Academic Courses

DANC 100Foundations in Dance

Last offered Fall 2018

This course is an introduction to the fundamentals of dance history and techniques focusing on Ballet, Modern dance and African dance and music genres. Regular physical work that provides experience in dance technique, reading, discussion about cultural context and significant innovators, viewing media,live performance and writing about dance are required. This course may not be taken for PE credit. [ more ]

DANC 102In the Room Together: An Introduction to Dance, Theatre, and Live Performance

Last offered Fall 2017

This course offers an introduction to the time-based art of performance, focusing on the embodied and social act of collaboration. Students will explore through a rotating studio and seminar-based format methods for creating and approaching art across a range of time-based media (dance, theatre, performance art, social media, spoken-word poetry), providing a foundation for the expression of ideas through performance. Over the term, students will develop, workshop and perform site-specific pieces, culminating in a final public presentation to the community. Through independent research projects, writing and class discussion, students will study makers whose work unsettles the boundaries of dance, theatre, and performance, such as: Anne Bogart, Bill T. Jones, Pina Bausch, Meredith Monk, Lin Manuel-Miranda, E. Patrick Johnson, Young Jean Lee, and Beyoncé. Evaluation will be based on an assessment of the student's work, participation, commitment, practice, curiosity, creativity, and collaboration with peers. Students will be required to attend '62 Center Series programming as may be required to attend other performance events as well. This course is open to students at all levels of experience and is a gateway and requirement to the major in Theatre. [ more ]

DANC 103(F)Historical Research in Dance and Performance Studies

This course is an introduction to the historical context of dance forms prevalent in the US and analysis of movement-based performances. While readings and viewings will focus on the socio-historical background of dance genres practiced at Williams and beyond, an important element of the course will be the practice of documenting, interpreting, and writing about performances as historical and cultural mediums. The course will enable students interested in dance, theatrical and visual arts (including advertising and marketing) 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, and may include attendance at live performances in the area, film screenings, field trips, and workshops with guest artists. Material will be introduced at introductory level. No previous dance experience is assumed or required. Learning objectives: to understand the social and political contexts for various performance genres; to explore interdisciplinary and embodied modes of engaging with movement; to develop the ability to document, analyze, and write about dance as a historical and cultural text. [ more ]

DANC 104(F)Ballet I

In this class, students 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. [ more ]

DANC 106(F)Modern Dance I

This studio course is designed for students with little or no experience in modern dance technique. Students will develop an understanding of basic principles through progression of floor work, standing work, and traveling movement. Skills that will be acquired include strength, coordination, musicality, body alignment, and spatial awareness needed for movers. [ more ]

DANC 125Music and Social Dance in Latin America

Last offered Fall 2014

This course offers a full-spectrum introduction to the sounds, movements, and social characteristics of a number of Latin American social dance forms, including samba, salsa, tango, and the Afro-Surinamese 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 social impact. Among the questions that will drive class discussions are the following: 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? No prior music or dance training is necessary, however this course does require regular engagement in interactive and performance-based assignments and workshops. [ more ]

DANC 201(S)African Dance and Percussion

We will examine two forms that embody continuity of tradition or the impact of cultural shifts in generations. Lamban was created by the Djeli, popularly called Griots who historically served many roles in traditional society from the Kingdom of Ghana and Old Mali spanning the 12th-current centuries. This dance and music form continues as folklore in modern day Guinea, Senegal, Mali and The Gambia where it was created and practiced by the Mandinka people. Bira is an ancient and contemporary spiritual practice of Zimbabwe's Shona people. Both of these forms are enduring cultural practices while Kpanlogo from the modern West African state of Ghana represents the post-colonial identity of this nation's youth at the end of the 1950s. This course can be taken for academic and/or PE credit [ more ]

DANC 202(F)African Dance and Percussion

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 new 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 ]

DANC 203(S)Intermediate Ballet: Technique, Repertoire, History and Now

Designed for dancers who have achieved a beginning/intermediate level, in this course students will explore different eras of ballet through the lens of famous ballets, dancers, choreographers and other key figures. In addition to technique classes, corps de ballet (ensemble) sections and/or variations from the chosen ballets will be taught and coached to students. Learning sequences from these ballets is an excellent training tool, as these short dances are technically, musically, dramatically and spatially challenging. Therefore, this is primarily a studio course, although, through readings and viewings, we will also consider whether, how, and why these ballets can be relevant as performance art today. While the course assignments will offer historical context, we'll also take a rigorous look at broader topics in the art form, including 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 plot-lines of the ballets we'll be working on--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. Students will submit (informal) written responses to the assignments. The class may go on one or two field trips to attend performances and will write response papers when applicable. ANY student with adequate prior knowledge is welcome to this class! Students will be assessed on their individual progress. This course MAY BE REPEATED for credit. [ more ]

