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Through mentor approved independently paced work, students develop and schedule their own weekly, planned creative practices using student-initiated resources and/or classes. Mentors guide students through the designed plan that can include a combination of practices, techniques, technologies and methodologies. The study format should provide opportunity for varied approaches and choices.
This course allows students to self-design course work by combining topics and approaches from the Practice LABs and the Study LABs to meet required hours. The Individualized LABS take the form of a series of self directed intensive workshops and study immersions.
Variable Credit, 1-2 Credits
Students work to develop vocabularies, resources and methodologies to support varied approaches to thesis practices to include research into practice, performance as research, practice into research, practice-based research, bibliography as method, citational fieldings and research as action. The course guides students through reflective, critical processes during one-on-one, small and large group course formats.
This course allows students more time to complete thesis project work.
This interdisciplinary class looks at the relationship between the visual arts, performance and dance. In particular, we will focus on the influence of collage across disciplines by finding common methods and themes, such as juxtaposition, chance and appropriation. We will trace the history of collage in the visual arts and then investigate its impact on other fields, including film, music, literature and dance. Lectures and readings will expose students to a wide range of modern and contemporary art forms.
This interdisciplinary class looks at the relationship between the visual arts, performance and dance. In particular, we will focus on the influence of collage across disciplines by finding common methods and themes, such as juxtaposition, chance and appropriation. We will trace the history of collage in the visual arts and then investigate its impact on other fields, including film, music, literature and dance. Lectures and readings will expose students to a wide range of modern and contemporary art forms.
What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, 鈥淎ll research is collaborative,鈥 how might these study groups expand our thinking through collaborative practices? What methodologies emerge?
During this course, students will begin to reflect, gather, articulate, and compose their extensive body of professional work in the field of dance by organizing this work into a text which will be bound. The portfolio is developed to include a thoughtful and critically developed artist statement, current CV, written narratives of their work, press & public reviews, and a list of any grants, honorariums and/or fellowships along with the encouragement of a creative approach to sharing the emergence of themselves as dance artists.
Students propose an independent study plan with approval from Donna Faye Burchfield and select an approved thinking partner/mentor.
Credits to be determined between faculty and student.
Variable Credit, 1-3 Credits
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps re-situate the activities of research, scholarship, teaching and practice in an important way? These Labs take the form of intensive workshops and/or lectures.
Variable Credit, 1-2 Credits
This topic driven seminar focuses on current developments within the field of dance and performance. Students will learn to think of dance and performance through their own embodied experiences and by placing dance, movement, and performance in wider disciplinary, cultural and global contexts.
During this course, students will begin to reflect, gather, articulate, and compose their extensive body of professional work in the field of dance by organizing this work into a text which will be bound. The portfolio is developed to include a thoughtful and critically developed artist statement, current CV, written narratives of their work, press & public reviews, and a list of any grants, honorariums and/or fellowships along with the encouragement of a creative approach to sharing the emergence of themselves as dance artists.
This course is designed to assist graduate students with the research and development of their new work. The weekly format is determined with the students. In class, they show works-in-progress, try out ideas with their colleagues, and discuss issues involved in their creative processes. Though the class meets only once a week, students are expected to spend considerable time each week in active, ongoing creative research; their independent projects will be presented to the public, either formally or informally, by the end of the term.
Graduate Teaching Fellows in Dance are integrated into the dance program as teaching assistants. In consultation with their academic advisors and the dance faculty, MFA candidates develop an assistantship schedule of approximately ten hours weekly; the courses they develop and teach are listed in the curriculum. All Teaching Fellows bring their own professional histories and contribute their own manners of teaching. Outside of listed class times, TBD, the Teaching Fellows will meet to discuss their courses with the designated faculty and with each other.
This class will examine contemporary challenges through the lens of complex systems. The class will include a training in Mediation and Negotiation skills. Through readings, discussion, exercises and role-plays, the class will examine and deconstruct the complexities of current democratic and environmental issues related to local, national and global governance, We will begin with personal training and extend it to group multi-party collaborative problem-solving.
In this course, we will be uncovering, re-positioning, and affirming historical legacies and traditions that stand the risk of being lost forever, and explore how to use them to fight discrimination, racism and hate today.
In this wide-ranging introduction to the study of international politics, we will be exploring how states and non-state actors negotiate their interactions in an increasingly interconnected, interdependent and globalized world.
Against a background of what is often described as a worldwide democratic recession or regression, this advanced seminar surveys current theoretical debates, empirical analyses, and policy conversations on the emergence, survival, challenges, breakdowns, and prospects of global democratization.
In terms of public action, Ganas remains a community-driven, cross-cultural association that offers students volunteer opportunities to engage with the predominantly undocumented Latine migrant worker population. We maintain relationships with local organizations and members while developing new ones, along with more conventional classes and readings. Over the past couple of years, it has ballooned into a range of simultaneous activities that are seemingly happening all of the time, with students very much at the center of said impetus.
Climate change, poverty, and food access are all compelling and urgent issues confronting our society. Growing local food is one significant way we can respond. Having received the Bennington Fair Food Initiative Grant with the mission to develop educational training programs in agriculture/food system workforce development and to create small business, this class will be practice based learning in regenerative agricultural practices and the creation of sustainable food systems.
The record of the processes and research practices take shape in the writing and designing of the artist鈥檚 book. The Research as Actions are discussed and planned. These actions are shared informally and at the conclusion of the term.
Today it is clear that the environment matters. In activism and scholarship and public policy, the environment has become a potent (if sometimes obligatory) point of reference. Less attention, however, has focused on the emergence of the environment itself as a converging field of action for advocacy, science, and statecraft. In this seminar, we will reflect not only on what we know of the environment but also on how we came to know the environment.
鈥I, at least, am not a Marxist鈥&苍产蝉辫;Karl Marx