Results for DANCE

This course is a choreographic workshop and performance seminar, inspired by the abstract expressionist art found in the Anderson Collection at Stanford set to open in fall 2014 and the Cantor exhibit of Robert Frank¿s photography on view also in fall 2014. The period between the 1950¿s and early 1960¿s was a rich time for painting, dance, and conceptual and interdisciplinary art movements. Through this course we will consider how contemporary dancers/performers might express these ideas as a direct response to the impulses seen and felt in the art of this period. We will create a site-specific dance performance and runway show throughout the exhibition spaces in celebration of the opening of the Anderson Collection building at Stanford. nStudents will be encouraged to identify and investigate similar currents in contemporary dance, music, fashion, and visual art, integrating the historical and the contemporary into the choreography and performance. Students should be prepared to present, justify, and challenge what they see as viable artistic content from their contemporary world of dance, fashion, art, and music. nThe course will include studio practice in the galleries, guest lectures from Stanford faculty, curatorial staff, and outside experts in fashion and music, as well as field trips to San Francisco. Culminating performances will be presented during the fall quarter, at the program showcase, in collaboration with the Robert Frank exhibition at Cantor Arts Center and coinciding with the grand opening of the Anderson Collection.

This new dance will be episodic, consisting of both solo/duo sections and small group sections, layered. Material will be developed Autumn quarter, performed in a mid-week showing of faculty/student works in an informal concert setting, 9th week of Winter quarter. nThe work will be physically & technically demanding. Students may enroll pending casting, by audition and/or invitation.

Students from diverse dance styles (ballet to hip-hop to contemporary) participate in the dance-making/remix process and collaborate with musicians, visual artists, designers and spoken word artists, to co-create multidisciplinary fully produced production and installation. Open to student artists of different genres, styles, disciplines and levels. By audition and/or discussion with the instructor.

Students who participate in the Chocolate Head-Space will engage in a dance and music activities and collaborative crowd-sourced performance on the Stanford campus. A mobile app using GPS data would be implemented to fellow Chocolate Heads students-- prompting them to engage, perform and collaborate with others in that space. Students( and audiences) would be encouraged to learn a piece (or multiple pieces with friends) and record themselves performing in a different places on campus. No prior experience is required.

Beginning Modern Dance appeals to the beginning mover with little or no experience in dance and will focus on developing a coordinated and technical dancer. We will use exercises from Limon, Cunningham, and Ballet techniques in training, but will not focus on any one-dance form. . This class deals with the notion of movement as a mode of expression. We will try to find ways through movement to render as clearly as possible concepts central to the human experience.

This introductory dance course combines the fundamentals of contemporary dance technique and exercises from various movement practices, such as yoga and Tai chi. Liquid Flow implies the continuum from the dance of the everyday to the studio to the stage. Students will develop articulation, flexibility and "grace", learn contemporary, popular and classic dance vocabulary, and gain freedom dancing with others. Designed for beginners, we welcome student movers from diverse dance traditions, non-dancers, athletes, and more advanced dancers, who desire fluidity in their daily life, from thought to action.

By learning various dance improvisation forms across cultures, students will develop techniques to gain a deep understanding of generating movement from the inside-out, inspired by conceptual strategies from master improvisors while harnessing that potential for creating dances. Guest dancer/choreographer workshops and Dance Jams enhance the learning experience. All Levels welcome.

Introduction to non-competitive social ballroom dance. The partner dances found in today's popular culture include 3 kinds of swing, 3 forms of waltz, tango, salsa, cha-cha and nightclub two-step. The course also includes tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. The emphasis on comfort, partnering and flexibility enables students to dance with partners whose experience comes from any dance tradition.

Fundametals of ballet technique including posture, placement, the foundation steps, and ballet terms; emphasis on the development of coordination, balance, flexibility, sense of lines, and sensitivity to rhythm and music. May be repeated for credit.

