As Enlightenment ideals gave way to revolutionary impulses, dancers doubled as singers, circus performers shared their stages, and entertainments took place on the fairgrounds and in aristocratic palaces. Performances in these distinctive multi-genre traditions raise a number of questions that are equally relevant for us today: What is the artwork? How can we restate a history that was intended to be fleeting? What is the relationship between “text” and performance? How can we restage interdisciplinary works? And, in restaging historical work, what does it mean to be authentic? This course explores the hybrid genres of dance, mime, music and drama from the past to analyze their present relevance as “art.”
This course will explore the varied conceptions and genres of 18th century theater and performance, focusing on French and Italian traditions. In particular, we will approach these different genres through the study of plays, operas, ballets, and pantomimes presented in varying venues, such as the official Parisian declamatory and lyric theaters, the fairgrounds, and private society theaters, using these readings to discover the ways in which these multiform theatrical works flow between pre-established genres.
Our overarching theme throughout the course will be the concept of restaging. In restaging a work from this period, how do you remain faithful to the work? What aspects of the work are lost by simply looking at its text or music? How does this relationship change when considering and ‘high’ and ‘low’ theaters? Given the multitude of theatrical reforms and the fluidity of genres during this period, this question does not require a single response but rather an understanding of the particularities of each work, its public, and the theoretical questions that each work brings into play.
This course will explore the varied conceptions and genres of 18th century theater and performance, focusing on French and Italian traditions. In particular, we will approach these different genres through the study of plays, operas, ballets, and pantomimes presented in varying venues, such as the official Parisian declamatory and lyric theaters, the fairgrounds, and private society theaters, using these readings to discover the ways in which these multiform theatrical works flow between pre-established genres.
Our overarching theme throughout the course will be the concept of restaging. In restaging a work from this period, how do you remain faithful to the work? What aspects of the work are lost by simply looking at its text or music? How does this relationship change when considering and ‘high’ and ‘low’ theaters? Given the multitude of theatrical reforms and the fluidity of genres during this period, this question does not require a single response but rather an understanding of the particularities of each work, its public, and the theoretical questions that each work brings into play.
- Teacher: Olivia Sabee
- Teacher: Hans Boman
- Teacher: Jumatatu Poe
This studio course introduces the fundamentals of classical ballet vocabulary with a focus on anatomically correct alignment, movement quality, and musicality. Physical conditioning for ballet will be built into the class sessions. Students should be aware that hands-on correction is an essential element of ballet training and be prepared for physical adjustment in the classroom.
- Teacher: Olivia Sabee
Course Description
Africa is a continent where the sun mostly shines year round. West African Dance or African performance, from its inception, is the very life of the people. Dances are loaded with social commentary and purpose of the communities in which they are performed. Nii Akrong African
Dance Technique I will be taught step by step, breath by breath, smile by smile and sweat by sweat; to bring out the potential-sun of African dance in you and share the joy of dance with passion. Dance repertoires/movements are carefully selected to represent Ghanaian, Mande, and Yoruba traditions, among others in the West African sub region. The course is open to all, including very beginners. The instructor will assign students specific weekly readings from the reading list, personal recordings, internet sites and rich exposure of a lived tradition in Africa.
Africa is a continent where the sun mostly shines year round. West African Dance or African performance, from its inception, is the very life of the people. Dances are loaded with social commentary and purpose of the communities in which they are performed. Nii Akrong African
Dance Technique I will be taught step by step, breath by breath, smile by smile and sweat by sweat; to bring out the potential-sun of African dance in you and share the joy of dance with passion. Dance repertoires/movements are carefully selected to represent Ghanaian, Mande, and Yoruba traditions, among others in the West African sub region. The course is open to all, including very beginners. The instructor will assign students specific weekly readings from the reading list, personal recordings, internet sites and rich exposure of a lived tradition in Africa.
- Teacher: Isaac Akrong
Nii Akrong African Dance and Drum for Repertory
The Nii Akrong African Dance and Drum for Repertory draws on phrase-combinations, and gestures of daily life events. Students explore Gyil or xylophone applications, that reflect and represent Ghanaian, Mande, and Yoruba traditions, among other traditional repertoires – unique movements and meanings, historical contexts, songs and chants as well as coordination of the hands. For an example of related drum technique, students will learn to use their palms and fingers against the backdrop of specified postures that open an array of drumming techniques (tone, slap, base, muffle, mnemonic-combinations/interpretation), which are useful to knowing the unique time lines and upbeat of West African rhythms, and are the roadmap to understanding the dance form. This innovative technique builds the skills necessary for most of the above repertoire as the similarities and differences spread across villages in Sub-Saharan Africa. Ga, Ewe, Akan, Zulu, Mande and Yoruba ethnic themes will be discussed in their traditional contexts. Discussions, guests, audio visuals and texts that shed light on the pieces will be incorporated. Students will learn by careful observation and by doing – in a friendly teamwork environment. This accessible course is responsive to student needs and abilities and will inject a broad foundational knowledge necessary for the future development of a holistic person/performer.
