|FA SEM 15||DAN 10022 11||Contemporary I Advanced Level|
|FA SEM 15||DAN 10032 11||Jazz I Advanced Level|
|FA SEM 15||DAN 17100 OL01 ONLNE||Dance as an Art (GE-FineArt/CrsClt)|
|FA SEM 15||DAN 20022 11||Contemporary II Advanced Level|
|FA SEM 15||DAN 20032 11||Jazz II Advanced Level|
|FA SEM 15||DAN 30022 11||Contemporary III Advanced Level|
|FA SEM 15||DAN 30032 11||Jazz III Advanced Level|
|FA SEM 15||DAN 30300 AR11||Dance Performance Practicum III|
|FA SEM 15||DAN 37400 21||Dance and Technology|
|FA SEM 15||DAN 40022 11||Contemporary IV Advanced Level|
|FA SEM 15||DAN 40032 11||Jazz IV Advanced Level|
Tricia Zweier was born in Manahawkin, New Jersey where she received early training in dance from Eileen Juric (Chicago Lyric Opera Ballet), Phyllis Papa (Atlantic City Ballet), Karen Kirchner, and Delbert Anderson, before exploring the synthesis of dance and kinesiology with Nancy Fields at The Richard Stockton College of New Jersey. After performing as a lead dancer and dance captain with Carnival Cruise Lines, she fulfilled interests in higher education, and has relocated to St. Charles to teach as an Assistant Professor of Dance while continuing to dance professionally with Leverage Dance Theater (St. Louis, MO).
Professor Zweier has a BS in Biology from The Richard Stockton College of New Jersey, an MS in Kinesiology (Motor Behavior), and an MFA in Dance (Choreography) from The University of North Carolina at Greensboro. Before relocating to St. Charles, MO, she taught at UNC-Greensboro and Wake Forest University (Winston-Salem, NC). She has performed works by Merce Cunningham, Mark Dendy, Ann Dils, Ali Duffy, John Gamble, Martha Graham, Hanya Holm, Eileen Juric, Karen Kirchner, Kelly Ozust, Phyllis Papa, David Parsons, Melissa Pihos, Jan Van Dyke, and Nejla Yatkin, amongst others.
Kristina Larson Excellence in Choreography Award - 2010American Kinesiology Association Graduate Scholar Award - 2011
Professor Zweier is a member of the Congress on Research in Dance, an organization that encourages dialogue around embodied and discursive approaches to dance research. She is also a contributor to the Dance Kinesiology Teachers Group, whose goal is to share and promote growth in the areas of dance kinesiology, injury prevention, and related subjects to dancers, and the International Association of Dance Medicine and Science, which enhances the well-being of dancers through the cultivation of scientific and educational research.
Choreographic Research: Embodied research in areas of representation, depiction, and perception inform her current choreographic efforts. Future projects include explorations of "power" as an impetus, and the zeitgeist of women during WWII.
'Tracing' the body to promote effective movement patterns in dancers: moving knowledge. The International Association of Dance Medicine and Science. 2013How has technology been used successfully in teaching dance kinesiology? The Dance Kinesiology Teachers Group. 2013
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