Undergraduate certificate Dance

Princeton University

Bachelor's degree

In Princeton (USA)

Price on request

The best Dance courses

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Description

  • Type

    Bachelor's degree

  • Location

    Princeton (USA)

The Program in Dance
(link is external)
(link is external), part of the Lewis Center for the Arts
(link is external)
(link is external), familiarizes students with creative, performative, and analytical approaches to dance through exposure to professional choreographers, dancers, scholars, and interdisciplinary artists. At the core of the Program in Dance is the belief that physical and intellectual engagement with dance fosters an integration of mind and body that allows for a greater connection to our own selves and, by extension, to our community. To that end, we aim to increase and expand the University’s exposure to and appreciation of dance through practice, performance, and critical academic discourse.

Facilities

Location

Start date

Princeton (USA)
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08544

Start date

On request

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Subjects

  • Dance
  • Aesthetics
  • Music
  • Systems
  • Public
  • Appreciation
  • Art
  • Ballet
  • Dance Technique
  • Contemporary Dance
  • Choreography
  • Works
  • Staff
  • Politics

Course programme

DAN 201 Dance Appreciation: Seeing Dance in New York City/Articulating the Elusive LA In this introductory course we will make six field trips to view live dance in a variety of NYC performance venues. Students will develop the ability to articulate their experiences as viewers starting in a thoughtful and active engagement with the dance works then in a discussion and writing while analyzing the form, content and contexts of the works in a group setting. We will study the historical, cultural, social and interdisciplinary contexts of contemporary dance forms. Guest writers and scholars will visit the class to reflect on diverse approaches to dance criticism and analysis and their role in the current cultural landscape. Staff

DAN 204 Introduction to Choreography Spring LA This studio course will introduce students to choreographic processes and questions of movement vocabulary, structure, pacing, orchestration and meaning. Through completing a number of short dances and a substantial final project, the class will explore choreographic forms and innovations found in contemporary dance, musicals and music videos. Readings and viewings work in tandem with students' dance-making to fuel debate and analysis of today's choreographic work and the power of movement to engage in current artistic and political issues such as, identity, gender, race, power and control. Acclaimed guest dance artists will visit the class. S. Marshall

DAN 207 Introduction to Ballet Fall LA From grand plié to grand jeté, Introduction to Ballet is for students with a curiosity for the study of classical ballet. No prior dance experience necessary and beginners are welcome. In this studio course students will learn the fundamentals of ballet, gaining an understanding of its physicality, artistry, and principles of alignment. Students will examine the historical origins of ballet and its absorption of cultural influences. Live music will be featured in this class and key in exploring the inextricable link between music and dance. T. Fehlandt

DAN 209 Introduction to Movement and Dance Spring LA Movement permeates every aspect of life, whether within our bodies, minds, or the world around us. In this studio course open to everyone, we use tools from Laban Movement Analysis to develop ways to dance, improvise, make performance, and fully inhabit our lives. We dive into the roles of dancer, choreographer, audience member, and critic in relation to aesthetic questions, politics, identity, religion, and complex views of the human body. Students can apply our work together to dance in any style as well as to daily experiences like moving into an interview confidently and finding embodied practices for transforming stress. A. Vandenbroucke

DAN 210 Power, Structure, and the Human Body (also

GSS 210

/

THR 210

) Fall LA In this studio course open to anyone with a body, we will explore power, structure, and human bodies through personal, political, anatomical, kinesthetic, and aesthetic lenses. We will delve into these issues as artists do: by reading, thinking, talking, moving, and making performances, actions, sense, and change. Each day we will literally incorporate what we study by using tools from dance, somatic and creative practices. We will explore what it means to be an engaged intellectual. Readings include contemporary thinkers about race, gender, sexuality, disability, and performance. Students design final creative projects. A. Vandenbroucke