DANC 204(S)Ballet II

This course is for students who have reached a beginning/intermediate level of ballet and are serious about continued progression in their technique and artistry. 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. Students will learn to work safely and correctly with their individual abilities. ANY student with adequate prior knowledge is welcome to this class! [ more ]

DANC 205(F)Modern Rebels

This course examines the development of modern dance as is reflected in the innovations and limitations reflected in the artists' works within biases of gender, race, and aesthetics. Students will study the works and philosophies of key artists in the development of modern dance while simultaneously studying modern dance technique. Weekly technique classes will accompany seminar sessions in which we will study pioneers including Martha Graham, Doris Humphrey, Anna Sokolow, Pearl Primus, Jose Limon, Merce Cunningham, Yvonne Rainer, and Katherine Dunham. We will also examine contemporary artists such as Kyle Abraham, Crystal Pite and William Forsythe. Students will develop a critical framework for understanding dance by examining the power dynamics at the time the artists worked, and how these manifest in their work in myriad ways. By what criteria does a culture define bodily innovation? What does a work reflect about its time, its creator, and the place of dance in society? We will examine topics suggested by the works, such as how the body is constructed/deconstructed in, and by, the work, religion and spiritual practice in relation to dance-making, the social identity of the creator and the performers, the role of music/sound in relation to movement expression, and how we "read" dances as individuals. Weekly viewings, critical and historic readings and discussion will be required along with studio practice. [ more ]

DANC 206(S)Modern Dance II

This course aims to build upon students' technical skill, such as increased endurance, expanded vocabulary of movement and more complex use of space, with a focus on musical awareness and longer phrases of movement. [ more ]

DANC 208Dance and Diaspora

Last offered Fall 2016

Both dance and migration involve human bodies in motion, making dance a powerful lens through which to view the experience of diaspora. In this course, we will analyze both continuity and creative reinvention in dance traditions of multiple diasporas, focusing in particular on the African and South Asian diasporas. We will analyze dance as a form of resistance to slavery, colonialism, and oppression; as an integral component of community formation; as a practice that shapes racial, gendered, religious, and national identity; and as a commodity in the global capitalist marketplace. We will explore these topics through readings, film viewings, discussion, attendance at live performances, and in-class movement workshops, which will happen approximately once every two or three weeks in lieu of discussion. Evaluation is based on participation in discussion, reading responses, two short papers, and a final project, which can be either a research paper or a creative project. Your dancing abilities are not evaluated; no previous dance experience is required. [ more ]

Taught by: TBA

Catalog details

DANC 210 TLET'S MAKE A DANCE: Dance Making and Re-Making

Last offered Spring 2018

This course is designed for 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). 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. Three seminar sessions will be included in the class. [ more ]

DANC 212 TFrom Stage to Page: Writing about Dance

Last offered Fall 2016

We commonly understand the word "choreography" to mean the creation of dance movement. The Greek roots of choreography, however, are choreia (the synthesis of dance, music and singing) and graphein (to write). For centuries, people have attempted to pin dance down on the page, translating an ephemeral, embodied performance art into written form. In this writing-intensive tutorial, students will investigate four major modes of dance writing: dance notation or scoring, dance criticism, dance ethnography, and dance history, with a shorter fifth unit on a new avant-garde form, "performative writing." Students will study important examples of each form, such as Rudolf Laban's famed system of dance notation and Katherine Dunham's ethnographic account of dance in Jamaica, Journey to Accompong. Students will then delve into each form of writing themselves. For example, they will work with Mellon Artist-in-Residence Emily Johnson as "scribes" for her creative process, attend live dance concerts at the '62 Center and Mass MoCA as the basis for writing pieces of dance criticism, conduct participation-observation research by attending social dance events to write mini-ethnographies of their experiences, and work with librarians to learn about resources at Sawyer for researching dance history. [ more ]

