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DANC 500. Graduate Seminar (2)

This visiting lecture series will meet weekly during the Summer Intensive. The series will include six different visiting artists from around the world. In each of the six weeks with six different artists, a wide perspective on the various approaches to dance making will be presented and discussed. This course will allow candidates the opportunity to develop and articulate the writing skills necessary for MFA level work.

DANC 510. Examining Practice I (3)
This initial course is designed to offer a series of experiences that will help redefine and explore different approaches to choreographic processes. The focus of the component lies clearly in the physical realm of choreography as practiced-based research.

DANC 511. Examining Practice II (2)
The multi-disciplinary nature of current arts practice suggests that today’s artists need to go beyond their particular art form, and understand the issues that confront making and presenting across the arts as a whole. Through a series of lectures- including those from practicing artists discussing their work in relation to the tensions of making and presenting - and through supporting discussions, related activities, and self-directed tasks, this course is designed to broaden the students understanding of the other arts, and to familiarize her with issues relating to practice. This in turn is intended to help students put their work in a broader arts context, and to explore correspondences and differences, and to question their creative practice in light of other arts practices.

DANC 512. Examining Practice III (2)
The multi-disciplinary nature of current arts practice suggests that today’s artists need to go beyond their particular art form, and understand the issues that confront making and presenting across the arts as a whole. Through a series of lectures- including those from practicing artists discussing their work in relation to the tensions of making and presenting - and through supporting discussions, related activities, and self-directed tasks, this course is designed to broaden the students understanding of the other arts, and to familiarize her with issues relating to practice. This in turn is intended to help students put their work in a broader arts context, and to explore correspondences and differences, and to question their creative practice in light of other arts practices.

DANC 514. Examining Practice IV (3)
The multi-disciplinary nature of current arts practice suggests that today’s artists need to go beyond their particular art form, and understand the issues that confront making and presenting across the arts as a whole. Through a series of lectures- including those from practicing artists discussing their work in relation to the tensions of making and presenting - and through supporting discussions, related activities, and self-directed tasks, this course is designed to broaden the students understanding of the other arts, and to familiarize her with issues relating to practice. This in turn is intended to help students put their work in a broader arts context, and to explore correspondences and differences, and to question their creative practice in light of other arts practices. 

DANC 515. Methods of practice (1)
The multi-disciplinary nature of current arts practice suggests that today’s artists need to go beyond their particular art form, and understand the issues that confront making and presenting across the arts as a whole. Through a series of lectures- including those from practicing artists discussing their work in relation to the tensions of making and presenting - and through supporting discussions, related activities, and self-directed tasks, this course is designed to broaden the students understanding of the other arts, and to familiarize her with issues relating to practice. This in turn is intended to help students put their work in a broader arts context, and to explore correspondences and differences, and to question their creative practice in light of other arts practices.

DANC 517. Dance History, Theory and Criticism I (2)
This course explores contemporary dance theory and methods of dance historiography, American and European practices. Close examination of Rudolph Laban’s contribution to analyzing movement and a historical account of the development towards a physical theatre in Europe. Readings, performance viewings, and discussion sections create context for consideration of the corporeal. 

DANC 518. Dance History, Theory and Criticism II
 (2)
This course investigates the various modalities of dance as a theoretical and practiced discipline grounded in performance based research.

DANC 520. Contemporary Body Practices (3)
This core course combines somatic theory with practical application to dance choreography and training. In this applied (studio) course, candidates will attend seminars during the Summer Intensive for discussion and experiential work in somatic practices. Students will focus on ways somatic practices can influence movement aesthetics and develop a heighten sense of proprioception. Focus will also be given to Butoh technique that will allow the student some additional support in fully understanding choreographic practices as an embodied practice and enhance the students understanding of self experience and practice as researchers as well as the philosophical/phenomenological approach that allows subject object blur. In the second year students will be introduced to the Klein technique a liminal activity, in that it, spans a bridge between body and mind, intellect and inner knowing, subjectivity and objectivity; it is an embodied practice that explores and informs corpo-reality. Simultaneously. It is a movement education and re-education; thus allowing the candidate to fully realize the phenomenal and performative approach to movement.

DANC 521. Creative Synergies (1)
This course emphasizes the essentially collaborative nature of performance practice. It offers the opportunity to experiment with new kinds of collaborative relationships and to observe create and discuss the choreographer’s role in the transformation of ideas into performance works. Through three intensive collaborative projects, students engage with other artists and artistic practices and/ or with various practitioners from other disciplines such as: designers, scientists, actors, musicians, writers, mathematicians etc. as a means of realizing their artistic vision.

DANC 522. Body Politics (2)
This course examines the performing body in society as cultural phenomena that are tied to a wealth of complex social interactions making dance a vital discipline in the twenty-first century.

DANC 530. Intermedia I (3)
This course is a multimedia class that combines training and experimentation in various types of technology.

DANC 531. Intermedia II (3)
Advance study and implementation of various types of technology.

DANC 532. Research and Development I (2)
This course is a student-devised process in which the exploration of ideas and the use of resources in preparation for the project are key elements. It offers students the opportunity to further identify their interests and creative focus, and to develop artistic strategies to explore these concepts in relation to their final work. 

DANC 533. Research and Development II (2)
This course is a student-devised process in which the exploration of ideas and the use of resources in preparation for the project are key elements. It offers students the opportunity to further identify their interests and creative focus, and to develop artistic strategies to explore these concepts in relation to their final work. 

DANC 536. Pedagogy II (3)
Advanced study of contemporary and historical approaches to dance pedagogy as directly related to ballet and contemporary/modern techniques and its application. 

DANC 535. Pedagogy I (3)
This seminar will focus on contemporary and historical approaches to dance pedagogy as directly related to ballet and contemporary/modern techniques and its application.

DANC 540. Graduate Critique (2)
This course uncovers the various modalities and underpinnings inherent in creating, performing and spectating; it serves as an open platform for candidates to create, present, discuss and critique choreographic work.


DANC 550. Research-Based Project/Thesis (4)
The project is the culmination of the courses and comprises a significant choreographic work or works which will be presented in a public place. After agreement regarding your final proposal, you will work independently with the support of your tutor and with technical assistance as negotiated. The project will be a substantial researched work reflecting the depth of study and demonstrating a distinctive choreographic voice. 

DANC 551. Advanced Practicum (4)
Continued development and implementation of Research Project and Thesis.

DANC 560. Research-Based Project/Thesis Continuous Enrollment (1) 
Prerequisite DANC 550. This course is Pass/Fail. May be repeated for credit. Students must enroll in DANC 560 each subsequent semester until the completion of the research-based project/thesis. Faculty will periodically review individual student’s progress in meeting course goals and completing the project/thesis. Upon completion of the project/thesis, faculty will approve the final paper and arrange for final paper presentation sessions. Students are expected to complete all objectives for DANC 550 and finalize their projects for committee approval prior to their presentations.

DANC 580. Portfolio (2)
Extensive body of professional work evaluated by a panel of faculty and artists from the field of dance. The portfolio is to include candidate’s curriculum vitae and media.​

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