Dance (MFA) | University of the Arts (2026)

Study Cycle

Gain insights into our 2023 Study Cycle.

University of the Arts Dance MFA Program

July 10–14, 2023

A series of daily situations for collective study

“Critical Bodies:borders|ACCESS|care”
ICI CCN Montpellier, France
Guest curators and directors: Thomas F. DeFrantz and Isabelle Ginot

Dance (MFA) | University of the Arts (1)


Invited guests include

  • Barak ade Soleil

  • Nicolas Bourriaud

  • Donna Faye Burchfield

  • Yve Laris Cohen

  • Anne Kerzerho

  • Isabelle Launay

  • Josep Rafanell

  • Myriam Suchet

  • Arkadi Zaides

A shift in paradigm is currently in process, according to Paul B. Preciado, toward a nonbinary epistemology.

An epistemology where oppositions that structure hierarchies of values in post-industrial societies—body vs. mind, masculine vs feminine, productive vs. unproductive, abled vs. disabled—are challenged by global movements of resistance.

Trans bodies, subaltern bodies, migrant bodies …

What are body experiences of being in transition? Realignments in age, gender, expressions of sexuality? What are practices of training and untraining?

Geopolitical borders are crucial in our world, and stand as strict material and political limits that many bodies transgress for survival. Other borders, although less material, shape our lives and actions. Aesthetic borders and formations of art. Social differences. City neighborhoods. Academic disciplines. Conceptual categories. A nagging sense of belonging or not being part of ... Feeling conformity or feeling strange. Our moves continuously shape and extend the limits of borders, shaping and unshaping them, twisting their lines, blurring form.

Access, Care; Learning, Study. What do we need to access shared spaces of learning and unknowing? Crafting common spaces through discourse and listening, moving and unmoving. Orienting towards difference; a discourse of criticality and care. Political renderings of need and desire made manifest through interaction and change. How do we constitute a commons that cares toward our variety?

During this symposium, we will explore what practices of dance and art, activist actions or researches are supporting, embodying or resisting aspects of this paradigm.

– Thomas F. DeFrantz & Isabelle Ginot

En français

“Corps critiques: Frontières|ACCÈS|soin”
ICI CCN Montpellier, France

Un changement de paradigme serait en cours, selon Paul B. Preciado, vers une épistémologie non binaire. Dans cette épistémologie à venir, les oppositions qui structurent les différences de valeurs de nos sociétés post-industrielles – corps vs esprit, masculin vs féminin, productif vs improductif, handicapé vs valide, etc. – sont mises au défi par des mouvements globalisés de résistance. Corps trans, corps subalternes, corps migrants …

Quelles sont les expériences des corps en transition? comment se redéfinissent les âges, les genres, les expressions des sexualités? Quelles sont leurs pratiques d’entraînement, et de dés-entraînement?

Les frontières géopolitiques sont au fondement de notre monde, et forment des limites matérielles et politiques strictes que de nombreux corps tentent de traverser pour survivre. D’autres frontières, quoique moins matérielles, imposent leur forme à nos vies et à nos actions. Celles des esthétiques et des genres en art. Les différences sociales. Les quartiers de nos villes. Les disciplines académiques. Les catégories conceptuelles. Une impression tenace de faire partie de quelque chose et d’en être exclu.e. Se sentir conforme ou étranger.e. Tous nos gestes ne cessent de consolider ou défaire ces frontières, en tordre les lignes, en brouiller la clarté.

Accéder; prendre soin; apprendre; étudier. Quels accès avons nous à des espaces communs d’apprentissage et de non-savoir? Comment fabriquer des espaces communs par le discours et l’écoute, le mouvement et sa suspension? S’orienter vers la différence, et construire une parole de critique et de soin?

Quels sont les effets politiques du besoin et du désir qui se manifestent dans l’interaction et le changement? Comment fabriquer un commun qui prend soin de notre diversité?

