Dance (DANCE) 1

Total Page:16

File Type:pdf, Size:1020Kb

Dance (DANCE) 1 Dance (DANCE) 1 DANCE 106 — BALLET II DANCE (DANCE) 1 credit. Emphasizes the study and practice of the fundamental principles of DANCE 100 — UNDERSTANDING DANCE Ballet technique and exploration of the body as a creative and expressive 1 credit. instrument. Movement based experiential learning. Enroll Info: None Requisites: DANCE 105 Builds understanding and appreciation for the field of Dance. Delves Repeatable for Credit: No into dance and its' many facets, integrating, theoretical, historical, and Last Taught: Spring 2020 embodied learning through viewing, reading, reflecting, discussing and finally, creating. Develops students into an informed audience and DANCE 107 — CONTEMPORARY DANCE I encourages relevance to other disciplines. Enroll Info: None 1 credit. Requisites: None Emphasizes the study and practice of the Contemporary dance technique Course Designation: Breadth - Humanities and exploration of the body as a creative and expressive instrument Level - Elementary capable of gaining new understanding through the art of dance. Enroll L&S Credit - Counts as Liberal Arts and Science credit in L&S Info: None Repeatable for Credit: No Requisites: None Last Taught: Summer 2021 Repeatable for Credit: No DANCE 101 — BALLROOM DANCE I Last Taught: Spring 2020 1 credit. DANCE 108 — CONTEMPORARY DANCE II Introduction to basic movement concepts and skills involved in ballroom 1 credit. dancing. Covers the fundamental skills in leading and following, rhythm, Emphasizes the study and practice of the Contemporary dance technique and style of the Waltz, Fox Trot, Jitterbug/Swing, Tango, and Cha-Cha. and exploration of the body as a creative and expressive instrument Ballroom dance as a social dance form requires that participants work capable of gaining new understanding through the art of dance. Enroll in pairs, which will switch throughout the semester. Other social dances Info: None may be explored. Enroll Info: None Requisites: DANCE 107 Requisites: None Repeatable for Credit: No Repeatable for Credit: No Last Taught: Spring 2017 Last Taught: Spring 2020 DANCE 110 — WORKSHOP IN DANCE ACTIVITY DANCE 102 — BALLROOM DANCE II 1-2 credits. 1 credit. Explores the creative and expressive aspects of dance movement. Designed to improve and expand the ballroom dance skills. Explores Fox Develops technical skills and creative ability through whole body work on Trot, Swing/Jitterbug, Waltz, Cha-Cha, Tango, Rumba, Merengue, Polka, flexibility, strength, alignment, endurance, movement and improvisation. and other Latin dances, if time permits. Enroll Info: None Develops appreciation of dance as an art form. Enroll Info: None Requisites: DANCE 101 Requisites: None Repeatable for Credit: No Repeatable for Credit: Yes, unlimited number of completions Last Taught: Spring 2019 Last Taught: Summer 2021 DANCE 103 — MODERN JAZZ DANCE DANCE 111 — CONTEMPORARY DANCE TECHNIQUE AND THEORY I 1 credit. 1-3 credits. Introduction to Modern Jazz Dance with emphasis on practical Level I Core course in technique. Study and practice of the fundamental application, including center work, traveling, and memorized movement principles of contemporary dance technique and theory. Exploration of sequences. Enroll Info: None the body as a creative and expressive instrument. Audition at first class Requisites: None meeting determines course eligibility and placement. Enroll Info: None Repeatable for Credit: No Requisites: None Last Taught: Spring 2020 Repeatable for Credit: Yes, unlimited number of completions DANCE 105 — BALLET I Last Taught: Fall 2020 1 credit. DANCE 112 — CONTEMPORARY DANCE TECHNIQUE AND THEORY II Emphasizes the study and practice of the fundamental principles of 1-3 credits. Ballet technique and exploration of the body as a creative and expressive Level I Core course in technique. Study and practice of the fundamental instrument. Movement based experiential learning. Enroll Info: None principles of contemporary dance technique and theory. Exploration of Requisites: None the body as a creative and expressive instrument. Audition at first class Repeatable for Credit: No meeting determines course eligibility and placement. Enroll Info: None Last Taught: Spring 2020 Requisites: None Repeatable for Credit: Yes, unlimited number of completions Last Taught: Spring 2021 2 Dance (DANCE) DANCE 115 — HIP-HOP DANCE TECHNIQUE AND THEORY 1 DANCE 126 — BALLET TECHNIQUE I-B 1-2 credits. 