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831 - 840 of 862 results for: all courses

TAPS 154C: Shall We Dance? Social Dancing as Political Practice (CSRE 154C, DANCE 154, FEMGEN 154C)

This seminar investigates social dancing as a political practice, and the dance floor as a place where race, ethnicity, class status, and sexuality are formed and contested. While many students may be familiar with salsa, and can imagine how it produces particular kinds of Latin/a feminities, this course asks students to expand the notion of social dancing beyond partner-dancing spheres. Course materials will focus on dance practices from the late-nineteenth century to present-day, ranging from rural Louisiana dancehalls to NYC nightclubs to Iranian backyards. We will examine how dances become racially coded (e.g., what makes a dance black or Latin@?), and understand how categories such as gender, class, and regionality intersect with such racializations. Students will engage in a range of activities, including reading, viewing films, and participating in occasional movement workshops (no previous dance experience required). Each student¿s final project will require independent, sustained, ethnographic research in a social dance setting of choice (e.g., student dance club, yoga studio, aerobics class, or YouTube).
Last offered: Spring 2016 | UG Reqs: WAY-A-II, WAY-ED

TAPS 154M: The Broadway Musical as History

Most musicals are adaptations of pre-existing artistic material: plays, novels, films, even operas. However, some musicals draw their inspiration not from fiction, but from fact, from history. This course examines how musicals perform history, engaging with and transforming historical subjects and events. Focusing on historical musicals such as Cabaret, concept musicals such as Assassins, and biographical musicals such as Hamilton, we will ask: How do musicals teach us history? In what ways do music and narration interact with past events and people? How does music articulate a sense of time and place, connecting history to contemporary events?
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Mantoan, L. (PI)

TAPS 154P: Stage Physics and Chemical Theaters: Science & Contemporary Performance

Using the concept of theatre and performance as a way of seeing and being in the world, this course investigates the presentation and representation of science through texts, images, films, and experiences. The knowledge and objects of scientific research have often overlapped with aesthetic practices of literature, art, and performance. Whether through playwrights evaluating the impact of spectacular and dangerous technologies (e.g. Michael Frayn's Copenhagen) or researchers exploring creativity in science communication (Dr. Brian Cox's Forces of Nature), the practices of science and performance consistently intersect. In this course, we will explore how scientists, playwrights, artists, and inventors have engaged with science and technology through performance. We will examine the history of scientific process and theatrical performance, revisit debates over the relationship between the disciplinary science and arts, and will develop a critical vocabulary for approaching contemporary performance and scientific work. We will delve into the world of science communication, scientific practice, and the SciArts---all the while keeping a keen eye on the questions and epistemologies of theatrical and performative practice. The course will include in-class activities, excursions, and creative writing projects.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II
Instructors: Robinson, A. (PI)

TAPS 156A: Warhol: Painting, Photography, Performance (ARTHIST 156A, ARTHIST 356A, TAPS 356A)

This course focuses on the career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s and his everyday photographs of the 1970s and 1980s) alongside his now-canonical Pop paintings of the 1960s. Warhol?s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and wide-ranging influence on American culture in the decades since his death in 1987.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II

TAPS 159G: The Theater of War: Art, Violence, and the Technologies of Death

We will read plays and study films dealing with war and the technologies of destruction, including Aeschylus' Persians, Sophocles' Philoctetes, Euripides' Trojan Women, Shakespeare's Macbeth, O'Casey's The Plough and the Stars and The Silver Tassie, Brecht's Galileo and Mother Courage, Kubrick's Paths of Glory and Dr. Strangelove, Bergman's Shame, Nichol's Catch-22, Wertmuller's Seven Beauties, Brenton's The Genius, Frayn's Copenhagen, Nottage's Ruined, among others.
Last offered: Spring 2016 | UG Reqs: WAY-A-II

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.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED

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: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED

TAPS 162Z: Dance on the Move: Migration, Border Zones, and Citizenship (CSRE 162Z, DANCE 162Z)

Dance on the Move is an introductory-level course that considers dance performance and practice as sites for examining the mobilities/immobilities that shape transnational migration and citizenship. We examine how (im)migrant bodies as subjects constructed through political-economic relations of race, gender, sexuality, class, nationality, and religion negotiate, contest, and affirm experiences of belonging/unbelonging in daily life and artistic practice across diverse geographical sites. Students will conduct a small ethnographic project with a dance community that relates to the theme, such as social dance events or student dance groups. Students will produce either a written- or a hybrid written/performance- ethnography as their final project.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED

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

TAPS 167: Introduction to Greek Tragedy: Gods, Heroes, Fate, and Justice (CLASSICS 112)

(Formerly CLASSGEN 110.) Gods and heroes, fate and free choice, gender conflict, the justice or injustice of the universe: these are just some of the fundamental human issues that we will explore in about ten of the tragedies of Aeschylus, Sophocles, and Euripides.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
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