DAN 211 The American Dance Experience and Africanist Dance Practices (also

AAS 211

) Fall/Spring LA A studio course introducing students to American dance aesthetics and practice, with a focus on how American dance has been influenced by African American choreographers and dancers. An ongoing study of movement practices from traditional African dances and those of the African diaspora, touching on American jazz dance, modern dance, and American ballet. Studio work will be complemented by readings, video viewings, guest speakers, and dance studies. Two two-hour classes. D. Harvey Salaam

DAN 213 Introduction to Contemporary Dance Fall/Spring LA Designed for students with minimal dance experience who are curious about contemporary dance techniques and choreography. Perfect for students who have taken other intro level dance courses and who want to broaden their dance knowledge and deepen their physical skill and experience. Students will try on various identities within dance - mover, creator, performer, writer, historian - in an attempt to holistically learn about Contemporary Dance. Readings and viewings will inform the creation of choreographic studies and invite students to consider issues debated by today's dance artists. Staff

DAN 214 Being and Doing: Dance for Every Body (also

THR 215

) Spring LA In this studio course open to everyone, we'll explore dance as a way to deepen both our self-knowledge and engagement with others. We'll delve into dance as meditation, using tools from ecstatic dance, yin yoga, and improvisation to establish a personal practice. We'll examine genre-bending performances occurring outside of theaters and study how dance reflects- and can change (and whether it should try to change) -contemporary issues, taking up such topics as power, class, race and gender. In final creative projects, students take aspects of being and/or doing further into their own lives and communities. A. Vandenbroucke

DAN 215 Introduction to Dance Across Cultures (also

ANT 355

) Fall LA Bharatanatyam, butoh, hip hop, and salsa are some of the dances that will have us travel from temples and courtyards to clubs, streets, and stages throughout the world. Through studio sessions, readings and viewings, field research, and discussions, this seminar will introduce students to dance across cultures with special attention to issues of migration, cultural appropriation, gender and sexuality, and spiritual and religious expression. Students will also learn basic elements of participant observation research. Guest artists will teach different dance forms. No prior dance experience is necessary. J. Hamera

DAN 216 Uncertainty (also

THR 216

) Fall LA In this studio course open to all, we'll ramble in the unknown searching for embodied philosophy, thinking art-making, and clarity that's open for revision. As is fitting for our subject, we'll ask many questions. Is uncertainty a requirement for truly creative processes? In cultural and creative times of uncertainty, how do we find our centers and is that even a goal? What tools can dance, somatic, and artistic practices offer for existing within uncertainty? Can uncertainty help us understand others? What are the ethical implications of uncertainty in life and art? We'll move, read, and create together, design substantial final projects. A. Vandenbroucke

DAN 218 Mapping the Transgressive Body: A Performance Lab Spring LA Centering an interdisciplinary approach to live performance making, this creative lab will consider how we as artist-citizens strengthen the mind and body to resist normalized structures of performance to release, activate, and translate unknown, foreign, and/or vulnerable materials into live performance actions. Students will conduct research, view and critique live performance (on and off campus) attend exhibitions, and create cosmologies of their creative influencers. Open to all students interested in exploring their previously uncharted performative potential. J. Kosoko

DAN 220 Contemporary Technique and Choreography LA Incorporating aspects of jazz, modern and ballet, this contemporary dance class focuses on strengthening fundamental alignment and coordination. Technique class will start with exercises designed to organize the body and build in physical intensity to culminate in phrase work that is vigorous and challenging. In choreography, students will develop their understanding of the ways in which structural elements and movement vocabularies contribute to a dance's impact and content. Two two-hour classes in technique, one two-hour class in choreography. Staff

DAN 222 Introduction to Hip-Hop Dance (also

AAS 222

) Spring LA This introductory survey course gives equal weight to scholarly study and embodied practice, using both approaches to explore a range of hip-hop dance techniques, as well as the cultural and historical contexts from which these dances emerged. Special attention will be given to breaking - the most prominent hip-hop form - as a foundation for exploring other forms of movement. By critically exploring these physical and historical connections, individuals will adapt and apply their own philosophies to dance in order to develop a personalized style. Staff

