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.
This beginning-level course invites students to develop movement, making, and performance practices as vehicles for thinking about and supporting new beginnings. The course will function as dance class, rehearsal, and research seminar where we will examine assumptions about whose bodies are afforded the opportunity to be expressive, and learn to trust what our bodies already know. We will also work to expand our capacities for embodied play, experimentation, meaning-making, physical and intellectual rigor, and employ a range of creative modalities (including use of the written word, video and digital media) to contextualize and process embodied experience. Our work will be bolstered by the study of theoretical underpinnings of contemporary dance, art-making and performance practices. We will share our work informally at the conclusion of the semester, with possible performances (live or virtual) early in February 2022. No previous dance experience is necessary. (keywords: critical dance studies, performance, embodiment)
This course invites students to train in contemporary dance technique and build collaborative performance through the lens of multiplicity. When we move, are we just one body or are we more? The body is capable of moving and organizing itself in myriad ways. Our bodies carry our histories, influences, our knowledge of ourselves, and our ties to one another. In the studio and beyond, we will engage dance as a method to embrace and move with our unique capacities and histories. And we will experiment with movement as a way to find new neural pathways and possibilities. Contemporary dance technique classes (1 day/wk) include full-bodied dancing, principles and forms, somatic approaches, and improvisational techniques. The second class per week functions as rehearsal leading toward a culminating collaborative performance. All students will contribute toward the choreographic process and final performance. (Suggested: some prior experience of dance, theater, or other movement practice) (keywords: dance, movement, performance, body, embodiment)
This course invites students to dive into choreographic thinking, movement generation, experimentation, and dance-making research. The word choreography originally meant fixing movement in written form. Today, choreography includes setting movement, scoring improvisation, embodying images and ideas, creating problems to be solved in motion, instigating public intervention, and more. Together we will define and expand choreographic possibilities through weekly dance-making assignments-solo and collaborative. Students will produce choreographic studies that address distinct elements of craft and frameworks for making. We will reflect together on one another's work, looking to provide generative, generous, and insightfully critical feedback. We will learn new strategies for seeing/feeling dance and articulating its impact. Final projects will evolve over the latter portion of the semester and be performed in an informal showing. Additional work includes viewing live online performances, viewing dance on video, readings, discussions, and reflective writings. No previous experience in dance is required. [Concurrent study of dance technique is encouraged.] (keywords: Dance, choreography, body, performance, theater)
"Desire lines" sometimes refer to the unofficial and uncontrolled paths made by bodies that are finding their way. In this collaborative course, "desire lines" are an opening to create theatre and dance exploring our relationship to the environment during a time of uprising and pandemic. Students begin by creating writing and movement inspired by their living spaces. They then move outside, reading artistic/critical work, and creating movement and text pieces grounded in questions: how do our identities meet the worlds we move through? How do choreographies of protest movements redefine public space? How do we move and speak in relationship to water, soil, and sky? Throughout, we will explore land and memory, and how colonization has sought unsuccessfully to silence Indigenous histories of all our spaces. This course runs parallel with Desire Lines: Mapping Home in the Dancing Body. Culminating work(s) will emerge through collaboration and will be presented together. (keywords: Dance, theatre, theater, writing, environment)
In this course, students will immerse in and craft improvisational approaches to movement and performance-developing both a training ground and performance troupe. Together, training in ensemble, solo, and partner work, we will develop skills for group listening, responding to architecture and environment, working with sound and music, and dancing from sensation and perception. There will be opportunities for performance throughout the semester. We will craft performance structures (scores) and improvisational choreographies through which we can enter the unknown or "lesser known" territory of improvisational choice-making on stage. This course will build on previous experience of dance and dance-making and also welcomes performing artists with any background or those with a desire to jump into an exploration of improvisation and performance.