Durant cette semaine de symposium, il s’agira d’explorer comment nos pratiques de danse et d’art, nos actions militantes ou nos recherches participent à certains aspects de ce changement de paradigme, ou a contraire lui résistent.

– Thomas F. DeFrantz & Isabelle Ginot

Intervenant.e.s confirmé.e.s

  • Barak ade Soleil

  • Nicolas Bourriaud

  • Donna Faye Burchfield

  • Yve Laris Cohen

  • Anne Kerzerho

  • Isabelle Launay

  • Josep Rafanell

  • Myriam Suchet

  • Arkadi Zaides

Dance (MFA) | University of the Arts (2)

Fifth Quarter is out now!

This book is published on the occasion of the University of the Arts Dance MFA in residence at BOK, Philadelphia, June 28 - July 2, 2021 a week long study cycle engaging in independent and collaborative learning exercises that respond to the site of the gym. This publication can be seen as “an archive of the time spent together”.

Reach out to esiddiquie@uarts.edu if you are interested in purchasing a copy.

The School for Temporary Liveness, Vol. 2

June 15 – 19, 2020

A series of daily situations for collective study

Watch, listen, speak, practice and reflect with Morgan Bassichis, Tina Campt, rile*, Rebecca Schneider, Julie Tolentino, Simone White, Wilmer Wilson IV and Arkadi Zaides

Co-Curators: Lauren Bakst and Niall Jones

Dance (MFA) | University of the Arts (3)

Photo: Constance Mensh.


On the closing day of the first School for Temporary Liveness in October 2019, we found ourselves assembled on a staircase. Spilling from steps onto landings and into hallways, this was where we had to be. Inhabiting architectures of transition opened other possibilities for thinking together. In those spaces between and alongside, collective assembly became an occasion to exchange knowledge, share experiences, and continue dreaming of the world’s futures.

We are coming back to school, even though we never left. As the third annual Study Cycle for the University of the Arts MFA in Dance program, the School for Temporary Liveness, Vol 2. continues our investment in experimental pedagogies within and alongside dance and performance. Imagining ourselves together in liminal spaces as we gather virtually from bedrooms, living rooms, bathrooms, kitchens, closets, basements, porches and fire escapes, how might we propose and enact models for living in and with the world?

We invoke hallways—those transitory spaces of sociality and encounter—to hold our collective and experimental study. In this critical movement between before and after, how do we learn? We will let ourselves not know so that we might more accurately feel what we already knew. We attend diligently and effortfully to the inquiries and practices that call us toward our experiences of liveness. This is school and study is an activity best done together, with all of the pleasures and difficulties. We are all students.

Original support for the School for Temporary Liveness was provided by The Pew Center for Arts & Heritage, Philadelphia.
Notes on the School for Temporary Liveness is out now!

Dance (MFA) | University of the Arts (4)

This publication gathers reflections on and responses to The School for Temporary Liveness, Vol. 1—a week-long event that brought performances, workshops, talks, conversations, and new formats for study together within the poetic frame of a school. It includes contributions by Lauren Bakst, Jon Baldwin, Donna Faye Burchfield, Thomas F. DeFrantz, VK Preston, Rebecca Schneider, Andrew J. Smyth and Connie Yu. Their reflections offer glimmers of what the School for Temporary Liveness was, and have embedded within them tools and inquiries for ongoing collective study.

View the publication online here or email lbakst@uarts.edu to order yours in print for $10.

Notes on the School for Temporary Liveness has been supported by the Pew Center for Arts & Heritage.

Dance (MFA) | University of the Arts (2026)

FAQs

What is a dance MFA? ›

Through the lens of a liberal arts curriculum, the MFA degree will educate the whole dance artist, concentrating on four areas of focus: Theoretical, Somatics, Creative Practice and Production. The nature of the program is student-centered, building on peer collaboration, faculty mentoring, and student-driven projects.

