Dissertations / Theses on the topic 'Dance and dance studies'
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Bidgood, Lee, and Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.
Full textMeijer, Kim. "Let the Gods Dance| Transformation Through Haitian Dance." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1690650.
Full textThis thesis is an exploration of the transformation of body and mind through Haitian dance from depth and liberation psychological perspectives. More personally, it focuses on the author’s transformational experience while being part of a Haitian dance community in Brooklyn, New York. Haitian dance is ingrained in Haitian culture, which embodies the history of Haitian people, mythology, gods, music, rituals, and ceremonies. This hermeneutic research examines Haitian dance as a way to access the somatic unconscious and support psychological healing and individuation. The research describes the somatic experience of archetypal energies, embodied consciousness, and myths through Haitian dance and how this enhances healing. In addition, this thesis explains how the author’s Haitian dance class provides healing for both individuals and a community from a liberation psychology perspective. Through dance, dialogue, and activism, participants gain deeper understandings of themselves and each other’s history and experiences.
Bidgood, Lee, Trae McMaken, and Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.
Full textBrauner, Nathan. "Dance Gala 2016: navigating stage management in dance." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.
Full textJeong, Ok Hee. "REMEMBERING AND REPRESENTING DANCE: RE-TRACING THE GENEALOGY OF NONFICTIONAL ANALOG DANCE MEDIA IN THE FORMATION OF THE NORTH AMERICAN DANCE FIELD." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/201041.
Full textPh.D.
This dissertation shed light on the hitherto overshadowed area of nonfictional analog dance media by contextualizing and historicizing it within the North American dance field. It is a revisionist historiography examining how nonfictional dance media has been conceptualized, regulated, and institutionalized in tandem with the North American dance field's agenda of legitimizing dance as an artistic and academic field. Approaching the discursive shape of nonfictional analog dance media as a unique cultural construction, I argue that nonfictional dance media is not a simple stand-in for live dance, but an ambiguous and ambivalent object reflecting our beliefs and desires projected on dance. Thus, I suggest that nonfictional dance media provides a strategic setting for reconsideration of the operation of the dance field, especially that of North America. The research questions this study addresses include the following: how was the field of nonfictional dance media formulated and institutionalized according to the North American dance field's agenda of legitimizing dance as an artistic and academic field; how has nonfictional dance media constituted and reconceptualized the knowledge claims in the dance field by preserving and representing dance; and how has the discourse of nonfictional media resonated with the discourse of dance in modernity? As a historiography, I re-write the genealogy of nonfictional analog dance media within the formation of the North American field between 1927 and the 1980s. Also, for case studies, I compare the New York Public Library's Dance Division and the George Balanchine Foundation Video Archives to examine the discourse of dance preservation, while analyzing the schism between the intention and the reception of an ambitious TV dance program Dancing (Channel 13/WNET, 1993) to examine the discourse of dance representation. In so doing, I explore how nonfictional dance media has shaped and been shaped by the North American dance field's internal conceptualization of dance knowledge and external advocacy of legitimizing dance in its society. This study suggests that nonfictional dance media is--just as dance is--a phenomenon with cultural, economic, and political implications and imbalances. Particularly highlighting that media's duality of an icon and an index corresponds with the conceptualization of dance as choreography and performance, I further find that this duality resonates with the ambivalent desires of the modernist temporality. While time has been rationalized, the attraction of contingency has also increased in reaction to it. Similarly, while nonfictional analog dance media has been rationalized, controlled, and institutionalized according to the American dance field's agenda of legitimizing dance, this effort of rationalization not only raised the criteria of knowledge claims but also enhanced the attraction of the irrational, contingent aspect of dance. Given that, this dissertation argues that nonfictional dance media is not a simple imprint of dance but the barometer of ambivalent and fluid beliefs and desires projected on it.
Temple University--Theses
Bidgood, Lee. "Music and Dance in Appalachia." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.
Full textSon, Munmi. "Dance as Healing Therapy| The Use of Korean Traditional Mission Dance in Overcoming Oppression." Thesis, California State University, Los Angeles, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814071.
Full textKorean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.
Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.
Full textLee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.
Full textMalmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.
Full textSherlock, J. I. "The cultural production of dance in Britain, with particular reference to Ballet Rambert and Christopher Bruce's 'Ghost Dances'." Thesis, University of London, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380655.
Full textClement, Jennifer. "Reforming Dance Pedagogy: A Feminist Perspective on the Art of Performance and Dance Education." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.
Full textVest, Jessica M. "Echoes: A Dance Composition and Performance." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/404.
Full textThorndike, Ashley P. "Articulating Dance Improvisation: Knowledge Practices in the College Dance Studio." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.
Full textVerdonk, Peter. "How can we know the dancer from the dance ? : some literary stylistic studies of English poetry /." [S.l.] : P. Verdonk, 1988. http://catalogue.bnf.fr/ark:/12148/cb35014160c.
Full textSo, Hoi-yan Elizabeth, and 蘇凱欣. "Dance in the city / the city in dance: dancers' community in Tsim Sha Tsui." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B3198602X.
Full textNaerebout, Frits Gerard. "Attractive performances ancient greek dance : three preliminary studies ... /." Amsterdam : J. C. Gieben, 1997. http://catalogue.bnf.fr/ark:/12148/cb37003611c.
Full textConley, Jennifer Lee. "Terrestrial Resonance: Exploring Earth Through Dance." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/257420.
Full textPh.D.
