Global Arc

Enrolled students will engage with this course as workshop cast members of a new interdisciplinary piece by Princeton Arts Fellow Michael J. Love and explore methods of rhythm tap dance performance, live electronic music composition, and practice-based research on Black American music (genres such as jazz, funk, soul, hip hop, techno, and house). In-studio class meetings, structured as rehearsals, will be augmented with weekly listening, viewing, and reading assignments. There may also be opportunities for guest artists and respondents. The course will culminate in a work-in-progress showing during the final weeks of the semester.

Offers students the opportunity to gain a working knowledge of the ways in which dance, dance/theater, and body-based art are created and performed today. Primarily a studio course that stresses learning through doing. Students will have the opportunity to work with leading experimental creators. Topics, prerequisites, and formats will vary from year to year.

This course traces histories, traditions and innovations in Black American dance through archival and embodied practice. Moving from the Trans-Atlantic Slave Trade to the 1970s, we will explore how dance - when executed by those who identify as Black and when circulated outside/beyond/without Black people themselves - speaks to the body's relationship to the political, social, and cultural contexts of American life. Through a hybrid seminar/studio seminar format, students will be introduced to theories, debates, and critical frameworks in Black Dance. We'll wrestle with the complexities around researching, doing, and reading Black Dance.

Disability is front and center in a global social justice revolution. But who are the disabled artists and ideas behind this movement? How can we embrace Radical Accessibility and Care in our daily artistic practices? This course invites all artists, from choreographers to theater makers, film makers, visual artists, writers and composers to immerse in a highly collaborative, improvisational, experimental and inclusive community to explore Disability Justice as a framework for creative, dramaturgical and curatorial practices.

This course provides laboratories and cross-genre dance technique to facilitate a somatic understanding of kinesiology. Students identify limitations and expand individual expression. Technique class will integrate ballet and modern techniques while emphasizing values of exploration and risk-taking. Movement labs will integrate research in functional anatomy/kinesiology and diverse systems of somatic education to understand both the potential of neuro-motor development and physiological systems. Classes will provide freedom of exploration in all genres of dance and give students knowledge to strengthen physicality and movement repertoire.

This course uses texts and methods from history, theatre, performance studies, and dance to examine artists and works of art as agents of change in New York (1960-present) and contemporary Detroit. Issues addressed include relationships between artists, changing urban economies, and the built environment; the role of the artist in gentrification and creative placemaking; the importance of local history in art interventions; and assessing impacts of arts initiatives. Spring break trip to Detroit, and visits to key sites in New York and Philadelphia, are included. Students will use data and methods from the course to produce final projects.

A studio course introducing students to historical and evolving dance traditions originating in North India. We will focus on the movement languages and dance forms from three regions - North Indian Kathak, Egyptian, and Flamenco, as well as their historical, social and cultural contexts. Lectures, readings, class discussions, and video viewing will complement visits by specialists in these traditional forms, as we examine the contemporary gender and identity issues they raise as well as problems of local cultural ownership, the emergence of new, hybrid forms, and internationalist, postmodern appropriations.

Performance and crisis have always been partners: entangled in epidemics, state violence and resistance, and austerity regimes, as well as the crisis ordinariness of settler colonialism and structural racism. This seminar examines performance in our extraordinary present using autoethnography, ethnography, and interviews. Course readings and viewings offer historical and contemporary case studies. Guests will discuss the paired challenges of antiracism and the COVID-19 pandemic for performance organizations. Students will collaborate on analyses of dance and performance organizations' responses to COVID-19 and anti-racist imperatives.

A studio course in modern dance technique for intermediate/advanced students. This course will consist of four units focusing on prominent movement innovators of the 20th century: Katherine Dunham, Martha Graham, Lester Horton, José Limón, taught by experts in their respective dance techniques. The relevance and impact of these techniques will be underscored by examining and practicing Contemporary Dance to understand the influence of these pioneering movement systems on 21st century dancing artists. Readings and viewings of performances will further enhance students' knowledge of the major trends in 20th century Modern Dance.

Dance in Education: Dance/Theater Pedagogy explores the connection between engaged dance and elementary school literacy, mathematics and social studies, while allowing students to be civically engaged. Students will teach movement classes to elementary school students and will explore dance and theater in elementary education with an emphasis on recent developments in the field. Fieldwork takes place weekly at designated out-of-class times at schools and institutions for young people in the Princeton region. Classroom management skills, lesson planning strategies and various methods of evaluation/assessment will be examined.