Dance Division Courses

Introductory | Intermediate | Advanced | Performance | Theory | Advanced Theory

Registration for most dance classes takes place at the first class meeting; further registration information is printed in the Time Schedule each quarter. Some class sizes are limited and require advanced registration in the Dance office in Roble Gym. Series classes (I, II, III) should be taken in order or with consent of instructor.

INTRODUCTORY
Open to all students. No previous dance experience needed.

DANCE 40. Introduction to Dance and Movement—Body expression, articulation, and anatomical basics through contemporary art dance. Emphasis is on development of awareness of the body in space. Exploration of improvisation and creativity. May be repeated for credit.
2 units, Aut (Kramer, A), Win, Spr (Hayes, A)

DANCE 41. Mexican Dance—Technique and repertory. May be repeated for credit.
2 units, Aut (Cashion, S)

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DANCE 42. Dances of Latin America—Dances of Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, and Puerto Rico. May be repeated for credit.
2 units, Aut, Spr (Cashion, S)

DANCE 43. Afro-Peruvian and Afro-Brazilian Dance—Dances include festejo and zamacueca. May be repeated for credit.
1 unit, Win (Cashion, S)

DANCE 44. Jazz Dance I—Basic techniques emphasizing current jazz style. Historical jazz steps enhance understanding of contemporary jazz forms. May be repeated for credit.
2 units, Win, Spr (Kramer, A)

DANCE 45. Improvisation Plus Contact—The development of improvisation skills as a creative performance practice and as a basis for choreography; techniques of contact improvisation. May be repeated for credit.
2 units, Spr (Kramer, A)

DANCE 46. Social Dances of North America I—Introduction to the partner dances found in American popular culture: waltz, swing, tango, club two step, cha cha, merengue, and salsa. Fee. May be repeated for credit. (AU)
1 unit, Aut, Win, Spr (Powers, R)

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DANCE 48. Beginning Ballet—Fundamentals of ballet technique including posture, placement, and the foundation steps of classical ballet. Emphasis is on the development of coordination, strength, and flexibility. May be repeated for credit.
2 units, Aut (Elliott, K), Spr (Onizuka, R)

DANCE 51. Congolese Dance—Open to all levels of dancers. Movements and choreography from Congo and W. African countries. Elements unique to African dance movement: body isolation, polyrhythmic movement, and body posture. Live drumming. May be repeated for credit.
2 units, Aut (Malonga, M)

DANCE 58. Beginning Hip-Hop—Steps and styling in one of America’s 21st-century vernacular dance forms. May be repeated for credit.
1 unit, Aut (Reddick, R)

DANCE 59. Intermediate-Advanced Hip-Hop—Steps and styling in one of America’s 21st-century vernacular dance forms. May be repeated for credit.
1 unit, Aut (Reddick, R)

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INTERMEDIATE
Open to all undergraduates with dance experience.

DANCE 133. History of the Waltz—From Vienna in 1800, Redowa and mazurka, waltz variations, the 20th-century hesitation waltz, Parisian valse musette, and 30s Boston and waltz swing. Studio technique with performance practice for stage.
2 units, Spr (Powers, R)

DANCE 140. Intermediate Modern Dance—Intermediate technique. Improvisation and composition in directed studies. May be repeated for credit.
2 units, Aut (Kramer, A), Win (Moses, R), Spr (Kramer, A)

DANCE 144. Intermediate/Advanced Jazz Dance—Emphasis is on alignment, control, rhythmic coordination, and contemporary mixture of styles. May be repeated for credit.
2 units, Win (Moses, R)

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DANCE 146. Social Dances of North America II—Intermediate survey of dances in American popular culture: Lindy hop, Viennese waltz, crossstep waltz, foxtrot, and hustle. May be repeated for credit.
2 units, Aut, Spr (Powers, R)

DANCE 147. Living Traditions of Swing—Swing dancing: the early Lindy of the 20s; 6- and 8-count Lindy hop, shag, Big Apple. Partnering and improvisation. Swing’s crosscultural influences and personal creativity. May be repeated for credit.
2 units, Win (Powers, R)

DANCE 148. Intermediate Ballet—Continuation of 48, repeating the fundamentals with increased complexity and introducing additional movement vocabulary. May be repeated for credit.
2 units, Aut, Win, Spr (Onizuka, R)

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ADVANCED
Open to all undergraduates with dance experience.

