the impact of societal, political or economic change. Lamban was created by the Djeli, popularly called Griots served many roles in the kingdoms of Ghana and Old Mali from the 12th century to current times. This dance and music form continues as folklore in modern day Guinea, Senegal, Mali and The Gambia where it is practiced by the Mandinka people. Bira is an ancient and contemporary spiritual practice of Zimbabwe's Shona people. While these forms are enduring cultural practices, Kpanlogo from the modern West African state of Ghana represents the post-colonial identity of this nation's youth and their aspirations for independence at the end of the 1950s. We will also consider the introduction of these forms outside of their origin. This course can be taken for academic and/or PE credit. [ more ]

Before the 20th century, the African continent was the source of dance and music that influenced new forms rooted on and off the continent. These forms are shaped by the impact of religion, colonialism, national political movements, travel, immigration, and the continuing emergence of technology. In South Africa, the labor conditions of miners instigated the creation of Isicathulo, Gum boots, and in Brazil the history of colonialism is a factor that anchors Samba as a sustaining cultural and socioeconomic force. The birth of Hip Hop in the 20th century finds populations across the globe using its music, dance, lyrics, and swagger as a vehicle for individual and group voice. Hip Hop thrives as a cultural presence in most countries of the African continent and in the Americas. We will examine the factors that moved this form from the Bronx, New York, to Johannesburg, South Africa, and Rio, Brazil. We will examine at least two of these forms learning dance and music technique and composition material that will inform their practice. Each of these genres generated physical practices, new and enduring communities while continuing to embody specific histories that have moved beyond their place of origin. What is their status in this century? [ more ]

This course is for participants who have reached an intermediate level of ballet and are serious about continued progression in their technique and artistry and interested in working with spirit, perseverance, and joy. ANYONE with adequate prior knowledge is welcome to this class! Proper alignment and rigorous but safe application of technique are stressed. Classes will follow the traditional ballet class format of barre work proceeding into center work*; vocabulary, ability and stamina will be built in a safe but challenging atmosphere. Participants will be guided to work safely and correctly with their individual abilities. The classes have live piano accompaniment. NOTE that this course may be taken for partial academic credit or PE credit; partial academic credit does NOT go toward the required number of credits for graduation, but does appear on one's final transcript. For PE credit, please register through the PE department. For those interested in FULL ACADEMIC CREDIT, see DANC 105 BFF! (Ballet Film Festival!) [ more ]

This tutorial is designed for both first-time dance makers as well as more experienced dance students who seek the opportunity to practice dance making in a structured, intimate setting. Any genre or style of dance may be explored. Projects are designed primarily to empower the creator to clarify the intent and vision for their work. Central to this is the practice of giving and receiving feedback, using Liz Lerman's Critical Response Process (CRP). Tutorial partners will be active artistic advisors for each others' projects. Projects may include solo and group work, site-specific dance making, and creating in collaboration. Students are expected to rigorously build upon and revise their work(s) in three possible roles: artist, responder, and facilitator. Studying the work and philosophies of dance makers in a variety of genres, such as Akram Khan, Pina Bausch, Camille A. Brown, and William Forsythe will give further context to our work. Weekly presentation of assignments, active participation in CRP sessions, reading assignments, identifying to the group one's intended goal(s) for the week, written reflection on sessions, and final showing will be required. The full class will meet periodically for group feedback. [ more ]

The course aims to explore dance and movement-based performances as mediums through which identities in Asian and Asian American (including South Asian) communities are cultivated, expressed, and contested. Students will engage with how social and historical contexts influence the processes through which dance practices are invested with particular sets of meanings, and how artists use performance to reinforce or resist stereotypical representations. Core readings will be drawn from Dance, Performance, Asian, and Asian American Studies to engage with issues such as nation formation, racial and ethnic identity politics, appropriation, tradition and innovation among other topics. This is primarily a discussion-based seminar course, and might also include screenings, movement workshops, and discussion with guest artists and scholars. No previous dance experience is required. [ more ]

