Results for DANCE

This course introduces students to dance as an important cultural force in the African Diaspora. From capoeira in Brazil to dance hall in Jamaica to hip hop in the United States and Ghana, we will analyze dance as a form of resistance to slavery, colonialism, and oppression; as an integral component of community formation; and as a practice that shapes racial, gendered, and national identity. We will explore these topics through readings, film viewings, and movement workshops (no previous dance experience required). Students will have the option to do a creative performance as part of their final project.

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.

In this course, students will be given the opportunity to be part of the development of choreography for the Stanford TAPS Spring production of Evita. They will learn about tango, salsa, musical theater dance and waltz as we construct combinations and pieces that will ultimately go into the show. Auditions for Evita will take place in week 1 of winter, but students enrolled in the course need not be in the cast to participate. On the flipside, students hoping to be cast are strongly encouraged to consider enrolling in the course. No previous dance experience is required.

An introductory class in exploring the different ways of approaching choreography. Bobbi will create an original work on the students through out the term that will focus on the cognitive and emotional experience of movement.nnGuest instructor Bobbi Jene Smith is a former dancer with the internationally acclaimed Batsheva Dance Company, and a principal collaborator in the works of choreographer Ohad Naharin, as well as one of the world's most recognized teachers of GaGa and Naharin repertory.

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.

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

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.

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

Intermediate non-competitive social ballroom dance: intermediate/advanced waltz, redowa, Bohemian National Polka, intermediate/advanced tango, cha-cha, and salsa. 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.

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

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

Gaga is a movement language created by the Israeli choreographer Ohad Naharin. It is the main mode of training for the Batsheva Dance Company in Tel Aviv, Israel, which is directed by Naharin. Gaga provides the person with an experience of freedom and pleasure while emphasizing sensation through a wide variety of multi-textured movements. The Gaga language is dynamic, fluid, and continually evolving. It connects you to your groove, passion, and physicality.nnGuest instructor Bobbi Jene Smith is a former dancer with the internationally acclaimed Batsheva Dance Company, and a principal collaborator in the works of choreographer Ohad Naharin, as well as one of the world's most recognized teachers of GaGa and Naharin repertory.

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.