Series of directed studio practices focusing on the creation of a formal choreography to be integrated in the Dance Division repertory and performed during the Division Winter Concert. The course is designed to engage students in acquiring interpretive and expressive skills working one on one with a choreographer, increase adaptability of artistic technique and style, develop knowledge of movement possibilities and artistic voices, and cultivate presence and authority as performers. The new work, Swan Lake Recalibrated, will be a contemporary reinterpretation of the traditional ballet, created by choreographer Alex Ketley. Students recruited via audition.nnContact: aketley@stanford.edu

Choreographer Hope Mohr/Denae Hannah will set contemporary work from her company repertory as part of an alumni commission initiative . Rehearsal Autumn Quarter. Culminate in performance on Winter Quarter concert. Participation by audition and/or invitation (Rehearsal Director: Diane Frank)

Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.

Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.

This movement-based introductory course to site-specific dance/performance art investigates one of humanity's basic drives: to build and express relationship to the external environment. Using their bodies as sensory information-gathering tools , student will examine the qualitative aspects of various sites, indoor and outdoor. Using skills/knowledge acquired through studio work supplemented by readings/ concerts/videos & films of site specific works, students will create short culminating projects/works in physical conversation with campus sites, building upon both the concrete and imaginative dimensions of place.

In everyday life we are constantly moving from the subjects of the public, to its objects--from seeing to being seen. This performance- creation, interactive seminar explores everyday/pedestrian movement as articulated through the language of dance. Looking through the interpretive lenses of fashion, dance and visual representation, we critically consider how we observe others and ourselves in the world, and how we respond performatively or unconsciously. In addition to seminars and rehearsals, we will host guest lectures by curators, artists and professors: incorporate fieldwork research in museums as sites of display, and discuss scholarly texts and films. A performance installation with dance, fashion and visual display will ensue in the galleries at the Cantor Arts Center at Stanford, in conjunction with the Fall 2013 exhibition, Carrie Mae Weems: Three Decades of Photography and Video.

Students develop their own choreographic projects-from initial concept, though rehearsal phase, to culminating performance - under close faculty guidance. The course focuses on choreographic process, with no restrictions on movement vocabulary or movement style. Dancer/choreographers of all forms and genres are strongly encouraged to participate. This course is required for students working towards performance on Divisional concerts. Work includes individual mentoring within rehearsal setting as well as outside of rehearsal. May be repeated for credit.

What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"?nThe most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions.nThis class will explore the realm between Hip Hop Dance and the Broadway Stage. Infusing Acting thru dance movement and exploring the Art of Lip Sync thru Hip Hop Dance styles.

This introductory course explores the creative process in dance. There are many effective ways to approach creative expression, and this course will utilize multiple approaches, both in series and in parallel. Parallel processing and multitasking will become the dominant mode as rational, intuitive and physical skills merge. Processes will include changing perception, design by analogy, quick adaptation to changing situations, overcoming creative blocks, and stress reduction to relax into a more creative state of mind. Class sessions will alternate between theory and practice, with two-thirds of the class time spent in the dance studio, creating ways of moving, to embody the concepts that will be detailed in the discussion sessions. Students will study historical and current research on creativity, develop nonverbal kinesthetic languages, work on changing perception and breaking out of routine patterns, incorporate musicality into their dance creations, gain proficiency in adapting to changing situations, and develop individual styles of creativity, rather than looking for one "best" methodology. Dance forms will include modern dance, social dance (cross-step waltz) and jazz dance. Previous dance experience is not required.

Structured studio practice reviewing the basics of ballet technique including posture, placement, the foundation steps and ballet terms, and progressing to more complex positions and combination of steps. Emphasis is placed on improving forms, developing coordination and connectivity, securing balance, increasing strength, flexibility, sense of lines, and sensitivity to rhythm and music.

Two hundred years of waltzing: Regency era waltz (1816), Vienna in the 1830s, redowa and mazurka waltz variations, waltz in 5/4 time, the Russian Mazurka Quadrille, pivots, 20th-century hesitation waltz, tango waltz, Parisian valse musette, 1930s Boston, 1950s Bandstand-style waltz, swing waltz. Each form is explored for possible adaptation to today's non-competitive social dancing. May be repeated for credit two times.

