Results for DANCE

This class is an introduction to dance studies and the complex meanings bodily performances carry both onstage and off. Using critical frames drawn from dance criticism, history and ethnography and performance studies, and readings from cultural studies, dance, theater and critical theory, the class explores how performing bodies make meanings. We will read theoretical and historical texts and recorded dance as a means of developing tools for viewing and analyzing dance and understanding its place in larger social, cultural, and political structures. Special attention will be given to new turns in queer and feminist dance studies. This course blends theory and embodied practice. This means as we read, research, and analyze, we will also dance. Students enrolled should expect to move throughout the quarter and complete a two-part choreographic research project. TAPS 11 has been certified to fulfill the Writing in the Major (WIM) requirement.

Introduction to non-competitive social dance. The social dances found in today's popular culture include 3 kinds of swing, 3 forms of waltz, tango, salsa, bachata, 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 will enable students to dance with partners whose experience comes from any dance tradition. If the class is filled, register to get on the waitlist.

Students (Choreographers and Dancers) in this Choreography Lab will engage in an intensive rehearsal and production process leading up to the Young Choreographers Festival (YCF) showcase, April 19 and 20, 2024. Each participating choreographer will continue to cultivate and develop their choreographic work in a collaborative process alongside fellow dance-makers in the class. Dance Festival Coordinator & Mentorship Facilitator Aleta Hayes, will support student makers and performers, facilitate critical feedback alongside student peers and the TAPS/Dance Faculty, as well as coordinate production needs for the inaugural Young Choreographers Festival showcase.Students can expect to work alongside their peers to review and practice concepts such as: learning to articulate the aesthetic and technical needs of choreographic work to dancers, using spatial design as a choreographic tool, practicing the techniques and skills needed to shape a compelling choreographed performance. Eligible students in this practice-based course will already have a designated Dance Faculty Mentor(s), a work-in-progress (begun Winter WTR 23-24) OR have been/will be Cast in the chosen works. Workshop Rehearsal Days/Options: (M to THU; 2 out of 4 days- TBD with instructor). Please email inquiries to: Aleta Hayes (ahayes1@stanford.edu).

What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"?The most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions.This 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.

In the class, students will be introduced to qigong as moving meditation. Qigong, loosely translated as energy cultivation, is a branch of Traditional Chinese Medicine based on the principles of Buddhism and Taoism. It can integrate the mind and body and cultivate awareness of the present moment. In this class, we will conceptualize qigong through the lenses of both creativity and contemplation and practice it as a slow dance-meditation. Students will learn exercises based on the Yoqi Six Phases of Qi Flow, developed by Marisa Cranfill, as well as engage in creative, improvisational movement. Readings to support the practice include writings by contemporary scholars and practitioners, and articles about the most recent evidence-based research. Assignments include short written reflections as well as solo and collaborative creative projects.

A dance class in how we become the worst dancer possible. The foundation of this class has many parts. One is that, in almost every respect the way we gain insight into anything is to understand more clearly its polarity. As a class we purposely explore chaos, failure, and "bad" dancing, with the hope that then we will have a greater chance to understand and refine our personal notions around beauty. The class also acknowledges that creativity is at times born from the loss of control. Instead of looking at this idea obliquely, Hot Mess looks at this directly by having dancers confront a number of movement and vocal prompts that are literally impossible to execute in any good way. This class embraces and celebrates destabilization, with all the exuberance, fear, and learning that can happen when we accept and practice being lost.

This intermediate level course will cover fundamental principles underlying the evolving style of modern/contemporary dance both technical and artistic in nature. Students will perform creative and technical exercises that develop strength, flexibility, musicality, increased range of motion, functional efficiency, and performance quality as a means towards developing more, efficient, expressive, and communicative bodies. The contemporary technique taught in this class prepares the student to perform with clarity and artistry, and with deeper anatomical knowledge and connectivity.

This advanced level technique course will cover the fundamental principles underlying modern/contemporary dance both technical and artistic in nature. Students will perform technical exercises that develop functional efficiency, strength, flexibility, musicality, range of motion and performance quality as a means towards honing their own artistic expression and physicality. More advanced concepts such as qualitative versatility, phrasing awareness, innovative physical decision-making, and attention to performance will be explored in greater depth. The contemporary technique taught in this class prepares the student to perform with clarity and artistry, and with deeper anatomical knowledge and connectivity. Short written reflections and concert attendance will supplement studio work. 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. Many students are taken from the waiting list. If the class is filled, register to get on the waitlist.

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.

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

In this course students will engage in the early creative process of a new, and as of yet untitled ritual dance-theater work created by tabor-smith. Utilizing movement, text, song and guided rituals, students will be introduced to tabor-smith?s Conjure Art making praxis through this early creative process which will culminate in a studio showing of the work in progress material at the end of quarter.

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