Professor of Dance
She toured nationally as a soloist with the Bill Evans Dance Company for several years, and taught dance full time at Arizona State University, the University of Washington and Smith College. She studied Authentic Movement with Janet Adler and Edith Sullwold in the Mary Starks Whitehouse Institute in 1982.
Her interest in contemplative practices, Authentic Movement, creativity and dance in ritual led her to develop the nationally recognized Contemplative Dance workshops and training programs with colleagues Mary Ramsay and Alton Wasson. They have taught these since 1989 to professionals of all ages at sites throughout the country, including Omega Institute, Naropa, Common Boundary National Conferences, and Hampshire College.
Her articles on Authentic Movement have been published in Contact Quarterly and A Moving Journal, and she wrote the entry on Authentic Movement for The Illustrated Encyclopedia of Body-Mind Disciplines edited by Nancy Allison (The Rosen Publishing Group, 1999). She also contributed two articles ("The Introduction to Authentic Movement" and "Authentic Movement - A Developing Contemporary Form of Dance Ritual") to Authentic Movement: Moving the Body, Moving the Self. A Collection of Essays, Volume II, edited by Patrizia Pallaro (2006).
She choreographs on themes about women's lives, and also performs Contemplative Dance improvisations. Her "Climbing Mt. Rainier" was one of eight dances selected for the statewide MassMoves Festival in 1989, and her dances have several times been selected for the Gala Concerts at the American College Dance Festivals.
Her courses work with the body, creativity, community, deep improvisation and the multiple roles dance can play in society. They include modern dance technique, dance composition, Contemplative Dance, Dance and Culture, Sources of Creativity, and Embodied Imagination.
This course will examine dance through the lens of culture and culture through dance. We'll study past and current examples from around the world to consider the many roles dance plays, and the ways dance embodies, creates, transmits, changes and is bound by culture. Students will investigate dance's role in religion, rites of passage, politics, war, identity formation, medicine and social relations, and will discuss such issues as ownership and appropriation, tradition and change, influence and fusion. Students will hone skills of dance description and analysis informed by awareness of cultural biases and preferences, and will practice a variety of methodologies for dance research. Although some dances will be discussed in depth, the course is designed as a survey, hoping to serve as a foundation for future research or creative projects. While not a studio course, it will include bodily approaches to the material, but requires no experience in dance.
In this seminar students will pursue advanced independent dance research and writing projects supported by a community of fellow student scholars. In class we will first consider contexts for this work by surveying in broad strokes the terrain of dance scholarship to register past and current interests, questions and debates. We'll note prominent and missing voices, and key professional organizations and journals. We'll also briefly review the history of dance's climb into higher education, and imagine the future of dance studies. We'll look for new sites for and modes of discourse within the field, including those in which students might aim to publish in the future. Out of class students will develop and revise projects that should serve a diverse range of Division III or II or senior project research goals. Students might begin with a project in mind or not.
This course is designed for any student curious about design in motion. It will introduce theories and processes of movement composition and choreographic analysis. We'll work with movement prompts and structured improvisations to discover ways to generate movement, and to compose it into set forms. We'll question expectations about what dance, or a "good" dance is, and push to broaden movement preferences. In the process students will hone skills in perceiving, describing and interpreting compositional strategies in choreography. They'll also study works of established choreographers from a range of styles, examine in depth the work of a master artist, and learn to write analytically about choreography. Students will work with group forms in class, but craft assigned studies in solo form, leading to a final, complete dance performed in an informal showing. No previous experience in dance is required. Concurrent study of dance technique is encouraged.
This course will explore ways dance-movement and related arts/embodiment practices contribute to health and healing (broadly defined) and stimulate imagination and creativity in individuals and communities. In class students will learn and practice a form of embodied research and expression know as Contemplative Dance/Authentic Movement to develop capacities for listening to themselves and others, and to ground their research into the course's themes in personal movement practices. Students also will examine historical and contemporary examples of dance-movement used by a variety of people and cultures to enhance health, wellbeing and creativity. Readings will be drawn from studies in dance/movement therapy, the arts in healthcare and Authentic Movement, and biographical, historical or ethnographic accounts of dances of healing, ritual, trance and community nurturing. Students will consider different forms of documentation including first person narratives, metaphoric-intuitive descriptions, and physically tangible, measureable observations as they develop written final projects. No dance experience necessary.
This beginning level modern dance technique course will introduce students to "modern" and other dance technique practices. By practicing in-class exercises and phrase-studies, students will refine bodily awareness and articulation, hone spatial and rhythmic clarity, develop facility in perceiving and interpreting movement, and practice moving with our dance musicians' scores. We'll also consider what movement principles and priorities underlie the techniques we employ, and compare them to those of other dance styles and cultures. How do these influence the dances that result? Going a step further, we'll examine the final products of dance practice, the dances themselves; students will learn to read and analyze choreography in performances from a range of dance styles and cultures. Students will be expected to grapple with the studio work with commitment and rigor, view performances live in concert, and think in movement, style, and written word. No previous dance experience is necessary.