41 courses with the subject DANC, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
DANC 155Dance Improvisation0.5
This is a non-performance oriented approach to discovering one’s movement potential and physical and thought patterns through improvisation. Utilizing contact improvisation, music visualization, and personal expression, this course is designed to develop freedom of thought and movement. The improvisation techniques range from aerobic to meditative. Creative games, spatial awareness, and problem solving are investigated in order to discover the innovative language of the body. Disability is not a limitation. Leslie Sachs. Course Format: OTH
Introduction to the fundamentals of the ballet class; includes the basic exercises for the barre and centre. Class exercises and video materials introduce elements of ballet artistry, choreography, and performance. Marisa Gorst. Course Format: OTH
This course is for the student who has had some basic training in ballet; classes include the entire barre and centre work. Class exercises, video materials, and written assignments introduce elements of ballet history, artistry, choreography, and performance. Miriam Mahdaviani. Two 75-minute periods. Course Format: OTH
This course is designed to reinforce basic training in ballet; includes the entire barre and preparation for more advanced centre work. Class exercises, video materials, and written assignments introduce elements of ballet history, artistry, choreography, and performance. Miriam Mahdaviani. Two 75-minute periods. Course Format: OTH
This is a course for the student who has good beginner training (complete barre and some centre work). The emphasis is on the development of steps for centre work, i.e., adagio, petit allegro, etc. Class exercises and video materials introduce elements of ballet artistry, choreography, and performance. John Meehan.
DANC 160 and DANC 165 or equivalent. Course Format: OTH
Offered
Fall and Spring
DANC 167Low Intermediate Ballet II0.5
This course is continuation of the development of steps for centre work. Class exercises and video materials introduce elements of ballet artistry, choreography, and performance. John Meehan.
DANC 165 and DANC 166 or equivalent. Course Format: OTH
Offered
Fall and Spring
DANC 170Movement Analysis0.5
This course is designed to offer insight and information into body structure and movement aimed at increasing a body awareness in students of all movement disciplines. Application of the material extends from the pedestrian experience into physical disciplines e.g.: athletics, dance, martial arts, yoga, physical therapy. Through observation, reading, exploration, discussion and analysis, the student is invited to increase body awareness and movement efficiency, and to develop and assimilate tools to optimize physical mechanics. With the tools of Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF), the study of basic anatomy and movement explorations, exercises and experiences, each student has the opportunity to expand awareness and integrate material fostering an increased understanding of personal movement methodology. Leslie Sachs. One 2-hour period. Course Format: OTH
Introduction to the vocabulary, movement and history of jazz dance. Jazz has been defined as the “dance of the people” and is constantly evolving. The roots of jazz dance are explored as well as the different extensions of the art form that have emerged over time. Students focus on the inherent characteristics of jazz that include syncopated rhythm patterns, musicality, body isolations, coordination, movement dynamics, improvisation and performance. The class includes a warm-up, across the floor sequences and a final combination. The choreographic styles vary from vernacular to theatrical, latin, commercial and contemporary jazz. Lisa Harvie Covin. Two 75-minute periods. Course Format: OTH
This course invites students to dance through time by studying important dance figures through their historical and cultural contexts. While the focus is on dance forms in the United States, students examine major trends, multi-cultural influences and global events affecting the evolution of dance as an art form. Research and critical inquiry are combined with experiential dance practice, thus connecting history to the body. By placing dance in a historical context, students develop a deeper understanding of dance as an art form and its progression to contemporary dance theory and practice. Texts, videos, and written work augment the learning experience. Jessie Levey. Two 75-minute periods. Course Format: CLS
This course is an introduction to the basic principles and history of American modern dance. Class work introduces students to technical concepts involved in training the body to be an articulate, expressive instrument. The course includes some outside written work, performance attendance, and video viewing all aimed at giving a background necessary to the appreciation of dance as a creative art form. No prior dance experience is necessary. Chelsea Acree. Course Format: OTH
This class continues to develop on the movement principles introduced in Beginning Modern Dance. Modern Dance faculty. Chelsea Acree, Stephen Rooks. Course Format: OTH
Introduction to Dancemaking uses the dance studio as a playground for embodied experiences, authentic discovery, and creativity. Students improvise to build their personal movement vocabulary and gain compositional tools with the goal of creating original work. Observing professional choreography and participating in discussions and reflection, dancers learn to describe movement, analyze choreography, and offer productive feedback to their peers. Short readings further support student understanding of the importance of meaning, context, and intention when crafting art. Jessie Levey. Two 75-minute periods. Course Format: OTH
DANC 215Dance Composition and the Craft of Choreography0.5
This course offers a comprehensive approach to dance composition, exploring the foundational principles of choreography and Rudolf Laban’s categories of Body, Effort, Shape, and Space. Through practical movement studies, students investigate choreographic devices and creative elements to help you develop a unique physical voice and personal artistic style. Students also examine the historical evolution of dance, looking at how notable choreographers have shaped the art form. This historical context provides a rich framework for understanding and developing original compositions. Leslie Sachs.