Within the historical context of the U.S., dance that emphasizes hip, butt, and pelvic movement has been racialized and associated with the Black body. While the popularity of these dance styles has expanded and now different groups of people now embrace these movement vocabularies, the practices remain deeply connected to the history and culture of Black folk. Despite the increased popularity of these dances, within Eurocentric aesthetics, the Black dancing body carries the mark of vulgarity and should either be controlled, exploited, and/or exoticized. These dangerous bodies are considered sexually deviant and in need of influence and control through colonialism, imperialism, and religion. Yet, the dancing pelvis, hips, and butt write and document the Black experience. The dancing Black body carries the memories of the diaspora and provides space for the body to experience autonomy. This embodied knowledge, carried by Black bodies, is intertwined with the everyday lives of Black folk. Furthermore, through these practices, Black communities commune, resist dominant narratives, and embrace their humanity. Nevertheless, the pelvis/hips/butt dancing body is not embraced equally among Black people. In the practice of these movement genres, Black communities negotiate matters of respectability, pleasure, and self-actualization. This course is an exploration into the use of the hips, butt, and pelvis in three movement genres: bounce, a genre of hip-hip from New Orleans and origin culture of the term "twerking" Black majorette/dance team performance, a jazz and Black social dance infused form that originated from the marching band culture at Historically Black Colleges and Universities; and Caribbean wining, a hip rolling movement performed throughout the Caribbean. Students will engage with scholarship and participate in discussions focused on the individual and communal practice of these traditions. The class community will investigate themes such as respectability politics, the politics of pleasure, and communal organizing to gain a better understanding of these practices. Additionally, students will physically explore these dance traditions and work with guest artists who specialize in these practices. The course will culminate in a public dance party that will be curated and facilitated by the class community. [ more ]

This course posits that the dancing body is a particularly rich site for examining the history of gender in America and beyond. The aim of the course is to explore ideas related to gender as prescribed by dominant cultural, social, and religious institutions, and how dance has been used to challenge those normative ideologies. We will examine a wide range of dance genres, from stage performances to popular forms to dance on television, with particular attention to the intersections of race and class with gender. This is primarily a discussion-based seminar course and may also include film screenings, movement workshops, discussions with guest artists and scholars. No previous dance experience required. [ more ]

Designed for intermediate/advanced ballet dancers, participants will explore different topics in past and current ballet history. Dancers will augment the intellectual and philosophical paths we'll navigate via the course's assigned readings and viewings with embodiment of the history through variations from various ballets throughout different eras in ballet. In addition to technique classes, participants will learn variations and/or ensemble sections from selected ballets. In addition, a new, short ballet will be created on members of the course, which will be performed in the department's fully-produced semester concerts. Selections from the variations will be presented 2 or 3 times throughout the semester, and may also be performed in the department's fully-produced semester performances. This is primarily a studio course, although weekly readings and viewings relevant to our coursework will be assigned. These assignments will offer historical context, as well as provide rigorous looks at some of the ways in which ballet hasn't always lived up to its potential as a dance form for all people regardless of class, race, and gender. We'll consider basic information-the plotlines of the ballets-as well as more subtle ideas-famous dancers' takes on these roles, the socio-political aspects of the works themselves and the times they were created in. Viewings will also be assigned to allow students to fully explore and grasp the ballets and to provide additional contextualization. Participants will submit (informal) written responses to the assignments. The class may go on one or two field trips to attend performances and may write response papers when applicable. This course MAY BE REPEATED for general academic credit. ANY participant with adequate prior training is welcome to this class! Material will be introduced at an intermediate/advanced level, and individuals will be assessed on their own personal progress. [ more ]

How can we capture the "liveness" of dance and performance through writing? How can the spoken and written word promote a deeper understanding of felt emotions expressed through embodied practice? In this tutorial, we will explore different modes of writing about performance such as ethnography, non-/fiction, and performative writing. While there will be skill-based goals and a set outline for the tutorial, core texts that will anchor the conversations and paired writing assignments will be selected according to the interests of enrolled students. Texts will be complemented with visual materials and/or virtual conversation with artist-scholars to encourage a multilayered experience with writing about performance. The course is reading and writing intensive, and oriented towards juniors, seniors, and those with deep interest in analytical and creative writing. Students will (i) read several monographs during the semester, (ii) produce creative and critical writing (at least 5-6 pages every two weeks and a longer final essay) (iii) be committed to the peer review and revision process of their own work and that of their writing partners, and (iv) participate in discussions about course materials and reflections about their writing process. [ more ]

