Death of a Dance Program

Beginning next academic year (2012-2013), Cornell University, my alma mater, will eliminate its dance major entirely. To be fair, it is also eliminating the theater major and the film major. In their place, the Department of Theater, Film and Dance is opting instead to combine all three areas into a new Performing Arts and Media major. There are reasons for this, of course, the most unfortunate of which is budgetary. Forced to reduce their annual expenditures by $1 million to $2 million, staff cuts were inevitable and these have fallen entirely on non-tenured lecturers, and production staff. What does this really mean? For starters, it means that Barnard is now the only Ivy League institution to offer a dance major. More importantly, for future students in this department, it means less support for those wanting to take part in professional calibre productions, less exposure to guest artists, and fewer outlets for student choreography; it means a higher percentage of theoretical courses, more emphasis on interdisciplinary work, and a pick-and-choose major that is about breadth rather than depth.

While none of these are inherently bad outcomes, what is…shall we say, interesting, is that this new structure is framed within the context of  “the changing nature of the field and profession” and is intended to “enhance students’ ability to secure employment or future academic pursuits.” While it’s true that a great deal of interesting work occurs at the intersection of art forms, does that necessarily devalue the rigor of understanding one art form in depth? In the liberal arts education system, approximately 1/3 of students’ coursework comes from their chosen major*, providing depth and focus, while the remaining 2/3 credits provide breadth and a well-rounded context for their chosen focus, but if that focus becomes diluted, aren’t students missing out on something?

What is the place of dance within a liberal arts education? Should programs take their cues from critical and theoretical academic trends? Or look to the industry itself? Those are two divergent tracks that are not always relevant to each other. So, I pose the question to all of you: dancers, administrators, educators, scholars. What should university dance programs be teaching?

*Note: this would be for a BA program, a BFA program requires 2/3 coursework.

On Writing Dance

Last night the Junior Committee had the privilege of sitting and talking with dance writer Eva Yaa Asantewaa. Forever a student, I listened intently taking notes on what she finds important when writing about dance because let’s face it – … Continue reading →

JComm Recommends: Pina

JComm Recommends is a feature posted every other Tuesday. It’s a performance or gathering within our age demographic that we think would be fun to attend.

Have you gone to see Pina yet? What were your thoughts? Look for show times here.

[Member Blog: Gary] #APAPNYC

There are two things that are making me very excited this week. First, I recently passed 1,800 followers on Twitter (i’m am a class A twitterholic, and very proud.. Shameless Plug: follow me @gary_schaufeld)… Second, its APAP week y’all!

APAP in New York City is a very exciting time for a concert dancer.  It is one of my most favorite times of the year!  For one week, NYC is literally busting at the seams with artistic dance.  I feel this extreme sense of progressive energy.  On Monday morning it was back to rehearsal at DANY with my second family.. the talented and inspiring members of Keigwin + Company.  Not only was it great to see my brothers and sisters after two weeks of being in our respective hometowns, but DANY was swarming with so many old faces.  I was seeing old classmates from NYU’s Tisch Dance department, dancers I grew up with on Long Island, people who I worked with on my first gig’s out of college.. all in one place.  It was a huge fantastic dance reunion!

Last night began my APAP performance week with Keigwin + Company.  We broke the seal at The Joyce Theater at 7:30pm.  The energy was through the roof.  It’s times like this that I truly feel blessed for being able to live my dream.  We showed three different ideas.  First, an excerpt from Triptych- a study on architecture. Next, a suite of solos, duet, and trio entitled Mattress Suite.  Concluding with our high energy production Runaway.

I always get excited for performances and a little nervous.  When I get excited.. I tweet.  When I get nervous.. I tweet.  So I’m sure you can imagine what I was doing all day.. outside, and backstage right before performing.  Yes.. I was tweeting my face off.  Shout out to @KKSchwab for wishing me luck!

Come check out Keigwin + Company this weekend! Saturday night @ The Joyce Theater at 8pm & Sunday @ New York City Center at 5pm. For Tickets: Click here!

[Member Blog: Gary] Happy New Year!

I have always found the coming of the new year very cleansing. A time more than any to reflect on one’s self and refine, to wipe your slate clean and rewrite your story. A lot of change has happened in my life the past few days. The biggest being signing a lease for a new apartment in Manhattan (no more commuting from my childhood room in Long Island)!

Right now, as i look at my stark white walls.. I get excited for the year to come! New friends, new choreographic processes, new cities to tour to, new sweat pants. The prospect of this progressive evolution can feel invigorating, but the potential of personal choice can be crippling. Not unlike the way i feel when creating art, when choreographing.

This past week I was doing a lot of work at the dance studio that I grew up at in Coram, New York. I was commissioned to choreograph two new works.. one a solo, and the other a piece for ten women. The first day of a new choreographic process is interesting for me. It’s a clean slate. I like to enter rehearsal with a clear concept. But, I don’t like to make concrete ideas until i really get an understanding of how the dancers move and what they can bring to the overall picture. Like any artist, i have to make something out of nothing.. go against everything that physically is and shape the sound, movement, spacial patterns, and narrative into a tight compact concept tied with a pink silk bow.

I decided that I am going to treat 2012 the same way I do a new choreographic process. I am going to enter it with a clear outlook that is the product and distillation of my past, but.. not make any concrete ideas until I really get an understanding of what each specific situation is. What are your feelings about the coming of the new year? Share your resolutions and outlooks and.. HAPPY NEW YEAR!