DANC 214(F)Performance Ethnography

The course aims to explore the theory, practice, and ethics of ethnographic research with a focus on dance, movement, and performance. Traditionally considered to be a method of research in anthropology, ethnography is the descriptive and analytical study of a particular community through fieldwork, where the researcher immerses herself in the culture of the people that she researches. In this course students will be introduced to (i) critical theory that grounds ethnography as a research methodology, (ii) readings in ethnographic studies of dance and performance practices from different parts of the world, and (iii) field research in the local community for their own ethnographic projects. This is primarily a discussion-based seminar course and may include fieldwork, attendance at live performances, film screenings, workshop with guest artists etc. No previous dance or performance experience is assumed or required. [ more ]

DANC 215Ways of Knowing: Music, Movement, Memory

Last offered Fall 2017

This interdisciplinary seminar proceeds from the premise that the body knows. Ongoing colonial modernity is rooted in a racialized hierarchy: the "civilized" life of the mind vs. the "primitive" instincts of the flesh. According to this binary, the body is marked as irrational, sinful, outside of the archive. The body cannot know because the happenings of the body are ephemeral: unlike documents, they don't last. In this course, we will subject this logic to close scrutiny. As performance scholar Diana Taylor asks, "Whose memories, traditions, and claims to history disappear if performance practices lack the staying power to transmit vital knowledge?" In this course, we look to music, movement, and other repertoires as ways of knowing, remembering, and world-making. How does embodied knowledge travel across time and space? How have performance practices served as modes of what Ashinaabe cultural theorist Gerald Vizenor calls "survivance" (survival + resistance) for indigenous, nomadic, queer, and colored communities. Case studies include: the Middle Passage and the syncretic birth of the Blues in the Americas; nomadism, the nation-state, and the migration of Romani music; and the evolution of queer ball culture. Students will engage with a variety of texts (verbal, sonic, visual, kinesthetic) and respond to them critically not only through writing and discussion, but also through their own performance practices. [ more ]

DANC 216(S)Asian-American Identities in Motion

The course aims to explore dance and movement-based performances as mediums through which identities in Asian-American (including South Asian) diasporas are cultivated, expressed, and contested. We will examine theories related to nationalism, post-colonialism and diasporic identity-formation, and learn about the socio-historical contexts in which performances are used to maintain cultural continuity. We will explore how diasporic artists use performances to enforce or resist traditional practices and ideologies. Throughout the course, we will investigate issues of race, gender, sexuality, ethnicity, nationality, tradition/innovation, agency/resistance, and borrowing/appropriation among other topics. This is primarily a discussion-based seminar course but will also include attendance at live performances in the area, film screenings, and discussion and workshops with guest artists. No previous dance experience required. [ more ]

DANC 217(S)Moving While Black

Opening your apartment door, driving down the highway, taking a knee, raising a fist, sitting at the lunch counter then or sitting in a café now, these movements have historically and presently prompted fear at a minimum and in the most grave cases death for black people. Whether in the U.S. or globally, moving in the world as a black person often means being perceived as different, foreign and threatening. Crawling, dancing, running and boxing, these movements have countered fear and articulated the beauty, pride, creativity and political resistance of black people. In both cases, black movement matters and means much. While many consider movement to be just organized dance moves, this course expands students' definitions of black movement and teaches them to analyze multiple perceptions, uses, and reactions to it. "Moving while Black" offers examples of physical movement in improvised and practiced performance, quotidian movement, geographical movement across national borders and symbolic, politicized gestures. Students will investigate black movement via interdisciplinary sources that reflect various time periods and locations. They will analyze such texts as Jacob Lawrence's visual art in The Migration Series, the movement of the rumba dance form between Cuba and the Democratic Republic of Congo, the Alvin Ailey American Dance Theater's "Revelations," William Pope.L's choreographed crawls, the 1995 World Rugby Cup in South Africa, and the 2018 case of a Kansas resident arrested while moving into his own home. Additionally, this course features an important practice element, in which students experiment with in-class dance exercises and workshops, engage with dance archives at Jacob's Pillow, interview participants of Kusika, and create and perform their own choreographies. While no previous experience in performance is required, curiosity and openness to learning through one's own body movement is expected. [ more ]

DANC 226(S)Gender and the Dancing Body

This course posits that the dancing body is a particularly rich site for examining the history of gender and sexuality in America and beyond. The aim of the course is to explore ideas related to gender and sexuality as prescribed by dominant cultural, social, and religious institutions, and how dance has been used to challenge those normative values. We will examine a wide range of dance genres, from stage performance 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 but will also include attendance at live performances, film screenings, and discussions with guest artists. No previous dance experience required. [ more ]

