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This course gives the experienced mover the opportunity to develop a personal creative voice by examining and practicing methods used to make dances. In the process of dance making, we will focus on theory, methods and the history of composing dance in various traditions. Students will be asked to identify their own methods and engage in research and regular presentations of their compositions for critical feedback. We will practice giving and receiving feedback designed to support artistic growth by using Liz Lerman’s Critical Response Process (CRP).
Projects may include solo and group work, site-specific dance making, and creating in collaboration. The class will view works by innovative professional choreographers, both contemporary and historic, such as Ephrat Asherie, Michelle Dorrance, Heddy Malem, Shen Wei, Jawole Willa Jo Zollar, Pina Bausch, Akram Khan, George Balanchine, Eiko and Koma, Rennie Harris, Alvin Ailey, Martha Graham, Ronald K. Brown, Trisha Brown, and Merce Cunningham. We will have the opportunity to engage directly with ’62 CenterSeries visiting artist Kyle Abraham/Abraham.In.Motion. To more fully understand the context in which works were created, we will read essays by dance scholars such as John O. Perpener, Louis Horst, Liz Lerman, Deborah Jowitt, Sally Banes, and Susan Leigh Foster. One or two physical and/or virtual field trips to Jacob’s Pillow, MassMoCA, or other locations in the Berkshires will be included.
Grading: yes pass/fail option,
yes fifth course option
Weekly showings of projects, active engagement in feedback sessions and discussion of readings and viewing assignments, written reflections, and final project presentation
Experience with dance/movement practices and by permission of the instructors
students who have an active dance practice, defined as study of technique(s) and the habit of composing dances in a specific genre such as Modern dance, Hip Hop, Ballet, African dance forms, social dance and including a hybrid use of dance vocabularies.