Bard College Catalogue

The Bard College Catalogue contains detailed descriptions of the College's undergraduate programs and courses, curriculum, admission and financial aid procedures, student activities and services, history, campus facilities, affiliated institutions including graduate programs, and faculty and administration.

Bard College Catalogue, 2018–19

Bard College Catalogue, 2018–19



Maria Q. Simpson (director), Arthur Aviles, Souleymane  Badolo, Jean Churchill, Lindsay Walker Clark, Leah Cox, Peggy Florin, Tara Lorenzen
In residence: In residence: Select faculty from the American Dance Festival (ADF)


The Bard Dance Program sees the pursuit of artistry and intellect as a single endeavor and the study of the body as a cognitive act, demanding both physical practice and exploration of the broader academic contexts in which the art form exists. The program fosters the discovery of a dance vocabulary that is meaningful to the dancer/choreographer and essential to his or her creative ambitions. This discovery leads students to cultivate original choices that are informed by a full exploration of their surroundings and to find expression in new and dynamic ways. Through intensive technique and composition courses, onstage performance, and production experience, dance students are prepared to understand and practice the art of choreography and performance.

In fall 2018, the Dance Program began a multiyear partnership with the American Dance Festival. Coordinated by ADF dean and Bard dance faculty member Leah Cox, the partnership brings cutting-edge and diverse dance artists to Bard through undergraduate courses, artist residencies, interdisciplinary collaborations, campus-wide events, and public performances.

Areas of Study

The Dance Program offers technique courses in ballet and modern dance as well as courses in composition, dance history, dance science, performance and production, and dance repertory.


Prior to Moderation, students must take a minimum of 4 credits in technique and 6 credits in composition. All moderating students must submit choreography for consideration in one of the year’s two Moderation dance concerts. Each moderating student must present performance work for acceptance into the major. Once accepted, students may choose to concentrate in creative work, performance, or both.

Once a student moderates, requirements for the major include two courses in movement practices per semester, including three ballet courses; at least one course in a dance form or practice of the African diaspora; three levels of dance composition (if concentrating in performance, two levels); Dance 355, Anatomy for the Dancer; Dance 335, Problems in Dance and Performance History: The Postmodern Shift; a music course; two courses in practicing arts disciplines outside of dance; an additional history course outside of the Dance Program; a writing and/or criticism course (e.g., Philosophy and the Arts); a full year of technique under the Dance Program professional partnership (ADF); and Junior/Senior Seminar. Additionally, attendance at Dance Workshop is required of all majors. Held each semester, the workshop helps students prepare for any one of four annual productions. For the Senior Project, students prepare choreography, a performance, or other material of appropriate scope for public presentation. All Senior Projects include a 20- to 30-page paper that synthesizes interests in areas outside of dance where appropriate and relates these processes to the development of the specific work presented.

Recent Senior Projects in Dance:

  • “Being Soft in a Hard Place: Embodied Explorations in Fitness Culture, Basketball Courts, and the Potential of Moving Differently”
  • “Of Merce and Men: Dancing American Mediocrity”
  • “On Elegance, Form, and Function: Exploring the Nexus between Scientific Research and Movement Research”
  • “So Many (No Need) Choices”


The Dance Program is located in The Richard B. Fisher Center for the Performing Arts, where facilities include two studios and a fully equipped, 200-seat theater.


The Dance Program offers 100-level studio classes for first-year students and other beginning dancers; 200-level classes, which are open to all students at the intermediate level of technique; and 300-level classes, open to all students with the experience appropriate for an advanced-level course. All dance studio classes have live musical accompaniment. Tutorials arise out of a student’s interest in delving deeply into a subject that is not generally covered in the curriculum. Topics have included dance pedagogy, partnering technique, pointe work, and specific elements of dance history and dance science.

The descriptions below represent a sampling of courses from the past four years.

Introduction to Dance: The Articulate Body
Dance 103A
The course offers an intense experience of dance in the broadest and most contemporary sense. Students move vigorously in each class in order to develop their skills as articulate movers, cultivating athleticism, kinesthetic sophistication, and range. Equal emphasis is placed on developing skills in improvisation and composition.