DANC 230Dance and Context: Hip-Hop's Roots and Influences Today

Last offered Spring 2019

This course will focus on the Hip-Hop dance techniques as well as the influence on dance, music, fashion, language, media and personal style throughout the world. Students will develop a physical practice through technique class that supports their investigation of the history and culture through media, reading, discussion and research to develop a performance project. The project will be a part of the Dance Department's contribution to the spring season of events in Dance and Theatre. In addition to technique class and discussion, this class will require additional meeting time for rehearsals. [ more ]

DANC 242Body of Knowledge

Last offered NA

This is a movement course designed for creative thinkers, such as dancers, actors, musicians, and visual artists. The body is the sole mediator of human experience and the site where all creative work resides, so we must integrate movement as a source and resource in our work. We will engage the body as an expressive tool in support of artistic craft and technique and build confidence in our ability to translate creative impulses through physical action. We will focus on the kinetic application of movement in the art-making process, using core energy, dynamics, breath connection, strength, flexibility, stamina, and relaxation techniques in order to integrate our creative output. We will also examine how movement informs creative work across disciplines through readings, films, and museum visits. [ more ]

DANC 267(S)Performance Studies: An Introduction

Since the 1980s, performance studies has emerged as an interdisciplinary field of inquiry, with origin tales in theater and anthropology, in communications and philosophy. What might theorizing "performance" as mode, analytic, and object of study have to offer scholarship in the interdisciplinary humanities? In this seminar, we will read texts formative of performance studies, paired with multimedia performance examples, where performance speaks to staged theatrics as well as the presentation of everyday life. We will ask, how are race, gender, sexuality, and nation produced as the effects of legal, political, historical, social, and cultural scripts? And--an important partner question--how do discourses and practices of race, gender, sexuality, and nation in fact produce legal, political, historical, social, and cultural effects? This seminar is an introduction to performance studies, an interdisciplinary field in conversation with theater studies, gender studies, anthropology, philosophy, literary theory, visual studies, dance studies, ethnic studies, queer theory, and postcolonial studies. Students will study and experiment with performance while reading theoretical texts to grapple with concepts including ritual, restored behavior, performativity, mimicry, liveness, the body, objecthood, archive, movement, matter, and affect. [ more ]

DANC 280 TDancing the Score/Scoring the Dance

Last offered Spring 2019

This course is designed for students interested in intensive collaborative composition work in dance and music. Students in dance will be paired with students in music; both students will be supported in creating in collaboration by practicing composition in their respective disciplines while working closely with each other in a structured, intimate setting. Any genre or style of music or dance may be explored. Projects will allow students to practice methodologies of collaboration and creation. Groups will evolve, and document procedures unique to their group. Students are expected to rigorously build upon and revise their work(s) by making active use of feedback sessions. Studying historic and contemporary dance and music collaborations in a variety of genres will give further context to our work. Weekly presentation of assignments, active participation in feedback sessions, identifying to the group what the next steps are, written reflection on sessions, and final showing will be required. Creating in collaboration trains students to articulate vision and intention while enabling the instructors to differentiate their aesthetic values from those of the students. It also trains students to collaborate with other disciplines during the creative process. The format allows class members to receive undivided focus on their processes, while also challenging them to assess their own abilities, create their own next steps, and discover how movement can inspire music as well as music inspiring dance. This tutorial provides a crucial central aspect of the creative arts: a space for ongoing feedback driven by the questions arising for the students, rather than specific aesthetic preferences or working practices. Investment in the work of one's group is central, sharing responsibility for the development of others' as well as one's own work. [ more ]

DANC 285(F)Scenic and Lighting Design for Performance

The artistic, intellectual, and practical roles of a designer vary widely, from the spectacle of Broadway to the do-it-yourself ingenuity of downtown theater to the conceptual frame of the art gallery space. This course explores the art and techniques of lighting and scenic design for performance. While grounded in a conceptual methodology for development of a design based in textual analysis and research, this course is equally concerned with providing instruction in the techniques and craft necessary for bringing a design to fruition, including: sketching, technical drafting, and model-making; basic physics and theories of color in both surfaces and light; the use of volume, movement, color, intensity, and texture as compositional and storytelling tools; the variety of stage lighting instruments and theatrical soft goods available, and their uses; writing cues; and the translation of concept into light plots, channel hookups, plans and elevations. We will use a variety of performance texts (plays, musicals, opera, and dance) to discover and explore the creative process from the perspective of scenic and lighting designers. The class format will be a combination of lectures, discussions and studio work. [ more ]