Rigorous daily practice that will challenge and expand students¿ understanding of and perspective on the art form. Focus on strengthening technique, exploring ballet as an expressive form and performing art, and developing an artistic voice.

This intermediate studio dance practice class is primarily grounded in training practices of Merce Cunningham, with additional technical work drawn from other major modern dance training techniques. Participation in this class will increase strength, speed, line, amplitude and rhythmic acuity/musicality. Dance technique will be supplemented by other studio experiences that will increase awareness of dance as an art form. Studio work will be supplemented by readings, video viewings, concert attendance, and lively participation in classes with guest artists. Students must be ready to work at an intermediate level.

This advanced dance technique class is grounded in the technical training, aesthetic sensibilities, and choreographic processes of Merce Cunningham, American dancer/master choreographer. This studio work at an advanced level will build technical strength, speed, line, and rhythmic acuity/musicality and amplitude in dancing. The class will provides solid technical training useful and applicable to other forms of dancing. Dancers must be ready to work at an high intermediate/advanced level to enroll. Studio practice will be supplemented by readings, video viewing, concert attendance, and participation in special workshops with guest artists. Cunningham-based technique is particularly well-suited to dancers with prior training in ballet technique; dancers with prior training in any form are welcome. May be repeated for credit.

Intermediate non-competitive social ballroom dance. The partner dances found in today's popular culture include Lindy hop, Viennese waltz, hustle, traveling foxtrot, plus intermediate/advanced levels of cross-step waltz and nightclub two-step. The course continues further tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. Prerequisite: Dance 46.

Swing dancing: the early Lindy of the 1920s; 6- and 8-count Lindy hop, Shag, Big Apple, 1950s Rock 'n' Roll swing, disco Hustle and West Coast Swing. Partnering and improvisation. Swing's crosscultural influences and personal creativity. May be repeated for credit.

Intermediate Ballet at Stanford is designed for students who have done ballet in their past, but maybe have stepped away from the form for awhile. The class focuses on technique, musicality, vocabulary, coordination and artistic choice. The class looks at ballet as an enduring and vibrant movement system that can be used for classical purposes or as a way to strengthen and diversify the movement vocabulary inherent in other dance forms like modern, hip-hop, or social dancing. Any questions can be directed to Lecturer Alex Ketley at aketley@stanford.edu.

Advanced Ballet at Stanford is offered for students who are interested in rigorous, complex, and artistically compelling ballet training. The class focuses on technique, but in the broad sense of how ballet as a movement system can be used for a wide range of dance disciplines. The class honors the historical training legacy that defines classical ballet, but is in no way shackled to that history in an antiquated fashion. The students are encouraged to explore the form as artists, to question its foundations, and find their own sense of agency within classical dance. Students with a strong background in ballet are encouraged to come, but also students with less ballet training are welcome as long as they have an email dialog with the lecturer beforehand. Any questions can be directed to Lecturer Alex Ketley at aketley@stanford.edu

Interested in putting your hands in the clay? In this hands-on course, dancers will investigate and re-choreograph some of Robert Moses' signature works. Robert and long-term dancers in his company, Robert Moses' Kin, will collaboratively guide students in intensive studio sessions as they revisit the significant issues, techniques, and directions in such seminal works as Word of Mouth, The Soft Sweet Smell of Firm Warm Things, and Helen. Elements used to create the works will be re-investigated and re-framed through the lens of the students' experience and perspective. Students will coordinate a showcase of excerpts of their remolded choreography.nnThis class will utilize the language of Robert Moses' repertory to train dancers in the basics of Moses' movement vocabulary. Students will improve and reinforce technical proficiency, artistic range, and performance skills. In addition, students will expand their movement range and vocabulary in a manner that demonstrates an increase in strength, agility, flexibility, and endurance through classical ballet and contemporary modern dance techniques.

