41 - 50 of 55 results for: DANCE

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.

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

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 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.

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.

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.