DANCE 141. Advanced Modern Dance—Intermediate/advanced technique. Complex movement combinations emphasizing performance demands. May be repeated for credit.
2 units, Aut, Win, Spr (Frank, D)

DANCE 149. Advanced Ballet—Professional-level class in a supportive environment. Comprehensive classical ballet technique including pointe work if the student desires. May be repeated for credit.
2 units, Aut, Win, Spr (Elliott, K)

DANCE 156. Social Dances of North America III—Advanced survey of the partner dances found in American popular culture: hustle, waltz, redowa, tango, cha cha, salsa, samba. May be repeated for credit. Prerequisite: 146 or equivalent experience.
2 units, Win (Powers, R)

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PERFORMANCE

DANCE 27. Faculty Choreography—Rehearsal and performance of faculty choreography. Selection by audition. May be repeated for credit.
2 units, Aut, Win (Cashion, S; Frank, D), Spr (Kramer, A)

DANCE 57. Guest Artist—Students perform the work of visiting artist Amy Seiwert. Audition required. May be repeated for credit.
2 units, Aut, Win, Spr (Elliott, K)

DANCE 100. Student Choreography: Studio to Stage—Student choreography is mentored to develop composition and performance skills. Required for participation in certain faculty- and student-directed productions. May be repeated for credit.
2 units, Aut (Kramer, A), Win (Frank, D; Kramer, A)

DANCE 105. Contemporary Afro Styles and Dancemaking: Technique, Rhythm, Architecture—Current and traditional African diaspora styles. African polyrhythms, body percussion, and geometric forms, fused with postmodern concepts of composition and space. May be repeated for credit.
2 units, Win (Hayes, A)

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DANCE 106. Essence of Contemporary Dance Performance: African Styles on Stage—Contemporary dance technique and repertory based on African diaspora movement styles. Focus is on articulation of expression, enhancement of stage presence, and awareness of individual movement strengths. May be repeated for credit.
2 units, Spr (Hayes, A)

DANCE 112. Collaborative Processes and Choreography— Practical approaches to problem solving in creative situations for the concert stage. May be repeated for credit.
2 units, Aut (Moses, R)

DANCE 113. Dual Processing: Movement and Choreography— The creation of work by and from individuals of different levels of expertise and skill sets and its effect in creation. Movement in collaboration with Robert Moses Kin Dancers. May be repeated for credit.
2 units, Spr (Moses, R)

DANCE 169. Choreography: Creation, Staging, and Reconstruction—Skills and criteria for the choreographic process. Invention, staging, and reconstruction. The creative process and practical considerations in making a dance work.
2 units, Aut (Kramer, A)

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THEORY
Classroom or classroom/studio combination courses on topics in
Dance and Performance.

DANCE 116. Figure and Ground: Site-Specific Performance in Outdoor Environments—Theory and practice, emphasizing historic and aesthetic context, critical analysis, and exploration of creative processes. May be repeated for credit.
2-3 units, Spr (Frank, D)

DANCE 134. Ballet Folklórico—The history of Ballet Folkórico including its roots in Mexican folk and N. American modern dance, Guadalajara choreographic narratives, and U.S. performance ensembles. GER:ECGlobalCom
3 units, Win (Cashion, S)

DANCE 161H. Dance and Live Art in the 20th and 21st Centuries—History and development of postmodern dance and performance art. Topics include the body as art medium, performance art, experimental dance, and redefinitions of gender in live art. GER:DB-Hum, WIM
4 units, Aut (Ross, J; Thomas, A)

DANCE 166. History of Social Dance in Western Culture— Movement and historic social dance from the past five centuries, including studio technique and history. Performance practices for stage, including deportment, body language, and demeanor distinctive to each era.
2 units, alternate years, not given this year

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DANCE 168. Dance and Culture in Latin America—Dance forms of
Latin America as aspects of human behavior. Emphasis is on cultural influences (European, African, and indigenous) that have shaped the ritual and social dance forms of Argentina, Brazil, Chile, Cuba, Mexico, and Puerto Rico. May be repeated for credit. GER:DB-Hum, EC-GlobalCom
4 units, Spr (Cashion, S)

DANCE 190. Special Research—Topics related to the discipline of dance. May be repeated for credit.
1-5 units, Aut, Win, Spr (Staff)

DANCE 191. Independent Research—Individual supervision of offcampus internship. Prerequisite: consent of instructor. (Staff)
1-18 units, Aut, Win, Spr (Staff)

ADVANCED THEORY
Courses numbered 200 through 299 are designed for advanced undergraduates and graduate students.

DANCE 290. Special Research—Individual project on the work of any
choreographer, period, genre, or dance-related topic. May be repeated for credit.
1-18 units, Aut, Win, Spr, Sum (Staff)

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