DANC 155 , one year of dance technique courses, or permission of the instructor. Two 75-minute periods. Course Format: OTH
Offered
Spring
DANC 233Perspectives in Dance and Society: Changemakers in Dance0.5
Students explore major developments in dance, through the study of renowned dance artists in America over the past 100 years. Class sessions highlight the choreographers and dancers who initiated those developments and laid the foundation for each successive generation of dancers and choreographers. Class sessions occasionally include lectures and/or workshops with prominent artists in the field. Stephen Rooks. Second six-week course. One 2-hour period. Not offered in 2026/27. Course Format: INT
DANC 234Perspectives in Dance and Society: Conversations in Contemporary Dance0.5
Conversations in Contemporary Dance provides a forum for examining current topics and trends in dance. Class sessions occasionally include lectures and/or workshops with prominent artists in the field. Selected dance films including “A Good Man” by Bill T. Jones, “The Dancer Revealed” documentary, and “Pina” by Pina Bausch are included in the course curriculum. Leslie Sachs. Second six-week course. One 2-hour period. Course Format: INT
(Same as DRAM 255 ) This course explores the history and changing landscape of dance in musical theater as we delve into the art of storytelling through movement. Broadway has changed dramatically over the years and has been influenced by changes in music, culture, social trends, and the aesthetic of renowned choreographers. The world of musical theater now encompasses a crossover of dance idioms, and that diversity of movement is so important as that is what brings so many stories to life on stage. Students are introduced to the different eras of musical theater and to the choreographers who have emerged from each generation. Focus is placed specifically on how dance is used as a narrative in performance as well as how to approach different styles of movement as both a dancer and an actor. Each class includes a warm-up, followed by across the floor stylized sequences and a combination. Some previous dance training is required; the course includes a written component as well as video analysis. Lisa Harvie. Two 75-minute periods. Course Format: OTH
This course introduces students to three dance forms from around the world. The semester is divided into three sections; each section focuses on a different dance form. Students experience studio instruction in dance technique and discussion of the dance form’s cultural signigicance. Dance forms may include: West African, Tango, Bollywood, Capoeira, Classical Indian Dance, Flamenco, Afro-Cuban, and others. Previous dance experience is required. Stephen Rooks. One 2-hour period. Course Format: OTH
Development of the classical ballet syllabus at the intermediate level. This course includes three 90-minute periods per week with an added arranged hour to be used for work in one of the following areas: pointe, variations, terminology, theory, men’s class or adagio/partnering. Class exercises, video materials, and written assignments introduce elements of Ballet history, artistry, choreography, and performance. Miriam Mahdaviani, John Meehan.
Permission of the instructor. Three 90-minute periods plus an arranged hour. Course Format: OTH
Offered
Fall and Spring
DANC 265Intermediate Ballet II1
Further development of the classical ballet syllabus at the intermediate level. This course includes three 90-minuteperiods per week with an added arranged hour to be used for work in one of the following areas: pointe, variations, terminology, theory, men’s class or adagio/partnering. Class exercises, video materials, and written assignments introduce elements of Ballet history, artistry, choreography, and performance. Miriam Mahdaviani, John Meehan.
Permission of the instructor. Three 90-minute periods plus an arranged hour. Course Format: OTH
Offered
Fall and Spring
DANC 266Advanced Ballet I1
Development of the classical ballet syllabus at the advanced level. This course includes three 90-minuteperiods per week with an added arranged hour to be used for work in one of the following areas: pointe, variations, men’s class or adagio/partnering. Class exercises, video materials, and written assignments introduce elements of Ballet history, artistry, choreography, and performance. Miriam Mahdaviani, John Meehan.
Permission of the instructor. Three 90-minute periods plus an arranged hour.
Offered
Fall and Spring
DANC 267Advanced Ballet II1
Further development of the classical ballet syllabus at the advanced level. This course includes three 90-minute periods per week with an added arranged hour to be used for work in one of the following areas: pointe, variations, men’s class or adagio/partnering. Class exercises, video materials, and written assignments introduce elements of Ballet history, artistry, choreography, and performance. Miriam Mahdaviani, John Meehan.
Permission of the instructor. Three 90-minute periods plus an arranged hour.
Offered
Fall and Spring
DANC 274Intermediate Jazz I0.5
Intermediate level work in the different styles and eras of jazz dance. Students explore the work of innovative and historic dance artists who have contributed to the evolution of jazz dance. Traveling sequences and final combinations become more challenging and a higher level of style and technique is required. Lisa Harvie Covin.
DANC 174 or equivalent jazz dance experience. Two 75-minute periods. Course Format: OTH
Offered
Fall and Spring
DANC 275Intermediate Jazz II0.5
Intermediate level work in the different styles and eras of jazz dance. Students explore the work of innovative and historic dance artists who have contributed to the evolution of jazz dance. Traveling sequences and final combinations become more challenging and a higher level of style and technique is required. Lisa Harvie Covin.
