Though the first dance degree was awarded more than 85 years ago, the focus of dance programs in higher education has stayed, for the most part, pretty much the same: Western dance forms dominate curriculums across the country, with ballet and modern classes reigning particularly supreme.
Over the last several years, however, some colleges have begun thinking critically about what kind of dance they're teaching—and how they teach it. They're ushering in a new wave of dance in higher ed, with the hope that their approach—bringing African diaspora and urban forms to the fore, forging connections with other fields, degendering ballet—might be a catalyst for others.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
Barak Marshall's Monger, which appears at the Walking Distance Dance Festival this month. Photo by Rose Eichenbaum, Courtesy John Hill PR
A Broadway luminary and a postmodern darling bring their talents to ballet, a music video maven turns to the concert stage, and a contemporary choreographer gets soulful with Aretha Franklin. Our editors' must-sees this May are all about the unexpected.
CONTRA-TIEMPO co-founder Ana Maria Alvarez will participate in USC's inaugural New Movement Residency. Photo by Eric Wolfe, Courtesy USC
While there are more women making dance than ever before, the question still swirls: Do they have the same programming and mentoring opportunities as their male counterparts? This spring, Ballet West and the University of Southern California are choosing to tackle the question head-on, with performances and residencies that focus on female dancemakers.