This course will serve as practice-based hands on training for dance & new media students to hone their video production skills by filming the moving body.  Practice will be focused on the genre of dance for camera. Students will encounter both concept based and experience based learning, receiving information through class discussion, weekly assignments, studio play, and viewing of each other’s work in the form of video material. Students will work on teams and individually based on assignments throughout the semester.  Adobe Premiere Software will be used for editing. Classroom 5M has stations with Adobe Premiere and is available for student’s use.

A final project will be created for the course and shown at the final class of the semester based on skills acquired in class and inspired by tasks and investigation during the course.

Open to All Tisch Dance and NYU non majors with permission from instructor

The Dance is a Weapon for Social Justice investigates the myriad social, political, and historical events that have impelled performers and choreographers to create dances that broadcast their personal concerns to society in powerful ways. Artistic movements, choreographers, and dancers examined will include the aristocratic Imperial Russian Ballet; gender fluidity in Nijinsky’s roles in Diaghilev’s Les Ballets Russes; the microcosm of immigrant and black performers in Vaudeville; dance and the Harlem Renaissance; the rejection of ballet by Löie Fuller, Isadora Duncan, and Ruth St. Denis; the political work of early modern dancers Martha Graham, Doris Humphrey, and Charles Weidman; war’s aftermath in the German Ausdruckstanz of Mary Wigman and Kurt Jooss, Japanese butoh, and in Mao’s Chinese Cultural Revolution; the anthropological research of black choreographers Katherine Dunham and Pearl Primus; the psychological dance-theater of Antony Tudor and Pina Bausch; democracy within the Postmodern rebellion of the Judson Dance Theater; Civil Rights era social activist choreographers; and the response of choreographers and performance artists to the Culture Wars of the 1990s and the AIDS crisis. Students will read seminal texts, pursue extended research, view performance videos and documentaries, and write a term paper, which will be presented in class at the end of the term.

This course is a continuation of classical ballet training designed for students who have had previous ballet experience and are currently looking to enhance their technical and performance skills. Students will explore the different styles of ballet training and performance presentation through practice, video viewing and discussions. 

A thorough ballet-barre will be given in each class. Students will then explore center practices. The technical content is based on intermediate-to-advanced-level class with the goal to refine adagio, turns and jumps in the center. Through the instruction of proper alignment and dynamic imagery, students will learn how to dance safely and improve their technical skills effectively. Students will also get to experience the various styles of ballet through learning and practicing different classical variations in class.

This class will deal with the visual and conceptual elements of stage lighting, as it pertains to dance. Students will learn practical skills for collaborating with designers on a concert.

Research Topics in Dance Science is a seminar-style course focused on the production of scientific and pedagogical knowledge in dance. This course will address issues specific to current research in dance from multiples perspectives including neuro-cognition, motor learning, elite performance, and teaching. We will discuss how and where research in dance is created, who accesses the literature, and how knowledge is applied contextually to the studio, onstage and clinically. The course is grounded in principles of scientific literacy and critical interrogation of scientific texts. Students will be guided through creating their own research questions and the course will culminate in a formal proposal to investigate these questions.

This course is intended to be accessible to dance majors and minors and graduate students, as well as any other students with an interest or background in dance, movement training or teaching, and/or biobehavioral research.  Research Topics in Dance Science strives to facilitate the creative production of novel areas of research in dance and to empower students through access to and critical investigation of traditional and ongoing modes of dance inquiry.

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The Science of Movement will introduce students to the multidisciplinary field of motor learning and control. Main goals of the course include: creating understanding of how the body and brain interact as a dynamic system, investigating neurophysiological correlates of human movement, and building practical knowledge about teaching and learning applications of current research in the movement sciences.

The Science of Movement is appropriate for undergraduates and graduate students with an interest in human movement, neuroscience and behavior, physical education and/or dance. No prior course of study in neuroscience is necessary to successfully engage with the course material. The course is divided into three sections: Motor Performance, Motor Learning, and Topics. The first two sections will introduce foundational concepts in neuro-motor control and learning, while the third section focuses on contemporary research in specific topics such as balance/locomotion, motor disorders, mental practice, and elite performance.

Students will sharpen critical analytic skills by observing movement learning in action; skill sites may include dance, yoga, physical education, and clinical/occupational motor rehabilitation. Guest speakers will reflect expertise in the fields of dance physical therapy, collegiate athletics, and neuro-rehabilitation.