Introduction to African Dance
Dance 103B
Rooted in contemporary African dance, this course explores movement over/under/inside and outside the tradition. By listening to internal rhythms of the body and the beat of the music, dancers can discover their own musicality and movement language.

Beginning Dance
Dance 104
Ballet and modern dance technique classes for the beginner. No experience is necessary.

Advanced Beginner Dance
Dance 105-106
Courses in modern dance and ballet for students with some experience. Fundamental issues of anatomical alignment are emphasized through the development of basic vocabulary.

Dance Composition I, II, III
Dance 117-118; 217-218; 317-318
Three levels of composition courses are required of all dance majors. The 100-level classes introduce the fundamentals of movement, including timing, energy, space, balance, and phrasing. Viewing other students’ work and learning to articulate constructive criticism serve to hone the dancer’s aesthetic eye. Classes at the 200 level address questions of phrase development, form, and relationship to sound/music. At the 300 level, composition classes address production elements in dance performance, including lighting, costumes, and sound.

Introduction to Contact Improvisation
Dance 120
Contact improvisation is a duet dance form based on immediate response to sensation, weight, touch, and communication. This course explores states of presence, perception, awareness, and responsiveness to one’s self and environment. The class cultivates these states as a broader context for a study of physical strategies related to gravity, momentum, flight, falling, and rolling.

Alexander Technique
Dance 141
An introduction to the principles and applications of the Alexander Technique (AT), a method of psychophysical reeducation developed by F. Matthias Alexander in the early 20th century. AT pays close attention to functional anatomical organization and to how thought, on the sensory and neuromuscular level, plays a crucial role in an individual’s “use” of his/herself.

Intermediate/Advanced Studios
Dance 211-212, 311-312
Intensive technique studies are essential to a serious dance student’s training. Intending and current dance majors must register for 2 credits of dance technique each semester. Classes are also open to nonmajors with experience, inclination, and permission of the instructor.

Intermediate/Advanced Modern Dance: With and Beyond the Solo Body
Dance 215-216
Classes generate new understandings of what dance can do; hone collaborative skills; and cultivate the ability to sustain intense, in-depth physical investigations in form. Readings, viewings of videos, and/or attendance at live performances are also required.

Contact Improvisation II
Dance 222
Students in the class draw from a working knowledge of the fundamentals of contact improvisation in order to deepen their practice and explore challenging lifts and more nuanced dancing.

Research and Practice of African Dance: Burkina Faso
Dance 230
In this course, students move between lecture/discussion and physical practice as they explore the traditional dances of West Africa and their relationship to divination practices and ceremonies. Specifically, the class examines the influence of the traditional dances on contemporary dance in Burkina Faso. Prerequisite: at least one 100-level dance class.

Dance Repertory
Dance 315-316
Designed to expose students to the real life demands of a professional dancer, class time is spent in the development and rehearsal of a dance in preparation for a public performance at semester’s end. Choreographers consist of faculty and outside guest artists.

Problems in Dance and Performance History: The Postmodern Shift
Dance 335
What is postmodern performance, how does it relate to modern dance, and how does it extend to current performance practices? The 1960s saw a marked shift in creative practices that opened up who could perform and create performance. In this course, the artists and trends that helped usher in that new level of cross-disciplinary collaboration are explored. Also discussed: modernism and postmodernism’s philosophical developments, modern and postmodern characteristics of other art forms, and significant political and cultural developments influencing the modern/postmodern distinction.

Junior/Senior Seminar in Dance
Dance 350
This course provides students with the knowledge and skills needed to begin a professional practice. Students prepare a portfolio of their work, delve into development, explore the range of jobs that allow for a continuing creative practice, and learn how to interact with professionals in all aspects of the performing arts. Rotating guest teachers address issues relevant to artists entering the field and discuss their own roles within the professional dance/theater world.

Anatomy for the Dancer
Dance 355
A study of the primary bones, joints, ligaments, and muscles relevant to dancing; the physiology of breathing; and the body as a complex physical system. Students learn how to prevent injury and develop a full range of expression with safety and pleasure.