DAN 223 An Introduction to the Radical Imagination (also

AAS 223

/

VIS 224

) Fall LA Using an interdisciplinary visual and performance studies approach to explore various sites of contemporary art practices, this course will provide an introduction to radical performance practices through which artists consider the gendered and racialized body that circulates in the public domain, both onstage and off. We will query the kinds of political questions that performers raise with their work. Our texts will include live and recorded performances, as well as historical and theoretical secondary sources. Every other week the class hosts a public performance/speaking series featuring radical artists and curators. Staff

DAN 300 Body and Object: Making Art That Is both Sculpture and Dance LA Beyond spoken text and physical action, is the all-important performance of a work. How something is done is as crucial as what is done. This course encourages you to push your limits and range as mover, dancer and/or actor. Exercises support the practice of clear intention, committed choice-making, embodied character, physical response and the ability to modulate the intensity of action and emotion. You will perform dance and theater repertory scenes and perform your own works that fully utilize your ability to join thought, experience and action. Readings and viewings on contemporary artists of dance/physical theater support studio work. S. Marshall

DAN 301 Body and Object: Making Art that is both Sculpture and Dance (See VIS 300)

DAN 304 Special Topics in Contemporary Practice (also

MUS 301

/

THR 321

/

VIS 320

) LA 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. Staff

DAN 307 Dance Technique and Anatomy of Movement Spring LA 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. Staff

DAN 309 Modern Dance: Intermediate Technique and Choreography LA In technique, students will be encouraged to expand movement range and increase technical mastery as related to modern and contemporary dance practices. In choreography, students will be encouraged to create dances that articulate their independent vision in solo and group works. Readings and viewings will supplement studio work and expand knowledge of historical and contemporary trends in the arts. Two two-hour classes in technique, one two-hour class in choreography. Staff

DAN 310 The Arts of Urban Transition (also

ARC 380

/

THR 323

/

URB 310

) LA 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. Fall 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. J. Hamera

DAN 312 FAT: The F-Word and the Public Body (also

AMS 398

/

GSS 346

) Fall LA This seminar investigates discourses and politics around the fat body from a performance studies perspective. How does this "f-word" discipline and regulate bodies in /as public? How do dancers reveal these politics with special clarity? How might fat be a liberating counterperformance? We will examine the changing history, aesthetics, politics, and meanings of fatness using dance, performance, and media texts as key case studies. Intersectional dimensions of the fat body are central to the course. Emphasis primarily on the US. Assignments include written work and group performances. No dance experience necessary. J. Hamera

DAN 315 Dance Techniques of the 20th Century: Dunham, Graham, Horton, Limon Spring LA 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. T. Fehlandt

DAN 316 Dance in Education: Dance/Theater Pedagogy (also

HUM 317

/

THR 328

/

TPP 316

) Spring LA Dance/Theater Pedagogy Seminar explores the connection between engaged dance and elementary school literacy, mathematics and social studies while allowing students the opportunity to be civically engaged and contribute to the community. The course combines teaching movement classes to elementary school students while collectively engaging in an in-depth exploration of 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. Classroom management skills, lesson planning strategies and various methods of evaluation/assessment will be examined. Staff

DAN 317 Contemporary Dance - Issues and Processes Spring LA This seminar is designed for junior dance certificate students to investigate current dance practices and ideas. Part study and discussion of the processes, aesthetics and politics involved in dance making and viewing -- part independent creative practice and critique -- this course invites students to a deeper understanding of their own art making perspectives and to those of their classmates. Guest artists will visit classes and share some of the directorial, collaborative and interpersonal challenges involved in leading a significant creative enterprise. Serious creators (non-juniors/certificates) may apply to enroll. S. Marshall

DAN 319A Choreography Workshop I Fall LA

See related categories

  • Choreography Undergraduate Degrees
  • Dance Technique Undergraduate Degrees
  • Dance Undergraduate Degrees
  • Princeton University Undergraduate Degrees

Undergraduate certificate Dance

Price on request

The best Dance courses

See all

See all