Intermediate non-competitive social ballroom dance: intermediate/advanced waltz, redowa, Bohemian National Polka, intermediate/advanced tango, cha-cha, salsa and samba. The course continues further tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations.Prerequisite: Dance 46. Dance 156 may immediately follow Dance 46.

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.

This seminar investigates how moving bodies are compelling agents of social, cultural, and political change.Through readings, videos, discussions and viewings of live performances this class questions the impact of social conflict and war on selected 20th and 21st century dances and dance practices. This class asks to what extent dance, in its history as well as contemporary development, is linked to concepts of the political and conflict.

Topics related to the discipline of dance. May be repeated for credit.

Individual supervision of off-campus internship. Prerequisite: consent of instructor.

Participatory seminar. The nexus of art, community, and social action, using dance to study how the performing arts affect self-construction, perception and experiences of embodiment, and social control for incarcerated teenagers in Santa Clara Juvenile Hall. Service Learning Course (certified by Haas Center).

Individual project on the work of any choreographer, period, genre, or dance-related topic. May be repeated for credit.

Lyric Contemporary appeals to the creative mover with little or no experience in dance and will focus on developing a fluid coordinated dancer. The work in this course does not assume a technical or conceptual proficiency in any dance form. It does presume you have some interest in dance forms including Jazz, Hip Hop, Ballet, and Modern or at least have a strong interest in one or more of the arts. This class deals with the notion of movement as a mode of expression. We will try to find ways through movement to render as clearly as possible concepts central to the human experience.

The repertory of Hip Hop history through steps and choreography. May be repeated for credit.

This Choreography course is designed to expose students to fundamental techniques and approaches used in the creation of dance. All of the basic elements of dance composition will be creatively touched upon including: style, form, theme and variation, narrative versus abstract methods of expression, elements of time, quality and use of space, motif and repetition. These different tools will be illustrated and the options and restrictions of each will be explored. Practical assignments will culminate in a performance of work generated and arranged by the instructor and students. The course is recommended for all students interested in the artistic process in a creative situation.

This course provides instruction in the fundamentals of the goal-oriented body in the artistic practice. Emphasis will be placed on suing sports movement as a base for training in dance.

Students practice, compose and combine the languages of dance, gestural movement, music and text, to render complete expression in performance. Suitable for dancers, actors, spoken word artists and triple threat performers to devise original performance, dance and theater, culminating in an end of quarter showing.

A quarter-long exploration of improvisation in relationship to identity and race in the 21st century in which students investigate new dynamics of doing and thinking identities through the arts. Panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. Strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.

What do seventeenth-century choreography and dramaturgy contribute to (mean to) choreographic and theatrical modernity? How can we explain the recurrent baroque phenomenon across the twentieth century -- becoming particularly prominent in the 1980s -- beyond the historicist accounts of theatrical reconstruction? How does the baroque locate itself within cultural modernity?nnThis seminar asks this question of choreography at several junctures: The analysis of seventeenth century baroque spectacle that fashioned dance and theatre into political tools of monarchical sovereignty; Twentieth-century literature on the Baroque that destabilizes received notions of subjectivity and political sovereignty; Twentieth-century choreography and film that deploys baroque figures and techniques.nnThus, our material shall range from seventeenth-century dance and theater to contemporary dance, film and literature.

Explores how indigeneity is expressed and embodied through performance on the global stage.

The course will examine and engage with dance cultures from around the world. Through historical and theoretical readings, film screenings, and viewing performances, this course aims to introduce students to a number of theoretical issues central to the study of dance across various disciplines. As a class we set out to explore how dance is more than a set of organized bodily movements, pleasurable to both do and watch. We will consider what cultural work dance performance accomplishes in the world.

A quarter-long exploration of improvisation in relationship to identity and race in the 21st century in which students investigate new dynamics of doing and thinking identities through the arts. Panel discussions, performances, and talks that engage critically with the theme, concept, and practice of improvising identity across a variety of contexts and genres such as jazz music, modern dance, contemporary art, race comedy, food, and hip-hop poetry/freestyle. Strategies that artists/scholars have used to overturn essentializing notions of identity in theory and practice.