DANC 300(F)Advanced Ballet--Technique, Repertoire, & Revolution: Women at the Barre, on Stage, at the Helm

To loosely paraphrase the feminist Emma Goldman, "If I can't dance, I don't want to be part of your revolution." Designed for intermediate/advanced ballet dancers, in this course students will explore different topics in past and current ballet history through the lens of famous ballets, dancers, choreographers, etc. In Fall 2019, we will focus on some of the notable female figures in the world of ballet: while ballet is often perceived as a primarily "female" art form-and indeed, there are many more females vying for positions in ballet companies than males-historically, women have held far fewer leadership positions than men, and have had fewer choreographic opportunities. In addition to technique classes, variations and/or ensemble sections from selected ballets will be taught and coached to students. This is primarily a studio course, although readings 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. Students will submit (informal) written responses to the assignments. The class may go on one or two field trips to attend performances and will write response papers when applicable. This course MAY BE REPEATED for general academic credit (but not for additional WGGS major 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. [ more ]

DANC 301Creative Process in Dance

Last offered Spring 2016

This course examines the methods used to make dances. It is intended for the experienced mover who is ready to focus on theory, methods and the history of composing dance in various traditions. Students will be asked to identify their own methods and engage in research and regular presentations of their compositions for critical feedback. The class will also study innovative professional choreographers such as Pina Bausch, Ping Chong, George Balanchine, Eiko and Koma, Rennie Harris, Alvin Ailey, Martha Graham, Ronald K. Brown, Lucinda Childs and Merce Cunningham. To more fully understand the context in which these works were created, the class will read essays by dance scholars such as Louis Horst, Liz Lerman, Deborah Jowitt, Sally Banes, and Susan Leigh Foster. [ more ]

DANC 304(F, S)Ballet III

Designed for dancers who have achieved intermediate/advanced level of ballet technique. 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. Students are encouraged to work safely and correctly within their individual abilities so that artistry, musicality and the dynamics in ballet are explored. [ more ]

DANC 317Black Migrations: African American Performance at Home and Abroad

Last offered Fall 2017

In this course, students will investigate, critique and define the concepts migration and diaspora with primary attention to the experiences of African Americans in the United States and Europe. Drawing on a broad definition of performance, students will explore everything from writing and painting to sports and dance to inquire how performance reflects, critiques and negotiates migratory experiences in the African diaspora. For example, how did musician Sidney Bechet's migration from New Orleans to Chicago to London influence the early jazz era? How did Katherine Dunham's dance performances in Germany help her shape a new black dance aesthetic? Why did writer James Baldwin go all the way to Switzerland to write his first novel on black, religious culture in Harlem? What drew actor/singer Paul Robeson to Russia, and why did the U.S. revoke his passport in response to his speeches abroad? These questions will lead students to investigate multiple migrations in the African diasporic experience and aid our exploration of the reasons for migration throughout history and geography. In addition to critical discussions and written analysis, students will explore these topics through their own individual and group performances in class. No prior performance experience is necessary. [ more ]

DANC 330Modern Folklore: Postcolonial Dance and Music in Africa

Last offered Spring 2019

"Folklore is a mixture of traditions, poems, songs, dances and legends of the people, it can be no other than the reflection of the life of the country and if that country develops, there is no reason why the folklore which is the living expression, should not develop as well. Modern folklore in present Africa is as authentic as the Africa of old." --Keita Fodeba, founding Artistic Director of Les Ballet Africain, Guinea, West Africa. This course will involve intensive dance and musical practice that is rooted in traditional and contemporary/forms from the African continent and the Diaspora. We will examine the international impact of countries who achieved independence from Europe in the late 1950's-1990s such as Les Ballets Africain, National Dance Company of Senegal, Bembeya Jazz, Ghana Dance Ensemble, and the national dance and music companies of Zimbabwe, Jamaica, and Cuba. Our study will include the impact of artists such as James Brown, Miriam Makeba, Michael Jackson, and Youssou N'Dour, as well as Hip Hop culture and the emergence of new forms of music and dance or modern folklore. [ more ]

DANC 397(F)Independent Study: Dance

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 ]

DANC 398(S)Independent Study: Dance

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 ]