Visiting Assistant Professor of Dance
Her recent projects include Showman, an homage to the resonance of hardcore music; Social Animal Please Tame Me, an ensemble dance theater work investigating consent and consensus; birthing room, a solo tracing textures of place and displacement; and Dike Dance, a site-specific performance and community dialogue in collaboration with scientists from the Atlantic Research Center. As a member of the Movement Party, she collaboratively produced Fleet Moves, an annual site-based dance festival on Cape Cod for four seasons. She is also a member of Femmelab, a queer research and movement collective. She teaches dance and dance studies in academic and community settings and is a contributing editor for Contact Quarterly.
Lailye received her B.A. in dance from UCLA and an M.F.A. in dance from the University of Illinois at Urbana-Champaign. Her work has been shown at the Domestic Performance Agency, Movement Research, and the New School in New York City; Anatomy Riot and Pieter PASD in Los Angeles, CounterPulse and Joe Goode Studios in San Francisco, Green Street Studios and the Aviary Gallery in Boston, Figure One Gallery and the Krannert Center for the Performing Arts in Champaign, IL, and K77 Studio in Berlin. In 2018, she was an artist-in-residence with Meredith Bove at APE Ltd Gallery, researching creative companionship and “co-dramaturgy.” She has also been an artist-in-residence at Light Box in Detroit, the Interdisciplinary Laboratory for Art, Nature, and Dance (iLAND) in New York City, at Hothouse UCLA, and the SEEDS Festival at Earthdance.
Athletes taking a knee, bodies marching in the street, dance movements that go viral. How can Dance Studies help us see and understand the urgency of [social] movement in our current moment? At the same time, how does dance challenge normative conceptualizations of history and politics? Exploring dance and embodied politics of the 20th and 21st century through the lens of Dance Studies, this course works from the perspective of "Critical Moves" proposed by late dance theorist Randy Martin: "Critical moves. Steps we must take. Movement that informs critical consciousness." The interrelationship between theory and practice will be emphasized through reading, writing, movement exercises and creative workshops. Students will regularly read, write, and move; view and discuss performances; pursue a final research project through embodied, visual, and text-based methods; and work on a collective performance intervention that will take place on campus during the semester. No dance experience necessary, just open curiosity.
This course invites students to dive into choreographic thinking, movement generation, experimentation, and dance-making research. The word choreography originally meant fixing movement onto the page through notation. Today, choreography refers to a wide variety of activities including improvisation, articulating ideas through movement, instigating public interventions, creating problems to be solved in motion, and exploring stillness. Through weekly dance-making assignments-both solo and collaborative-students will produce choreographic studies that address specific concepts, lenses, and methods for crafting dance. We will reflect together on one another's work and practice giving generative and generous feedback. Final projects will evolve over the latter portion of the semester and be performed in an informal showing. Other requirements include viewing live performances and dance on video, readings, and reflective writing prompts. No previous experience in dance is required. Concurrent study of dance technique is encouraged.
Modern-Contemporary 4 is designed for advanced-intermediate level dancers, as we continue to build on students' previous study of modern dance technique. The studio will be our laboratory for a semester-long exploration of contemporary dance concepts with a focus on deepening sensation, clarifying points of initiation in the body, expansive use of space, and increasingly complex phrase-work. In motion, we will find dynamic relationships between periphery and center, time and weight, gravity and support-giving continued attention to alignment, spatial clarity, breath, range of motion, and the development of strength and stamina. Partnering and hands-on exercises will also expand options for moving through space. Through writing prompts and conversation, you will be asked to reflect on the histories and knowledge you bring into class, articulate learning ambitions, and track new developments. The goal of this course is to support a sustainable and deeply engaged movement practice-one that may inform the development of a lifetime of embodied creative process. Two half dance courses may be used to satisfy a Division I elective.
Dancing Modern 1 is a beginning level studio practice course designed to introduce students to ensemble performance-making as research practice, and employing "modern" and "contemporary" dance methodologies as a framework. The course will function as part dance technique class, part rehearsal/dance-making session, and part research seminar. Together we will examine ensemble dancing as a collective mode of being. We will look at how dancing ensembles have enacted utopian visions, massive spectacles, activist interventions, and we will question assumptions about whose bodies have been tasked to speak for a larger whole. We will dance-working to expand our capacities for embodied play, experimentation, and meaning-making-alongside physical and intellectual rigor, the development of dance literacy, and writing as a way to contextualize and process various aspects of embodied experience. The course will culminate in an informal sharing of the work made together, with the possibility of performing more formally early in the spring semester. No previous dance experience is necessary.
This course invites artists, designers, and other creative-workers to immerse in experiential physical practices as resources for art making, and self/community care. We will ask: What can be gained from listening to the body-yours, another's? How does a dialogue with the body enrich a dialogue with the world and vice versa? The practices in this course are drawn from dance improvisation, somatic movement, mindfulness meditation, and ecological movement-based research. They have been designed to focus attention on physical and sensory awareness, to provide access to multiple movement and thought pathways, to enhance connections between imagination and muscle, to build relationships with other practitioners and with the environment, and to shift energetic states. Respecting the different locations and histories housed in our moving selves, students will be encouraged to articulate their own unique intentions for, and applications of, this work in their lives and creative endeavors. Individual and group projects will launch these articulations into action. Reading, viewing, and creative assignments will connect our movement practices to conversations in contemporary art practice and cultural theory.