Music Composition, Music Improvisation, Dance Accompaniment, Turkish music, Greek music, Balkan music and Arabic music performance, Multi-instrumental solo music performance, Composing music for Dance, Composing music for Theatre, composing music for Film, Music Therapy, Audio production/recording
Teaching
courses taught
DNCE 1013 - Dance Improvisation
Primary Instructor
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Spring 2019 / Spring 2020 / Spring 2021 / Spring 2022 / Spring 2023 / Spring 2024 / Spring 2025
Tactics for dance improvisation as a survival practice toward collective thriving within a precarious and changing world. Through questions, games, scores, and technical skills we devise spontaneous and reliable access to making, imagination, activism, physical/aesthetic range, empathy, and collective world-building. We refuse to separate: 1) mind and body; 2) dance and other disciplines; 3) us from one another. May be repeated up to 12 total credit hours.
DNCE 1908 - Dance & Resistance: Love & Failure
Primary Instructor
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Fall 2018 / Fall 2019 / Fall 2020 / Fall 2021 / Fall 2022 / Fall 2024 / Fall 2025
Offers foundational dance skills to reduce resistance to loving and failing. We engage pivotal movers, makers, activists, and thinkers to employ the generative friction of dance as a technology for transformation. Through dance we expand capacity for coalition-building, problem-solving, and artistry. We refuse to separate: 1) mind and body; 2) dance and other disciplines; 3) us from one another. May be repeated up to 12 total credit hours.
DNCE 3014 - Dance and Rhythm
Primary Instructor
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Fall 2019 / Spring 2021 / Fall 2022 / Fall 2023 / Fall 2024 / Fall 2025
Enhances rhythmic acuity through intensive rhythmic skills training, analytical listening, drumming, notating, and creating rhythm-based performance work. Course material explores non-Western rhythmic paradigms, irregular meters, mixed meters, polyrhythms, etc., and how to communicate clearly with musicians from a dance perspective. We refuse to separate: 1) mind and body; 2) dance and other disciplines; 3) us from one another. Degree credit not granted for this course and DNCE 5014.
DNCE 3024 - Dance and Sound Design
Primary Instructor
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Fall 2018 / Fall 2020 / Fall 2021 / Spring 2023 / Spring 2024 / Spring 2025 / Spring 2026
Examines how music and sound design profoundly affect makers, audiences, performers, and the creative process. Actively explores music creation, sound editing software, collaboration, ethics, and copyright issues. Surveys historic and contemporary music and sound and how to interact with it choreographically. We refuse to separate: 1) mind and body; 2) dance and other disciplines; 3) us from one another. Degree credit not granted for this course and DNCE 5024.
DNCE 4038 - Dance & Performance
Primary Instructor
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Spring 2026
An opportunity to research the relationship between dance, performance, making, feedback, magic, professionalism and the unknown through making a dance or participating in a dance-making process for a dance program production. Requires a high-level of investment and motivation, alongside participation in all rehearsals, showings, technical rehearsals, performances, and strike. We refuse to separate: 1) mind and body; 2) dance and other disciplines; 3) us from one another. May be repeated up to 9 total credit hours. Same as DNCE 5038.
DNCE 5038 - Dance & Performance
Primary Instructor
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Spring 2026
An opportunity to research the relationship between dance, performance, making, feedback, magic, professionalism and the unknown through making a dance or participating in a dance-making process for a dance program production. Requires a high-level of investment and motivation, alongside participation in all rehearsals, showings, technical rehearsals, performances, and strike. We refuse to separate: 1) mind and body; 2) dance and other disciplines; 3) us from one another. May be repeated up to 9 total credit hours. Same as DNCE 4038.
DNCE 5064 - Music and Dance Seminar: Collaboration
Primary Instructor
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Spring 2018 / Spring 2019 / Spring 2020 / Spring 2022 / Spring 2024
Investigates music in relation to dance performance, choreography, and teaching. Topics may include: a survey of musical styles and composers; direct experimentation with composition and recording techniques; enhancement of rhythmic versatility; work with accompanist/composers; and/or improvement of analytical listening and writing skills.
