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As a follow-up to the course Working With Light, participants in this class will learn how to adapt lighting design ideas to work within the common constraints of theater architecture and scenery. We will take a deep dive into the process of choosing lighting equipment and figuring out where it needs to be, in relation to everything else in the theater space. Beginning with basic drafting techniques, the course will move ahead to planning lighting coverage with scaled drawings, and then to the creation of a light plot and other supporting paperwork.

What happens when you start a rehearsal process and you are not sure what you are wanting yet? How do you present movement phrases, concepts, and structures and incorporate new information from the performers? What is it that you see? How do you change your mind?

This is an essential course for students wishing to make new work for performance this term, whether one project or a series. It is designed specifically to support each person’s artistic voice and manner of working.

Chavela Vargas has often been called “la voz de México”. An iconoclastic figure, a publicly queer woman singing rancheras and comporting with radical artists and activists, her life is a study in refusing to submit to social norms and embracing the power of art as an act of solidarity, resistance and love. 

A class, a laboratory that explores the relationship between movement and sound, starting with the phenomenology of sound and acoustics, and considering the translation from sound to movement.

Incorporates listening techniques and sensory perception and encourages participants, through improvisation, to draw from movement, sound, space and memory interchangeably. They will be guided through exercises that help make decisions based on assessment, observation, listening and decision making.

We can define Ndaga as the awareness of legacy and debt, border crossing, re/invention, re/creation, and the desire to create new space for time travel. This is a self-journey. This course is for students who wish to find their artistic voices by exploring an interdisciplinary approach to making work.

Chemistry 3 focuses on the nature and pathways of organic reactions: what the steps are, how we experimentally determine them, and how we can use them to solve practical problems, such as the synthesis of a drug, or understanding the action of an enzyme. Emphasis will be using the general principles of nucleo- and and electrophilicity to provide a logical framework for understanding substitution, addition, elimination and reactions involving carbonyl groups. Chemical kinetics will also be a topic of study because of the insights it provides for reaction mechanisms.

In this course, we will be uncovering, re-positioning, and affirming historical legacies and traditions that stand the risk of being lost forever, and explore how to use them to fight discrimination, racism and hate today.

Scanning electron microscopes are a fundamental tool in the physical and life sciences. When equipped with an X-Ray spectrometer, a SEM can provide rapid physical and chemical data of specimens on extremely small scales. This class with cover the theory and practical applications of SEM imaging and analysis for advanced science students who have their own research interests. Students will be expected to develop and conduct an independent research project through this class.

Contact improvisation is an American movement form that uses sustained physical touch to create a dance with a partner. According to founding practitioner Nancy Stark Smith, contact improvisation "resembles other familiar duet forms, such as the embrace, wrestling, surfing, martial arts, and the Jitterbug, encompassing a wide range of movement from stillness to highly athletic.”

What remains of dance? The lament of dance’s ephemerality coincides with broader Western temporal projects conceived through the linear unfolding of human progress and social evolution, relegating our movements to an irretrievable past.