Permission of the instructor or in class audition is encouraged. The instructor will assign students specific weekly readings/tasks from the reading list, personal recordings, internet sites and rich exposure of a lived tradition in Africa.
The Nii Akrong African Dance and Drum for Repertory draws on phrase-combinations, and gestures of daily life events. Students explore Gyil or xylophone applications, that reflect and represent Ghanaian, Mande, and Yoruba traditions, among other traditional repertoires – unique movements and meanings, historical contexts, songs and chants as well as coordination of the hands. For an example of related drum technique, students will learn to use their palms and fingers against the backdrop of specified postures that open an array of drumming techniques (tone, slap, base, muffle, mnemonic-combinations/interpretation), which are useful to knowing the unique time lines and upbeat of West African rhythms, and are the roadmap to understanding the dance form. This innovative technique builds the skills necessary for most of the above repertoire as the similarities and differences spread across villages in Sub-Saharan Africa. Ga, Ewe, Akan, Zulu, Mande and Yoruba ethnic themes will be discussed in their traditional contexts. Discussions, guests, audio visuals and texts that shed light on the pieces will be incorporated. Students will learn by careful observation and by doing – in a friendly teamwork environment. This accessible course is responsive to student needs and abilities and will inject a broad foundational knowledge necessary for the future development of a holistic person/performer.
Permission of the instructor or in class audition is encouraged. The instructor will assign students specific weekly readings/tasks from the reading list, personal recordings, internet sites and rich exposure of a lived tradition in Africa.
- Teacher: Isaac Akrong
Nii Akrong African Dance and Drum for Repertory
The Nii Akrong African Dance and Drum for Repertory draws on phrase-combinations, and gestures of daily life events. Students explore Gyil or xylophone applications, that reflect and represent Ghanaian, Mande, and Yoruba traditions, among other traditional repertoires – unique movements and meanings, historical contexts, songs and chants as well as coordination of the hands. For an example of related drum technique, students will learn to use their palms and fingers against the backdrop of specified postures that open an array of drumming techniques (tone, slap, base, muffle, mnemonic-combinations/interpretation), which are useful to knowing the unique time lines and upbeat of West African rhythms, and are the roadmap to understanding the dance form. This innovative technique builds the skills necessary for most of the above repertoire as the similarities and differences spread across villages in Sub-Saharan Africa. Ga, Ewe, Akan, Zulu, Mande and Yoruba ethnic themes will be discussed in their traditional contexts. Discussions, guests, audio visuals and texts that shed light on the pieces will be incorporated. Students will learn by careful observation and by doing – in a friendly teamwork environment. This accessible course is responsive to student needs and abilities and will inject a broad foundational knowledge necessary for the future development of a holistic person/performer.
Permission of the instructor or in class audition is encouraged. The instructor will assign students specific weekly readings/tasks from the reading list, personal recordings, internet sites and rich exposure of a lived tradition in Africa.
The Nii Akrong African Dance and Drum for Repertory draws on phrase-combinations, and gestures of daily life events. Students explore Gyil or xylophone applications, that reflect and represent Ghanaian, Mande, and Yoruba traditions, among other traditional repertoires – unique movements and meanings, historical contexts, songs and chants as well as coordination of the hands. For an example of related drum technique, students will learn to use their palms and fingers against the backdrop of specified postures that open an array of drumming techniques (tone, slap, base, muffle, mnemonic-combinations/interpretation), which are useful to knowing the unique time lines and upbeat of West African rhythms, and are the roadmap to understanding the dance form. This innovative technique builds the skills necessary for most of the above repertoire as the similarities and differences spread across villages in Sub-Saharan Africa. Ga, Ewe, Akan, Zulu, Mande and Yoruba ethnic themes will be discussed in their traditional contexts. Discussions, guests, audio visuals and texts that shed light on the pieces will be incorporated. Students will learn by careful observation and by doing – in a friendly teamwork environment. This accessible course is responsive to student needs and abilities and will inject a broad foundational knowledge necessary for the future development of a holistic person/performer.
Permission of the instructor or in class audition is encouraged. The instructor will assign students specific weekly readings/tasks from the reading list, personal recordings, internet sites and rich exposure of a lived tradition in Africa.
- Teacher: Isaac Akrong
This studio course elaborates on the skills developed in Ballet I. Additional vocabulary will be introduced with a focus on building stamina, increasing technical proficiency and honing technique, as well as refining performance quality, musicality, and dynamics. Students should be aware that hands-on correction is an essential element of ballet training and be prepared for physical adjustment in the classroom.
- Teacher: Olivia Sabee