1-2 credits. Provides an introduction to foundational movement technical knowledge Level I Core continued expanding terminology, further developing barre necessary to perform Hip-Hop dance safely with form and skill. work, center work, petit allegro, grand allegro; focus on form, kinesthetic Introduces the theory, practice, aesthetics, and historical foundations principles and aesthetic values. Enroll Info: None of hip-hop dance. Hip-Hop dance is an artistic manifestation of Hip-Hop Requisites: DANCE 125 culture with dances and movement activities related to histories and Repeatable for Credit: Yes, unlimited number of completions philosophies as well as improvisatory states of expression. Engage with Last Taught: Spring 2021 the history, theory and philosophy surrounding the dance vocabulary, which directly impacts the physical intelligence of the dancer. Explore the DANCE 131 — SOMATIC THEORY AND PRACTICES roots of funk and Hip-Hop dance in the social fabric of African, Caribbean, 2 credits. and Afro-Latin cultures while examining reinventions of ragtime, swing, Integration of body and mind is explored through various somatic and rock n' roll throughout the 20th and 21st centuries in America. Enroll practices. Enroll Info: None Info: None Requisites: None Requisites: None Repeatable for Credit: No Repeatable for Credit: Yes, for 2 number of completions Last Taught: Spring 2021 Last Taught: Spring 2021 DANCE 132 — WORKSHOP IN BODY STUDIES AND PRACTICES DANCE 116 — WORKSHOP IN WORLD DANCE 1 credit. 2 credits. A laboratory in mind-body practice. Topics titles reflect the type of Exploration in different traditional or folk dance forms from around the body practices or modalities covered. Each specific practice focuses world. Enroll Info: None on increased bodily awareness and function for the performing artist. Requisites: None Includes movement practices, readings, discussion, writing assignments, Repeatable for Credit: Yes, unlimited number of completions videos and performances/lectures. Enroll Info: None Last Taught: Fall 2015 Requisites: None DANCE 118 — AFRICAN DANCE Repeatable for Credit: Yes, unlimited number of completions 1 credit. Last Taught: Spring 2020 Technique and practice of several basic African dance forms with study DANCE 133 — RELAXATION TECHNIQUES FOR EMBODIMENT AND of their musical, historical and cultural contexts. Enroll Info: None STRESS MANAGEMENT Requisites: None 1 credit. Repeatable for Credit: Yes, unlimited number of completions Study and practice of neuro-muscular relaxation, self-regulation, focus/ Last Taught: Spring 2021 concentration, stress/anxiety management, and body awareness. DANCE/ASIAN AM 121 — ASIAN AMERICAN MOVEMENT Exploration of the body as a creative tool to facilitate ease of movement 3 credits. and flexible approaches to stressors. Enroll Info: None Requisites: None Techniques of exercises and movement forms derived from several Asian Repeatable for Credit: No cultures as taught in the United States. Studied in the context of the Last Taught: Spring 2021 construction and expression of ethnic and cultural identity. Enroll Info: None DANCE 135 — PILATES MAT I Requisites: None 1 credit. Course Designation: Ethnic St - Counts toward Ethnic Studies Pilates is a physical conditioning program that creates balance, improves requirement posture, decompresses joints and creates elongated, toned muscles. Level - Elementary The exercises focus on core strength, breath, and a flexible spine. L&S Credit - Counts as Liberal Arts and Science credit in L&S Incorporates Level I-III Mat exercises. Explore functional anatomy and Repeatable for Credit: Yes, unlimited number of completions imagery-based alignment. Enroll Info: None Last Taught: Spring 2021 Requisites: None DANCE 125 — BALLET TECHNIQUE I Repeatable for Credit: Yes, unlimited number of completions 1-2 credits. Last Taught: Spring 2021 Introduction to basic skills and terminology; includes barrework, center DANCE 136 — PILATES EQUIPMENT I work, petit allegro, grand allegro; focus on form, kinesthetic principles and 2 credits. aesthetic values. Enroll Info: None Focuses on learning Level I II (Lab I) exercises on the Pilates equipment, Requisites: None which includes the Reformer, Cadillac, Low Chair, and High Barrel. Enroll Repeatable for Credit: Yes, unlimited number of completions Info: None Last Taught: Fall 2020 Requisites: None Repeatable for Credit: Yes, unlimited number of completions Last Taught: Spring 2021 Dance (DANCE) 3 DANCE 140 — DANCE PRODUCTION DANCE 165 — WORLD DANCE CULTURES: TRADITIONAL TO 2 credits. CONTEMPORARY 3 credits. Introduction to design and production for the performing arts with emphasis on dance. Covers the use of lighting, sound and other A survey providing a framework for understanding and appreciating scenographic elements in theory and with practical experience. Enroll the significance of dance in and as human culture. Includes reading Info: None assignments, lecture, video and studio practice as opportunity to Requisites: None physically experience material discussed. Enroll Info: None Repeatable for Credit: No Requisites: None Last Taught: Spring 2021 Course
Recommended publications
  • Is a Genre of Dance Performance That Developed During the Mid-Twentieth
    Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. .
