Why Dance Matters: Politics, Race, Class

Catalog description

*Note the Spring 2024 version of this class will be called Why Dance Matters: From the 1960s to Today. This course offers a dynamic exploration of the history of dance from the 1960s to the present day, with a particular emphasis on its ability to address societal inequalities, serve as a medium for social activism, enable cultural interpretation, increase access and function as a platform for ritualistic expression. Our journey begins by examining the Judson Dance Theater and the avant-garde postmodern dance movement, which challenged conventional modern dance techniques. We will explore the intricate intersections of gender, class, and race within the ball scene of New York City in the 1980s and 1990s. We'll also delve into non-codified practices like Ohad Naharin's Gaga technique and "Improvising While Black" by Mayfield Brooks. Additionally, we will study contemporary dance forms, including emergent technologies, influenced by the work of Merce Cunningham and John Cage, the innovative tanztheater of Pina Bausch, the architecturally rooted “gesamtkunstwerk” work of Robert Wilson, and performances by artists like Narcissister, who deconstruct stereotypes through embodied performances. This course will also engage with disabled dance artists, such as Alice Shepard, who prioritize accessibility as an ethic in their work, as well as dance activists like Yanira Castro whose work is “rooted in communal construction as a rehearsal for radical democracy”. Throughout the course, students will actively participate in extensive research, critically analyze performance videos and documentaries, and engage in profound discussions regarding the role of dance as a medium for cultural expression and social commentary. Guest lectures by practicing artists, scholars and dance writers will be a key component of this course.