printer friendly pageTAPS 157: World Drama and Performance (TAPS 357)
This course takes up a geographically expansive conversation by looking at modern and contemporary drama from nations including Ghana, Egypt, India, Argentina, among others. Considering influential texts from the Global South will also enable us to explore a range of themes and methodologies that are radically re-shaping the field of Performance Studies. We will examine the relationship between colonialism and globalization, empire and capital, cosmopolitanism and neoliberalism. Re-situating our perspective from the Global South and the non-western world, we will 'provincialize Europe' and probe the limits of its universalizing discourses.
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Menon, J. (PI)
TAPS 160: Performance and History: Rethinking the Ballerina (DANCE 160, FEMGEN 160, TAPS 260)
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.
Last offered: Winter 2017
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
TAPS 160M: Introduction to Representations of the Middle East in Dance, Performance, & Popular Culture (CSRE 160M, DANCE 160M, FEMGEN 160M)
This course will introduce students to the ways in which the Middle East has been represented and performed by/in the 'West' through dance, performance, and popular culture in both historical and contemporary contexts. A brief look through today's media sources exposes a wide range of racialized and gendered representations of the Middle East that shape the way the world imagines the Middle East to be. As postcolonial theorist Edward Said explains, the framework we call Orientalism establishes the ontological character of the Orient and the Oriental as inherently `Other'. Starting with 19th century colonialism and continuing into the post-9/11 era, this course will trace the Western production, circulation, and consumption of representations of the Middle East as 'Other' in relation to global geopolitics. We will further examine dance forms produced in mid-twentieth century Iran and Egypt, with particular attention to nation-state building and constructions of gender. Finally, we will examine artistic productions and practices from the Middle East and Middle Eastern diasporic communities that respond to colonialism, war, displacement, secularism, and Euro-American Empire. Using dance studies, postcolonial feminist, and critical race theoretical frameworks, we will consider the gender, racial, political, and cultural implications of selected performance works and practices in order to analyze how bodies produce meaning in dance, performance art, theater, film, photography, and new media. Students will engage in multiple modes of learning; the course will include lectures, engaged group discussions, viewing of live and recorded performance, embodied participation in dance practice, student oral presentations, and a variety of writing exercises. Course assignments will culminate in a final research project related to class themes and methods.
Terms: Spr
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-EDP
TAPS 161D: Introduction to Dance Studies: Dancing Across Stages, Clubs, Screens, and Borders (CSRE 61, DANCE 161D, FEMGEN 161D)
This introduction to dance studies course explores dance practice and performance as means for producing cultural meaning. Through theoretical and historical texts and viewing live and recorded dance, we will develop tools for analyzing dance and understanding its place in social, cultural, and political structures. This uses dance and choreography as a lens to more deeply understand a wide range of identity and cultural formations, such as gender, race, sexuality, (dis)ability, (trans)nationality, and empire. We will analyze dancing bodies that move across stages, dance clubs, film screens, and border zones. We will examine dance from diverse locales and time periods including ballet, modern and contemporary dance, contact improvisation, folkloric dance, burlesque, street dance, queer club dance, drag performance, music videos, TV dance competitions, and intermedia/new media performance. In addition to providing theoretical and methodological grounding in dance studies, this course develops performance analysis skills and hones the ability to write critically and skillfully about dance. No previous experience in dance is necessary to successfully complete the course.
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Akbarzadeh, H. (PI)
TAPS 161H: Dance, History and Conflict (DANCE 161H)
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.
Last offered: Winter 2016
TAPS 162H: Baroque Modernities: Dance, Theater, Film, Political Theory (DANCE 162H)
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.
| Repeatable
4 times
(up to 16 units total)
TAPS 164H: Performance and Gender (FEMST 164, FEMST 364, TAPS 364H)
The intersectionality of race, sex, gender, and class in the formation of gendered performance. Readings from the work of Judith Butler, Eve Sedgwick, David Savran, Judith Halberstam, and David Eng. Case studies include:
M. Butterfly, The Crying Game, Paris is Burning, Angels in America, and
American Idol..
| UG Reqs: GER:DB-Hum, GER:EC-Gender
TAPS 164T: Queer Art and Performance (TAPS 364T)
Examines the late 19th, 20th and 21st century forms of performance-- including examples from drama, theater, cabaret, and performance art -- through the perspectives of contemporary critical gender and queer theories. Texts and movements range from early avant-garde (Dada, Futurism) to gay and lesbian drama (Lillian Hellmann, Joe Orton, Tony Kushner) to post-liberation Queer performance and video (Split Britches, Carmelita Tropicana, Kalup Linzy). Theorists include Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick.
Last offered: Spring 2013
| UG Reqs: GER:EC-Gender
TAPS 165: Introduction to Comparative Studies in Race and Ethnicity (CSRE 196C, ENGLISH 172D, PSYCH 155, SOC 146)
How different disciplines approach topics and issues central to the study of ethnic and race relations in the U.S. and elsewhere. Lectures by senior faculty affiliated with CSRE. Discussions led by CSRE teaching fellows. Includes an optional Haas Center for Public Service certified Community Engaged Learning section.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-SocSci, GER:EC-AmerCul, WAY-EDP, WAY-SI
Instructors:
Markus, H. (PI)
;
Moya, P. (PI)
;
Bencharit, Y. (TA)
...
more instructors for TAPS 165 »
Instructors:
Markus, H. (PI)
;
Moya, P. (PI)
;
Bencharit, Y. (TA)
;
Handron, C. (TA)
;
Hill, R. (TA)
;
Muragishi, G. (TA)
;
Patterson, C. (TA)
;
Sanchez, K. (TA)
TAPS 165C: Ancient Dance and its Modern Legacy (CLASSICS 137, CLASSICS 237, TAPS 265C)
Descriptions of dance in the Greek and Greco-Roman world; theories about dance in antiquity; dance and the senses; modern and modernist dancers and choreographers discussing ancient dance
Last offered: Winter 2015
| UG Reqs: WAY-A-II
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