    [Show full text]
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’S Manual: Sarah J
    Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’s Manual: Sarah J. Bartolome All activities are keyed as follows: AA = All ages E = Elementary (particularly grades 3–6) S = Secondary (middle school and high school, grades 7–12) C/U = College and university Chapter 4 Vocabulary merengue, merengue típico, güira, marímbula, tambora, paseo, cuerpo, jaleo, apambichao, son, verso, canto, montuno, tres, tresero, martillo, bongsero, timbales, socialism, Cold War, plena, panderetas, panderos, seguidor, segunda, requinto, soneos, salsa, salsa dura, cáscara, salsa romántica, salsa monga, timba Exploring Traditional and Commercial Merengue (AA) Compare a traditional merengue with a commercially recorded merengue. 1. Watch the video of La India Canela performing merengue típico, available at http://www.folkways.si.edu/explore_folkways/video_caribbean.aspx. 2. Have students identify the instruments they see and hear. 3. Have students also watch the video of Johnny Ventura performing “Merenguero Hasta la Tambora,” available on YouTube at http://www.youtube.com/watch?v=7XzINu2ee4A. 4. Compare the two merengues. Draw students’ attention to differences in instrumentation and the commercialization of the latter performance. Exploring Merengue through Dance (AA) Learn the simple merengue dance movement. 1. Search on YouTube for an instructive video if you are not familiar with the basic step-together movement associated with merengue. One such video is available at http://www.youtube.com/watch?v=on4V1KN_Iuw. 2. Either teach the students yourself or learn with them as you watch the video. 3. Dance along to a recording of merengue, either in lines or in pairs as students are comfortable. Exploring Merengue: Form (A) 1.
    [Show full text]
  • Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
    SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward
    [Show full text]
  • Introduction to Latin Dance
    OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance.
    [Show full text]
  • It Takes Two by Carolyn Merritt
    Photo: Keira Heu-Jwyn Chang It Takes Two by Carolyn Merritt What will become of us if we can’t learn to see and be with others? Can we see ourselves as others do, in order to navigate the path toward greater communication and understanding, without relinquishing our identity in the process? Together, Union Tanguera and Kate Weare Dance Company probe these questions in Sin Salida, their stunning cross-pollination of Argentine tango and contemporary dance recently presented at the Annenberg Center. Titled after Jean-Paul Sartre’s 1944 play No Exit (Huis clos in French), the production weaves together essential elements of each form with points of connection and tension, positing dance as a metaphorical map for human relations. Five chairs mark the upstage space and a single light hangs above a piano downstage left, evoking a tense audition. Film images, in negative, appear against the backdrop—a woman tending her hair at a vanity, a couple framed in a doorway, their essence muddied in the wash of black. Union Tanguera Co-Artistic Directors Claudia Codega and Esteban Moreno dance an elegant, salon-style tango that combines the outward focus and enlarged vocabulary of stage tango with the inward intention of the improvised, social Argentine form. They spin as if in balancé turns to the sounds of tango waltz, heads and focus trailing behind. Moreno lifts Codega to fan her legs wide in a split en l’air. Their costuming—stiletto heels and a tight red, knee-length dress slit to the hip for Codega, and dark dress shirt and slacks for Moreno—reference “traditional” tango aesthetics and gender dynamics.
    [Show full text]
  • Negotiating the Self Through Flamenco Dance
    Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN
    [Show full text]
  • Bera Ballroom Dance Club Library
    BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International
    [Show full text]
  • International Dance Conservatory – Ballroom Program
    INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level.
