Jennifer Nugent

Undergraduate Discipline

Dance

Graduate Program

MFA Dance Program

Danced with the Bill T. Jones/Arnie Zane Dance Company from 2009-2014 and David Dorfman Dance from 1999-2007, receiving a New York Dance and Performance Award (Bessie) for her work in the company. She has also had opportunities to perform and work intensively with Martha Clarke, Lisa Race, Doug Elkins, Bill Young, Colleen Thomas, Kate Weare, Barbara Sloan, and Dale Andre. Her teaching and dancing is inspired by all of her teachers and mentors, most profoundly by her time working, performing with, and learning from Daniel Lepkoff, Wendall Beavers, Gerri Houlihan, David Dorfman, Bill T. Jones, Janet Wong, Wendy Woodson, and Patty Townsend. Her choreography and duet collaborations with Paul Matteson have been presented in New York City and throughout the United States. Nugent teaches regularly in New York City and abroad and has been a guest artist at numerous universities and dance festivals, including The American Dance Festival and the Bates Dance Festival. She has been a teaching artist at Smith College and Amherst College since 2014. In 2015, she choreographed a work titled Stir on FCDD students. Stir was performed at the Smith College Faculty Concert in 2015 and the Five College Dance Concert at Mount Holyoke in 2016. In 2016-2017, she staged Five College dancers on an excerpt from Bill T. Jones/Arnie Zane Company's Story/Time. SLC, 2017–

Undergraduate Courses 2019-2020

Dance

Contemporary Dance Practices

Component—Year

In these classes, emphasis will be on the continued development of basic skills, energy use, strength, and control relevant to the particular style of each teacher. At all levels, attention will be given to sharpening each student’s awareness of time and energy and to disciplining the body to move rhythmically, precisely, and in accordance with sound anatomical principles. Intermediate and advanced students will study more complex movement patterns, investigate somatic use, and concentrate on the demands of performance.

Faculty

Teaching Conference

Component—Year

Students may enter this yearlong course in the second semester with permission of the instructor.

In this practice-based course, students will develop skills to bring their artistry into a teaching setting. We will work systematically and imaginatively to develop teaching practices in the dance/movement forms that move us most deeply. To begin, we will read and discuss selected excerpts of foundational texts in dance/movement education. For the remainder of the fall semester, students will develop pedagogical approaches centered on individual interests. Each student will identify and deepen the knowledge of dancing that they wish to teach. In the studio, we will employ movement, observation, discussion, and class exercises. Additionally, each student will engage in independent research—surveying literature in the field of dance pedagogy, as well as potential sources beyond the field according to individual interests, and writing and presenting work to the class in the form of a practicum. Emphasis is placed on process, with the dual objectives of building metaskills (conceptualizing) and practical ones (actualizing) in constructing durable curricular structures. For the spring, focus of the class shifts to teaching generative forms, including improvisation and composition, with each student developing a formalized teaching plan. Each member of the class will serve as both teacher and student, with a weekly discussion of class activities and selected class readings drawn from a range of sources and perspectives. Supplemental independent research will support, inform, and enrich creation of the teaching plan. In both semesters, individual pedagogical research and development will be summarized and submitted in a final report, with an annotated bibliography serving as documentation of the development process as well as the basis for future promotional material.

Faculty

Graduate Courses

Dance 2019-2020

Contemporary Dance Practices

Component—Year

In these classes, emphasis will be on the continued development of basic skills, energy use, strength, and control relevant to the particular style of each teacher. At all levels, attention will be given to sharpening each student’s awareness of time and energy and to disciplining the body to move rhythmically, precisely, and in accordance with sound anatomical principles. Intermediate and advanced students will study more complex movement patterns, investigate somatic use, and concentrate on the demands of performance.

Faculty

Teaching Conference

Component—Year

Students may enter this yearlong course in the second semester with permission of the instructor.

In this practice-based course, students will develop skills to bring their artistry into a teaching setting. We will work systematically and imaginatively to develop teaching practices in the dance/movement forms that move us most deeply. To begin, we will read and discuss selected excerpts of foundational texts in dance/movement education. For the remainder of the fall semester, students will develop pedagogical approaches centered on individual interests. Each student will identify and deepen the knowledge of dancing that they wish to teach. In the studio, we will employ movement, observation, discussion, and class exercises. Additionally, each student will engage in independent research—surveying literature in the field of dance pedagogy, as well as potential sources beyond the field according to individual interests, and writing and presenting work to the class in the form of a practicum. Emphasis is placed on process, with the dual objectives of building metaskills (conceptualizing) and practical ones (actualizing) in constructing durable curricular structures. For the spring, focus of the class shifts to teaching generative forms, including improvisation and composition, with each student developing a formalized teaching plan. Each member of the class will serve as both teacher and student, with a weekly discussion of class activities and selected class readings drawn from a range of sources and perspectives. Supplemental independent research will support, inform, and enrich creation of the teaching plan. In both semesters, individual pedagogical research and development will be summarized and submitted in a final report, with an annotated bibliography serving as documentation of the development process as well as the basis for future promotional material.

Faculty

Previous Courses

Contemporary 3

Graduate Seminar—Year

The course will be taught by Ms. Nugent in the fall and Ms. Melnick in the spring.

Emphasis will be on the continued development of basic skills, energy use, strength, and control relevant to the particular style of each teacher. Attention will be given to sharpening each student’s awareness of time and energy and to disciplining the body to move rhythmically, precisely, and in accordance with sound anatomical principles. The students in this advanced class will study complex movement patterns, investigate somatic use, and concentrate on the demands of performance. 

Faculty

Somatics, Improvisations, and the Athletics of Intimacy

Component—Year

We will be exploring movement and dance through the research of improvisation and the influences of the experiential anatomy of the somatic research of Body-Mind Centering®, Contact Improvisation, and structures and scores for improvising and composing dances. We will make the invisible visible, learning more about the interior of the body and our ideas, and explore pathways to space, time, and place as we also learn basic anatomy and physiology to better understand the mechanics of movement.

Faculty