Designed for dancers who have achieved an intermediate/advanced level of ballet technique, and who are interested in working with spirit, perseverance, and joy. Everyone at the appropriate level is welcome! Class includes barre work, center and traveling exercises that incorporate adage, pirouettes, petit and grand allegro*. Proper alignment and rigorous but safe application of technique are expected, as is an openness to continuing to develop artistic expression. (Additional pointe work available if applicable and requested.) Students are encouraged to work safely and correctly within their individual abilities so that artistry, musicality and the dynamics in ballet are explored. The classes have live piano accompaniment. NOTE: May be taken for PE (2 credits) or partial academic credit. Partial academic credit does NOT go towards the required # for graduation, but will appear on final transcripts. For FULL academic credit, see DANC 305 or DANC 105. [ more ]

Designed for advanced ballet dancers looking for a vigorous dance experience in which technique classes, rehearsals, and performances are approached with focus and commitment, and in which these integral processes are conducted with creativity, curiosity, and joy. This is entirely a studio course. Twice a week dancers will have a 75 minute ballet technique class composed of barre and center work (adage, pirouettes, petit allegro, grand allegro); rehearsal, pointe work and/or partnering may be incorporated into some classes or may follow in the 1/2 hour after technique class as applicable. (Please note that pointe work is entirely optional, only for those who desire to continue that aspect of their ballet training.) The 3rd weekly class meeting will consist of a warm-up followed by rehearsal of a new ballet that will be created for the class; material will also be reviewed earlier in the week after technique class. This new ballet will be performed in a formal setting later in the semester, to be determined based on performance scheduling. The class may go on one or two field trips to see live dance performance(s) during the semester. This course MAY BE REPEATED for general/full academic credit. ANY student with adequate prior training is welcome to this class! Material will be introduced at an intermediate/advanced level, and individuals will be assessed on their own personal progress. (Students with a full academic course schedule may also take this class for partial academic* or PE credit. *Partial academic credit does not go toward the number of credits required to graduate, but will appear on one's final transcript.) [ more ]

Designed for students ready to continue developing their modern/contemporary dance skills, this course will focus on the application of movement principles appropriate/essential for building a more advanced dance practice, including improved anatomical awareness and alignment, the integration of complex movement patterns, increased ability to sustain energetic flow, developing a more sophisticated rhythmic awareness, and emphasis on using dance as a form of expression. Live musical accompaniment will challenge students to work closely with nuances of sound in order to further develop their personal musicality. Longer phrases of movement and excerpts from choreography will be taught in order for students to fully embody the art form, deepening their understanding of modern dance performance. [ more ]

In this studio course, students have the opportunity to embody selected choreographed work(s) through an in- depth rehearsal process, paired with concentrated study of the technique needed to perform them. Students will participate in a culminating performance in a public setting. Learning in a rehearsal setting develops performance skills and awareness of the many components involved in the technical practice and artistry of the performing dancer. The intellectual, physical, and artistic challenges of this endeavor give students the opportunity to relate their work in technique class to a rehearsal setting, and allow them to embody knowledge of the work(s) particular only to dancers who perform them. Students develop artistic self discipline, both in class and in the expected review of material outside of class time. Individual and collaborative learning will contribute to the class community. We will also consider creative choices related to production such as costume, set, and lighting design. Students will maintain individual reflection of their discoveries and experiences via weekly short journal/blog entries (1-2 pages) and/or other methods of choice, such as video clips, visual art impressions, photography, etc. The course may encompass one or both of the following (contact instructor for details each semester): A) Historic Repertory: Students will learn and perform an existing work(s) of historic repertoire, and will experience strategies used in dance reconstruction. Students will also learn the background of the work via archival films, photographs, reviews and other documents. Students will gain a contextual understanding of the work in its time, as well as its significance today. AND/OR B) New Creation: Students will learn and perform an original work created by a faculty or guest artist choreographer. They will experience the creative process both from the inside and outside as dancers in the work, and will also learn directorship skills by serving as rotating rehearsal assistants to the choreographer. [ more ]

This course is intended for students who are juniors or seniors with continued study in department courses and or participation in Dance Department companies (CoDa, Kusika, Sankofa or Zambezi). Students must propose a project that deepens their learning and creativity. The intention is to support research in a historical period that can include cultural, political and economic impact of dance and other modes of performance. Students must meet with faculty to discuss project prior to submitting the proposal. [ more ]

This course is intended for students who are juniors or seniors with continued study in department courses and or participation in Dance Department companies (CoDa, Kusika, Sankofa, Zambezi). Students must propose a project that deepens their learning and creativity. The intention is to support research in a historical period that can include cultural, political and economic impact of dance and other modes of performance. Students must meet with faculty to discuss their project prior to submitting the proposal. [ more ]