    [Show full text]
  • Jacob's Pillow Presents Canada's Red Sky
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK ​ FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations & Communications Manager 413.243.9919 x132 [email protected] JACOB’S PILLOW PRESENTS CANADA’S RED SKY PERFORMANCE, AUGUST 7-11; CENTERPIECE OF WEEKLONG CELEBRATION OF INDIGENOUS DANCE AND CULTURE July 22, 2019 – (Becket, MA) Red Sky Performance makes their Doris Duke Theatre debut with the U.S. Premiere of Trace, August 7-11. Red Sky is a leading company of contemporary Indigenous performance in Canada and ​ ​ worldwide, led by Artistic Director Sandra Laronde. “Magnificent in the scope of its imagination” (Globe and ​ Mail), Trace is a highly kinetic contemporary dance work influenced by Anishinaabe sky and star stories, offering ​ ​ ​ a glimpse into Indigenous origins. The U.S. premiere of Trace is the centerpiece of The Land On Which We ​ ​ Dance, a landmark gathering of Indigenous dance and culture at Jacob’s Pillow, curated by Sandra Laronde in ​ association with Hawaiian dancer/choreographer Christopher K. Morgan and Massachusetts-based Nipmuc Elder Larry Spotted Crow Mann. ​ “Jacob’s Pillow’s identity is entwined with the beauty and majesty of our land and natural surroundings. It is important to welcome back to the Pillow the original inhabitants of this land with a landmark celebration that will not only assemble local elders and artists, but also a premiere company like Red Sky Performance, whose work acts as a vehicle for storytelling and transformation,” says Jacob’s Pillow Director Pamela Tatge. In an interview with the Smithsonian’s American Indian Magazine, Laronde says, “The idea of Trace came from ​ ​ ​ ​ the notion that all things are traceable and what we leave behind as humans, as a culture, as a nation, and as an individual is our legacy.” In creating the work, Laronde realized all traces have origins, and then began to question the origin of Indigenous people and more specifically, Anishinaabe people.
    [Show full text]
  • The Political Kiaesthetics of Contemporary Dance:—
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective Permalink https://escholarship.org/uc/item/5gg5d9cm Author Seetoo, Chia-Yi Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Miryam Sas, Chair Professor Catherine Cole Professor Sophie Volpp Professor Andrew F. Jones Spring 2013 Copyright 2013 Chia-Yi Seetoo All Rights Reserved Abstract The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo University of California, Berkeley Doctor of Philosophy in Performance Studies Professor Miryam Sas, Chair This dissertation considers dance practices emerging out of post-1980s conditions in Taiwan to theorize how contemporary dance negotiates temporality as a political kinesthetic performance. The dissertation attends to the ways dance kinesthetically responds to and mediates the flows of time, cultural identity, and social and political forces in its transnational movement. Dances negotiate disjunctures in the temporality of modernization as locally experienced and their global geotemporal mapping. The movement of performers and works pushes this simultaneous negotiation to the surface, as the aesthetics of the performances registers the complexity of the forces they are grappling with and their strategies of response. By calling these strategies “political kinesthetic” performance, I wish to highlight how politics, aesthetics, and kinesthetics converge in dance, and to show how political and affective economies operate with and through fully sensate, efforted, laboring bodies.
    [Show full text]
  • Process of Improvisational Contemporary Dance
    Process of Improvisational Contemporary Dance Yuko Nakano ([email protected]) Graduate School of Interdisciplinary Information Studies, University of Tokyo Tokyo 113-0033, Japan Takeshi Okada ([email protected]) Graduate School of Education & Interfaculty Initiative in Information studies, University of Tokyo Tokyo 113-0033, Japan Abstract process of improvisational dance contains the essence of artistic creation and expression. The purpose of this study is to investigate the process of improvisational contemporary dance. To achieve this goal, we Previous studies in the domain of dance have pointed out combine two types of methodology: analysis of data from the importance of improvisation in the creation of dance interviews with dancers and analysis of their dance works, and the importance of impromptu expressions performances. Our findings reveal that while dancing, in themselves (Fukumoto, 2007; 2009; Hosokawa, 2011; De order to create their movements, improvisational dancers Spain, 1997; Ribeiro & Fonseca, 2011; Soma & Hosokawa, interact with various stimuli that come from inside and 2007; Tsujimoto, 2010). Reviewing previous studies outside of themselves (for example, images and feelings that they entertain during their dancing, and the music, space and focused on how historically eminent dancers used audience of their dance performances). Through such improvisation to express themselves or create their dance interactions, dancers organize movements in their works, Tsujimoto (2010) emphasized the significance of performances extemporarily, using various expressive improvisation in dance. Tsujimoto (2010) also described an techniques (for example, changing speed or image anecdote that when dancing extemporarily, the dancer's intentionally and seeing themselves from the viewpoint of a body instantly responded to stimuli from dance partners, the third person).
    [Show full text]