David Roussève’s work ethic as a performance artist
is synonymous with his mission as the newly appointed chair of
UCLA’s Department of World Arts and Cultures .
“A lot of performance art is boring,” Roussève
said.
“I have a social humanistic agenda with art: to make it
accessible and entertaining for non-dance audiences while still
saying something,” he said.
The first signs of change under Roussève seem to be to make
the department’s curriculum even more relevant to students
and to trends in popular culture, as evidenced by the fall schedule
of classes.
Four hip-hop dance teachers from contemporary, historical and
commercial dance focuses have signed on for the upcoming school
year. This acknowledgment of hip-hop as a dance style worthy of
further academic study goes hand in hand with Roussève’s
goals for WAC.
“Your education as an artist is dependent on your
education as a human being,” Roussève points out.
“On the dance side,” he continued, “(that
means) offering students as wide a range of experience technically
as possible, but it is vital that the department be as diverse as
possible in terms of ethnicity, class and race.”
Rennie Harris, one of the most well-known hip-hop artists for
the concert stage (he also performed as part of the UCLA Live
lineup last spring,) will give WAC students a rigorous physical
workout with his composition and technique classes.
Hassan Christopher, whom Roussève has worked with in the
past, will trace the history of African-American based dances that
led to contemporary hip-hop styles.
To cover the commercial sphere, twin brothers “Frit”
and “Frat” Fuller ““ experienced music video
choreographers who have worked with hip-hop artists such as Janet
Jackson ““ plan to teach a class in the spring.
The staff additions are only the beginning of the visions
Roussève has for the department.
In response to student demands for more opportunities to
showcase their own work and perform in general, there is a
tentatively planned student dance and performance festival at the
end of the school year.
“In the longer run, I hope to bring guest artists who can
create a fully produced piece for the students to perform,”
Roussève added.
“It will take a few years, but I hope to really foster a
community spoke to the WAC wheel, such as working with arts and
social agencies in the broader L.A. community.”
Roussève’s experience as a WAC professor over the
last seven years means that most of the students in the department
are already familiar with their new chair. It seems that for many,
to know Roussève, is to respect him.
“David (Roussève) is a major reason I came to this
department,” said graduate student Peter Carpenter, with whom
Roussève has worked closely as a thesis advisor.
“I think it’s fantastic for him, as a nationally
respected artist, to be leading a department that focuses on
artistic practice and critical theory,” Carpenter said.
While acknowledging that Roussève’s new duties as
chair may further limit the finite amount of time the professor
will be able to offer each of his students, Carpenter doesn’t
foresee having any problems due to a reduction in face time.
“When I get 10 minutes of David’s attention in
office hours, or in the classroom, I feel like it’s worth an
hour. He really cares about the choreographic intention of his
students,” Carpenter said.