FOUNDATIONS COURSES
DANC 250: Historical Contexts in Contemporary Dance Practice
Professor Warnecke's extensive knowledge of dance history and the current industry opened my eyes to the vast reach of dance as well as provided contexts for the existence of misogyny, racism, and unrealistic body image standards that have been (and continue to be) evident in the dance industry. As a writing intensive course, this class challenged me to think critically about the presence of dance in my life and the local performances I attend.
DANC 270: Dance Kinesiology
Dance Kinesiology taught by Gina Hoch-Stall was transformative to my anatomical knowledge. Although I can't say I remember every bone, muscle, and ligament we learned, I retained a general understanding of what parts of my body can be used to support various movements. Gina consistently brought up the concept of body mapping, which refers to the idea that how you see and understand the anatomy of your body impacts how you move in space. From the start to the end of the semester, I noticed changes in my body map that altered movement (i.e. understanding that your spine is quite three-dimensional and goes through the center of the torso and is not "on your back")
DANC 275: Global Influences on Contemporary Dance
Vershawn Sanders Ward introduced me to Dunham and House techniques, shared her activism work, and taught us what it means to be an "artivist." I enjoyed the challenge of letting go of the rigidity I held in my body from over a decade of ballet. Dancing with a live drummer also improved my ability to count music and find the downbeat. Through a semester-long project, I dove into learning the history and cultural significance of voguing. After taking a voguing class, talking with local Vogue dancers, and doing online research, I crafted and presented my findings.
DANC 280: Dance and Disability
Dance and Disability taught by Sarah Cullen Fuller was a transformative course that expanded my understanding of disability and accessibility. I appreciated Fuller's attention to detail and efforts to include diverse voices in the curriculum. I enjoyed learning from guest artists, reading scientific studies, and engaging in thoughtful discussions with my peers. After taking this class, I find myself observing the accessibility of all the spaces I interact with and the knowledge I gained will help me be a better community member, future dance educator, and artistic collaborator.
THTR 321E: Electrics Practicum
Electrics Practicum was an unexpected delight in the Loyola Dance curriculum. Claire Roache's deep knowledge of stagecraft fostered a meaningful hands-on experience. From wiring, hanging, and focusing lights, to setting up sound systems, and engaging in lectures and discussions about touring and production management, the knowledge I gained has increased attention to detail in every production I attend or participate in. The course also empowered me to seek opportunities in the arts in addition to performance.