Results for dance

Students in Liquid Flow will participate in a dance and movement class that teaches the fundamentals of dance technique and addresses the way we already dance through the world. By discovering our own movement signatures, and becoming aware of other people's dance, motion, and energy in space, we will transform the way we inhabit flow states, from the dance studio, into everyday life, and ultimately onto the stage. Accompanied by a live DJ, students will develop technique, articulation, flexibility, and grace, to gain freedom while dancing, and mine dance's potential for social transformation and connection. We will draw from various movement traditions and practices, including contemporary modern, ballet, lyrical, Tai chi and yoga, with opportunities to remix other styles. Designed for all levels, we welcome beginners, student movers from diverse dance traditions, athletes, and advanced dancers, who desire more fluidity in their lives.

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.

The Chocolate Heads Movement Band will engage in an interdisciplinary project-based course to develop collaborative choreography and installation art with visual and musical components. How can we attune our senses to perceive the subtleties of our surroundings? How can we learn to perceive the magic hiding in plain sight? The Autumn '23-'24 project will make use of remixing strategies, deep listening practices, and outdoor exploration to animate these questions in a multisensorial performance piece. We will cultivate an imaginary garden full of wild, surprising, and mysterious entities. Taking inspiration from landscape architecture, textiles, lighting, and projection design, we will bring the outside world in to create a dance and performance ecology. The course will feature collaborations with guest scientists, artists, and somatic practitioners. Our garden is open to all forms of creative expression and all levels of experience; we invite dancers, movers, and emerging creators of all styles and backgrounds. WEEK 1: TU 9/26--Introduction to the Project & CHs Band; THU 9/28--1st Audition Workshop. Contact Aleta Hayes (ahayes1@stanford.edu) for more information.

TAPS/Dance Lecturer and artistic director of the Chocolate Heads Movement Band, Aleta Hayes, and visiting guest artist from NYC, JoAnna Mendl Shaw, who will offer workshops throughout the quarter. Each student will explore choreographic strategies to create an original work by the end of the quarter. The choreographic perspectives offered will include: Hayes' collaborative making process, developed through The Chocolate Heads Movement Band, which draws upon a wide array of academic and physical disciplines to produce contemporary dance; and Mendl Shaw's interspecies lens, developed through The Equus Projects, which uses choreographic scoring to generate performance with dancers and horses. Mendl Shaw's Physical Listening honors our "embodied, physical intelligence" and seeks to enhance "our human capacity for multi-sensory awareness." At the end of the quarter, students will have the opportunity to audition to debut new works for the inaugural Young Choreographers Festival. We invite emerging creators and movement-makers from any and all performance backgrounds to take the course and bring their diverse styles into the choreographic space. All levels of experience are welcome. Contact Aleta Hayes (ahayes1@stanford.edu) for questions.

Credit for dance students participating in a TAPS production. Units determined by instructor. May be repeated for credit.

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.

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.

Each day Ketley will develop a new phrase of choreography with the students and use this as the platform for investigation. Consistent lines of inquiry include; sculpting with the body as an emotional, instinctual, and graphic landscape, how the fracturing and the complication of strands of information can feel generative of new ways of moving, discussions around how our use of time is directly correlated to our sense of presence, and the multitude of physical colors available to each of us as artists as we expand our curiosity about movement. Classes will be very physical, trusting that much of our knowledge is contained in the body. For questions please e-mail aketley@stanford.edu.

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.

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.

Danceacution is a unique course in performance practice taught by nationally recognized choreographer Alex Ketley. Creative expression does not exist in a vacuum but is deeply influenced by the societal contexts surrounding it. The class will use the vast breadth of Bill Clark's life experience as the platform to develop their own artwork. Bill Clark is an artist and writer incarcerated on Death Row. This can take the form of writing, film making, dance, music, or theater. Bill is offering some of his most inspiring writing to the class as a foundation for research and will call into the class each week from the prison phone so the students can interact with him directly. Alex Ketley has built theater pieces from numerous creative vantage points and will guide the students in the development of their work. At the end of the quarter there will be a performance that Bill will attend via San Quentin's video conference system where he and Alex will offer feedback to each student. Danceacution is an opportunity for students to engage their creative impulses through the lens of two artists deeply committed to the idea that art has the ability to affect meaningful change in our society. Enrollment is by permission only. Please email the instructor at aketley@stanford.edu to inquire.

In this course students will be introduced to a series of Afro-contemporary dance warm ups and dance combinations that are drawn from a broad range of dance traditions of the African diaspora with a particular focus on Afro Brazilian, Afro Cuban and Haitian dance forms, modern dance techniques, and somatic movement practices. Our study of these dance disciplines will inform the movement vocabulary, technical training, class discussions, and choreography we experience in this course. Students will learn more about the dances and rhythms for the Orishas of Brazil and Cuba, and the Loa of Haiti. Dance combinations will consist of dynamic movement patterns that condition the body for strength, flexibility, endurance, musicality and coordination. Through this approach to our warm ups and class choreography, we will deepen our analysis and understanding of how African diaspora movement traditions are inherently embedded in many expressions of the broadly termed form known as contemporary modern dance.

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.

This course will teach all forms of swing dancing from the beginning through today. The original Lindy Hop of the 1920s, 6-count and 8-count Lindy, Shag and Big Apple, Rock 'n' Roll swing, disco Hustle, and West Coast Swing. Since swing dance was constantly changing, this course can also be seen as the Evolution of West Coast Swing. Swing emphasizes personal style, creativity, musicality, collaborative partnering and improvisation. Each form is explored for possible adaptation to today's non-competitive social dancing. 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

Intermediate non-competitive social ballroom dance. Intermediate/advanced waltz variations, redowa and Bohemian National Polka are followed by intermediate/advanced tango, cha-cha, salsa and bachata. 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. Many students are taken from the waiting list. If the class is filled, register to get on the waitlist.

Conjure Art is a movement and embodied practice course looking at the work and techniques of artists of color who utilize spirituality and ritual practices in their art making and performance work to evoke social change. In this course we will discuss the work of artists who bring spiritual ritual in their art making while addressing issues of spiritual accountability and cultural appropriation. Throughout the quarter we will welcome guest artists who make work along these lines, while exploring movement, writing, singing and visual art making. This class will culminate in a performance ritual co-created by students and instructor.

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.