DANC 274 or the equivalent. Two 75-minute periods. Course Format: OTH
Offered
Fall and Spring
DANC 276Hip Hop0.5
This is an Intermediate-level Hip Hop dance course (prior experience or permission of the instructor is required). Students learn and master the different elements that make up Hip Hop dance. Hip Hop’s core movement originated from African dance and was developed by inner-city African and Latinx Americans in the Bronx in the 1970s. It has since entered the mainstream dance culture and is performed all over the world. This course covers a wide range of Hip Hop styles and introduces students to the latest street/urban dance moves, including Breaking (Breakin, BBoyin, and BGirlin), Popping, Locking, and House. Hip Hop dance classes complement the offerings of the Dance department’s Ballet, Jazz and Modern courses, thus broadening the diversity and range of styles offered to Vassar dance students. It is available as another resource for the student choreographers on campus as they continue to develop their unique choreographic voice and vocabulary. Keith Alexander.
Prior Hip Hop dance experience or permission of the instructor. Two 75-minute periods. Course Format: OTH
Offered
Spring
DANC 277Intermediate Hip Hop0.5
This is an Intermediate-level Hip Hop dance course (prior experience or permission of the instructor is required). Students learn and master the different elements that make up Hip Hop dance. This course covers a wide range of Hip Hop styles including Breaking (Breakin, BBoyin, and BGirlin), Popping, Locking, and House. Students expand and strengthen their skills and knowledge of Hip Hop, with new material introduced each semester. Keith Alexander. Two 75-minute periods. Course Format: OTH
DANC 295Intermediate Contemporary Modern Dance II0.5
This class continues to develop the movement concepts and investigations introduced in Intermediate Contemporary Modern Dance I. Dance Faculty. Two 75-minute periods.
DANC 296Dance Pedagogy; teaching methodologies for a diverse culture1
Dance Pedagogy is designed to provide students with the information and ability to integrate technical and conceptual content along with pedagogical content in dance. Students gain an understanding of how areas of concentration within dance teaching and learning are organized, represented, and adapted to the diverse interests and abilities of learners, and presented for instruction. This course involves a theoretical/lecture and practicum structure. We research and share methods of learning and teaching in the studio, investigate and experience various styles of dance, and target different age groups. Required readings present and broaden perspectives on Dance Education; underscoring the essential understanding of anatomical components, illuminating how dance relates to social class, culture and race, and presenting the practical skills of creating a teaching philosophy, planning a syllabus, presenting educational material, making corrections with anatomical acuity, integrating dance accompaniment, and class organization and planning. Leslie Sachs.
Permission of the dance faculty sponsor. Course Format: OTH
Offered
Fall and Spring
DANC 364Repertory Dance Theatre I1
Performance in repertory of master choreographers. Works by students and faculty are also offered. In addition, several workshops in new student choreography are given throughout the year. Auditions for intermediate and advanced students are held the first week in September. John Meehan and the dance faculty. Dance Faculty.
Permission of the instructor. Two 2-hour periods plus arranged rehearsals. Course Format: OTH
Offered
Fall and Spring
DANC 378Choreography, Performance and Production1
Choreography, Performance, and Production is designed for the seasoned dance student; students employ choreographic and improvisational tools to create an original evening length work (20-minute piece) to be performed to an open house with Q&A to follow. Students are guided through pre-to-post production processes from the conceptual origin to the development of an original dance work, which includes setting an audition to cast, and design elements of music, lighting, and costuming. Students establish regular weekly rehearsal times, create a production schedule, manage a budget, coordinate advertising for a shared concert, organize the front of the house (box office), and document their experience. Leslie Sachs.
DANC 394 , DANC 395 , DANC 396 , DANC 397 or DANC 215 and permission of the instructor. Individual conferences with the instructor. Not offered in 2026/27. Course Format: INT
DANC 393Minds in Motion: The Cognitive Science of Dance0.5
(Same as COGS 393 ) How do we dance and how does it affect us? Dancing to a beat is a type of rhythmic synchronization with social origins; it involves watching, listening, and then reproducing and riffing on the sounds and movements of others, in coordinaion with others. As we learn more about how the brain and body co-operate with each other, and interact with their world, the cognitive underpinnings of dance appear to involve the parallel workings of multiple perception-action loops and mental models that learn and predict. From a neural perspective, we see the brain activity of dance partners entrain, and people with Parkinson’s who use music and dance to reorganize their rhythmic movements. In this Intensive, we explore dance from the perspective of cognitive science and cognitive science from the perspective of dance. Our work includes readings, projects and experiments. John Long, Miriam Mahdaviani. Second six-week course. One 2-hour period. Course Format: INT
Continuation and extension of all previously taught material. In addition, advanced work in phrasing and musicality is combined with the development of a personal ‘voice’ or style in one’s dancing. Stephen Rooks, Leslie Sachs. Dance Faculty. Two 75-minute periods.
Continuation and expansion of all previously taught material. In addition, advanced work in phrasing and musicality is combined with the development of a personal ‘voice’ or style in one’s dancing. Stephen Rooks, Leslie Sachs. Dance Faculty. Two 75-minute periods.
Continuation and expansion of all previously taught material. In addition, advanced work in phrasing and musicality is combined with the development of a personal ‘voice’ or style in one’s dancing. Stephen Rooks, Leslie Sachs. Dance Faculty. Two 75-minute periods.