What is the difference between dance BA and dance BFA? ›

BA is short for Bachelor of Arts, while BFA is short for Bachelor of Fine Arts. As you can imagine, one of those degrees is more art-focused (the BFA) and the other is a bit more well-rounded, similar to other Bachelor of Arts degrees in other fields.

Is dance one of the 7 arts? ›

There are an almost infinite number of forms, but they can be summarized as the seven Arts, being Architecture, Sculpture, Painting, Music, Poetry, Dance, and Performing.

What is dance masters? ›

Our parent organization, Dance Masters of America, is an International Educational Dance Teacher Organization which has served the dance community for more than a century.

Is an MFA valuable? ›

One of the invaluable benefits of an MFA program is the opportunity to connect with a diverse community of artists, mentors, and industry professionals. As a result, these connections can open doors to future collaborations, exhibitions, performances, publications, and potential career opportunities.

Is an MFA respected? ›

Certain MFAs, such as those from Yale's School of Art and CalArts, can ensure a certain level of respect among a certain type of dealer, collector, or curator. But, all things considered, the quality of work will always trump an artist's educational CV. Just look at Basquiat, who didn't even graduate from high school.

Is a BFA harder than a BA? ›

While both degrees can prepare students for a career in the arts, their approaches are fairly different. The B.F.A. tends to be a more intensive degree with a higher proportion of classes taken within a student's major, while a B.A. is a bit more balanced in terms of courses outside of the major.

Is a Bachelor of Arts better than a bachelor of fine arts? ›

In addition, there can be up to 10 more additional credit hours required to complete a BFA than a BA requires. A Bachelor of Fine Arts (BFA) degree has a reputation for being more prestigious than its counterpart, but employers may not understand or appreciate the distinction.

What is the difference between BFA and MFA acting? ›

What's the difference between BFA and MFA training? BFA students take a series of liberal arts courses; MFA students take graduate seminars in a variety of topics related to theater. However, MFA and BFA students study and work together in studio classes (voice, movement, scene study, Alexander Technique, etc.)

Is dance an art or not? ›

A truly universal definition of dance must, therefore, return to the fundamental principle that dance is an art form or activity that utilizes the body and the range of movement of which the body is capable.

Does dance count as art? ›

As an art, dance is a form of expression. It contains a series of unique moves, imagination, and creativity that conveys a message to its audience. Dance as art not only consists of choreographed routines, but it also incorporates music and a style that allows the audience to make their judgment.

How many levels are there in dance? ›

Beginner, Intermediate, Advanced & Kids Dance Lessons.

Who is No. 1 dance master? ›

Saroj Khan: The Master of Expression

Saroj Khan, lovingly known as "Masterji" in Bollywood, possesses an unparalleled ability to convey emotions through dance.

What is the hardest dance to master? ›

The ballet dance style and moves are some of the most difficult ones that exist today. Here's what you need to know about why ballet is one of the toughest dances in the world.

Is a BFA better than a BA in dance? ›

Each has its advantages—the BFA usually provides more performance opportunities and studio time, while the BA allows students to explore the academic side of dance as well as other liberal arts subjects.

What does MFA program mean? ›

An MFA is a Master of Fine Arts, a graduate-level college degree earned by students who study and practice visual arts, performing arts, design or creative writing.

Is an MFA better than a BFA? ›

When an MFA is a Better Choice. Two-year MFA programs are generally much more intensive and focused on strict script writing than the BFA and almost all of the best programs provide one-on-one partnering with screenwriters who have a reputation and years of experience.

What do MFA do? ›

Multi-factor authentication acts as an additional layer of security to prevent unauthorized users from accessing these accounts, even when the password has been stolen. Businesses use multi-factor authentication to validate user identities and provide quick and convenient access to authorized users.

What does MFA stand for in acting? ›

If you are a lover of the performing arts, you might consider getting a master's degree in theatre. However, you might have seen several types of programs floating around, especially the Master of Arts (MA) and the Master of Fine Arts (MFA) in Theatre/Drama.

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