The dance program at Marlboro is committed to engaging students physically, creatively, and analytically in the study of dance and movement across a variety of cultures and dance forms.
Dance courses are designed to help students develop an appreciation for experiential learning, gather tools for creative expression through movement, and hone their abilities to think and write critically about movement and performance. In technique classes, students work in the studio to develop physical skills and a more nuanced understanding of the body as an instrument. Choreography and improvisation classes help students learn tools for creating movement and shaping it over time and space, develop their skills for navigating the creative process, and explore the range of their artistic voices. Anatomy classes give students a deeper understanding of their own physical structure and the ways that structure and function inform one another. History and theory classes familiarize students with the work of other artists, shed light on the sociocultural forces that shape dance practices, and prepare students to think critically as they pursue their own work in the field of dance. In all courses, an effort is made to contextualize each dance form studied in relation to the time(s) and place(s) in which it was created, examining the cultural and aesthetic values that shape the movement. Students are encouraged to apply the physical skills, creative processes, and critical frameworks acquired in their dance classes to working with the styles and topics they are passionate about. Moreover, they are invited to bring in their studies in other fields as source material for creative work and to explore the meaning of dance through the lens of other disciplines.
Danced topographies: A study of dynamic relationships between place and movement through choreography and sociology
Performing the object: An interdisciplinary study of conceptual and performance artists 1965 – 1975 and contemporary performance practices
Buster Keaton, a funny man
Exploring popular music paradigms across cultures, through cyberspace, and in my own practice