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Dance Division Courses
Undergraduate | Graduate
Registration for most dance classes takes place at the first class meeting; further registration information is available in Axess. 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.
UNDERGRADUATE COURSES IN DANCE
DANCE 23. Public Performance—For students participating in Dance Division performances. May be repeated for credit.
1 unit, Aut (Staff), Win (Staff), Spr (Staff) DANCE 27. Faculty Choreography—Rehearsal and performance of faculty choreography. Selection by audition. May be repeated for credit.
2 units, Aut (Moses, R), Win (Moses, R), Spr (Moses, R) DANCE 35. Feldenkrais for Performers—An educational system centered on movement, aiming to expand and refine the use of the self through awareness. Goal is to improve movement repertoire for dancers, musicians, artists, and those wishing to reduce pain or limitations in movement. May be repeated for credit.
1 unit, Aut (Staff), Win (Staff) 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, Spr (Moses, R) DANCE 43. Liquid Flow: 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, Win (Hayes, A) DANCE 44. Beginning Modern Jazz—Basic techniques emphasizing current jazz style. Historical jazz steps enhance understanding of contemporary jazz forms. May be repeated for credit.
2 units, Aut (Moses, R) 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, Aut (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 (Powers, R), Win (Powers, R), Spr (Powers, R) 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 (Staff), Win (Staff) back to top 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, not given this year DANCE 56. Ballet Repertory: The Life and Work of Antony Tudor—The work of the 20th-century ballet choreographer Antony Tudor and his innovations in the dramatic and narrative possibilities of ballet. Studio work include class reenactment and phrase material from the Tudor repertoire. Lectures and video viewing. May be repeated for credit.
2 units, Spr (Elliott, K) DANCE 57. Dance Repertory Projects—Students perform the work of faculty or visiting artist. Audition required. May be repeated for credit.
2 units, Win (Hayes, A), Spr (Moses, R) 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) DANCE 60. The Evolution of Hip Hop and the Dance Stage: From Broadway to Hollywood and MTV—The repertory of Hip Hop history through steps and choreography. May be repeated for credit.
2 units, Spr (Reddick, R) back to top DANCE 100. Student Choreography: Studio to Stage—Student choreography is mentored to develop composition and performance skills, particularly for presentation in The American College Dance Festival. May be repeated for credit.
2 units, Win (Frank, D) DANCE 101. Choreography: Solos and Duets—Skills to analyze and choreograph solo works. Development of movement vocabulary; symmetry and asymmetry; explicit versus abstract methods of expression; elements of time; quality; and use of space, motif, and repetition.May be repeated for credit.
2 units, Aut (Moses, R) DANCE 102. Choreography: Small Groups—Skills needed to choreograph duets and small group works. Students choreograph works. May be repeated for credit.
2 units, Win (Moses, R) DANCE 104. Duets Project—Rehearsal experiences and techniques embedded in the reconstruction of repertory by three artists whose collective works represent differing approaches to the choreographic process. May be repeated for credit.
2 units, Spr (Frank, D) 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) 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, not given this year 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. May be repeated for credit two times.
2 units, not given this year back to top DANCE 139. Liquid Flow: Intermediate Modern Dance—Contemporary dance technique incorporating internal energy forms drawn from martial arts, improvisation, composition, pedestrian and everyday movement, and critical thought in the contemporary dance art. May be repeated for credit.
2 units, Aut (Hayes, A) DANCE 140. Intermediate Modern Dance—Intermediate technique. Improvisation and composition in directed studies. May be repeated for credit.
2 units, Spr (Frank, D) DANCE 141. Advanced Modern Dance—Intermediate/advanced technique. Complex movement combinations emphasizing performance demands. May be repeated for credit.
2 units, Aut (Frank, D), Win (Frank, D), Spr (Frank, D) DANCE 144. Intermediate Modern Jazz Dance—Emphasis is on alignment, control, rhythmic coordination, and contemporary mixture of styles. May be repeated for credit.
2 units, Win (Moses, R) DANCE 146. Social Dances of North America II—Intermediate survey of dances in American popular culture: Lindy hop, Viennese waltz, cross-step waltz, foxtrot, and hustle. May be repeated for credit.
2 units, Aut (Powers, R), 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) back to top 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, Win (Staff) 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 (Elliott, K), Win (Elliott, K), 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) DANCE 160. Performance, Dance, and History—(Same as DRAMA 160, DRAMA 260.) Transitional periods in the history of theatrical and popular dance from the 19th through the 21st centuries; how the dancing body and choreography have been constructed in relation to social, aesthetic, and cultural agendas. This year, focus is on ballet migrations and the ballerina. GER:DB-Hum, EC-Gender
4 units, Win (Ross, J) DANCE 161H. Dance and Live Art in the 20th and 21st Centuries—(Same as DRAMA 161H, DRAMA 261H.) 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
4 units, not given this year back to top DANCE 165. Geographies of Movement: Dance and the Politics of Space—(Same as DANCE 365.) Physical, philosophical and conceptual space of dance studies, considering traditional concert and ethnographic dance performances alongside and in relation to cultural movement practices. Viewings of movement events such as political gatherings, parades, pilgrimage, religious meetings, sports, protests, and festivals. How these performances challenge and produce new spatial imaginaries.
4 units, Spr (Staff) 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 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, not given this year DANCE 170. Postmodern Road Trips: Viewing and Reviewing Contemporary Live Performances—Postmodern and post-postmodern histories in dance, performance, and contemporary artmaking practices at the intersection between performance and social practice. History and theory. Students attend performances and events on and off campus. GER:DB-Hum
4 units, Aut (Ross, J; Hayes, A) DANCE 190. Special Research—Topics related to the discipline of dance. May be repeated for credit.
1-5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff) back to top DANCE 191. Independent Research—Individual supervision of off-campus internship. Prerequisite: consent of instructor.
1-18 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff) DANCE 197. Dance in Prisons: The Arts, Juvenile Justice, and Rehabilitation in America—Participatory seminar. The nexus of art, community, and social action, using dance to study how the performing arts affect self-construction, perception and experiences of embodiment, and social control for incarcerated teenagers in Santa Clara Juvenile Hall. GER:DB-Hum, EC-AmerCul
4 units, Spr (Ross, J) DANCE 197B. Dance in Prisons: The Arts, Juvenile Justice, and Rehabilitation in America—Participatory seminar. The nexus of art, community, and social action, using dance to study how the performing arts affect selfconstruction, perception and experiences of embodiment, and social control for incarcerated teenagers in Santa Clara Juvenile Hall. GER:EC-AmerCul
4 units, not given this year GRADUATE COURSES IN DANCE Primarily for graduate students; undergraduates may enroll with consent of instructor. 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 (Staff), Win (Staff), Spr (Staff), Sum (Staff) DANCE 365. Geographies of Movement: Dance and the Politics of Space—(Same as DANCE 165.) Physical, philosophical and conceptual space of dance studies, considering traditional concert and ethnographic dance performances alongside and in relation to cultural movement practices. Viewings of movement events such as political gatherings, parades, pilgrimage, religious meetings, sports, protests, and festivals. How these performances challenge and produce new spatial imaginaries.
4 units, Spr (Staff) back to top
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