The geologic theory of plate tectonics, sometimes referred to as "the dance of the continents," proposes a vision of Earth as dynamic body in motion that is constantly shifting and altering its form. Geophysical research during the 1950s and 1960s, especially in relation to Harry Hess's seafloor spreading hypothesis, Fred Vine and D. H. Matthews' geomagnetic reversal hypothesis, and J. Tuzo Wilson's classification of new faults in Earth's crust, established enough scientific evidence to suggest a viable model of this dance of the continents. This led to the geoscientific community widely accepting the theory of plate tectonics by the end of the 1960s. The purpose of this dissertation is to investigate how the idea of Earth as a dynamic body in motion can be connected to the experience of one's own body in motion and in movement practice. Emerging from my work as an artist and an educator, this research analyzes the creative processes and the phenomenological essences of two geologically inspired dances, and develops a pedagogical application of geosomatic movement practices in an undergraduate course entitled Dancing Earth, Dancing Body. I use a phenomenological method of analysis informed by Max van Manen and Clark Moustakas to examine what it means to embody terrestrial forces, entities, and landscapes, and how geologic structures and scientific ideas can be translated into anthropomorphic movement. In chapter 4, "Sediments of Meaning: Phenomenological Analysis of Pieces of Pele," I devise a theoretical structure for critical reflection upon and development of the choreographer's creativity, which I call a meta-choreographic process. This essentially hermeneutic method of reflection allows choreographers to more deeply understand their creative process and aesthetic criteria, and how they construct meaning through movement. The analysis in chapter 5, "Continental Shift: Phenomenological Analysis of Tectonic Suite," illuminates the profound role of metaphor in both the creative process and the viewing experience in relation to this particular dance from my GeoDance repertoire. Using the framework of George Lakoff and Mark Johnson's analysis in Metaphors We Live By, I demonstrate how dance can function to create coherent metaphors. In chapter 6, "Dancing Earth, Dancing Body: Experiential Learning of Geologic Concepts," I use an ethnographic framework to examine student perspectives of Dancing Earth, Dancing Body. This analysis reveals that, as the instructor of the course, I fostered, and students applied, three distinct modes of creative inquiry in the classroom: imagistic, language-based, and collaborative. Embedded within these three modes of creative inquiry were a variety of somatic experiences and refocused dance-based exercises that amounted to a technique of sorts, with the specific goal of awakening and fostering the development of our body-mind-environment connection. I theorize this collection of experiences and exercises as a geosomatic movement practice. Illuminated throughout this dissertation are key sources from the fields of dance, geology, somatics, ecology, phenomenology, eco-phenomenology, and ethnography--evincing the interdisciplinary nature of this study. At the heart of this interdisciplinary inquiry lies a fundamental awareness that our experience of our bodies is integrated with our experience of atmosphere, terrain, and gravitation. Therefore, by deepening our understanding of how we can cope with these physical aspects of our environment, we can deepen our understanding of Earth and its processes.
Temple University--Theses
Cho, Hyejin. "Eiko & Koma; Asian American Dance." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/407037.
Full textM.A.
Asian-American dance study is an integration of dance studies and Asian-American studies. The existence of social and political stereotypes on Asian-American dancers often categorizes them into an oriental labeling. The labeling of Asian-American dancers based on their ethnicity and their culture’s history in the United States and not considering the artists’ intent and the nature of their works cause this orientalism bias. Due to lack of researches in the past, older generations of Asian-American dancers in the United States fell victim to this oriental labeling. Anything that the public did not seem to understand often led them to believe what they were seeing was foreign. It is not about the issue of racism that this study intends to bring, but rather this study will focus on the Asian-American dancers’ place of belonging in the American society. Eiko & Koma, two renown Asian-American dancers, have an extensive performance career throughout their lives traveling from Japan to Europe in the early 1970s and eventually settling down in the United States in 1976. Eiko & Koma witnessed through the social, economic, and political changes in the United States from the mid-1970s to present. This research will focus on the perceptions on Asian-American dancers by the American society both in the past and the present and address the issues that revolve around them primarily through the works of Eiko & Koma and their career history.
Temple University--Theses
Schroeder, Janet Kathleen Schroeder. "Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1542702604510984.
Full textKeller, Matthew J. "DANCENOISE DECLARES OPEN SEASON ON THE DOCILE BODY: DANCE STUDIES AND FEMINIST THEORY." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1493393510333692.
Full textEno, Dianne E. "Mountain Dance: A Transdisciplinary Exploration of Environmental Dance as an Autopoietic Expression of Ecological Connectivity and Synthesis." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1535143191801524.
Full textBehunin, Laurie. "The Choreography and Production of "Jacob Five: A Journey into the Olive Vineyard"." Diss., CLICK HERE for online access, 1993. http://contentdm.lib.byu.edu/u?/MormonThesesB,10123.
Full textMatthews, Nicole. "Screendance| A Choreographic Tool and a Hybrid Dance Form." Thesis, Mills College, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10817014.
Full textIn an age where dance can instantly be viewed online and then just as quickly be forgotten, what is it about certain videos that resonate with us after viewing them? Is it possible to retain the integrity and intent of the choreographer’s vision on film, especially with instances when it was originally intended to be performed on a stage in front of a live audience? The still evolving art of screendance brings together two different art practices and creates a hybrid art form, sharing a vision with audiences that is unique and can resonate deeply with the viewer. Unraveling the mystery of how it affects us is not easy to answer, but there are proven strategies and theories behind why certain decisions work that can lead artists towards more effective choices.
Adamson, Veronica Margaret Farquhar. "The dance to death : the aesthetic experience of dying." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/12237.
Full textSchmidt, Amy Esther. "Dance And Cultural Identity: The Role Of Israeli Folk Dance And The State Of Israel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213619443.
Full textMayer, Rebecca F. "Speaking of, Talkin 'bout, Riffing on Tap." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4173.
Full textCrabtree, Rachel. "Identity: An Expression of Life Through Dance." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/509.
Full textSolano, Marlon Barrios. "Towards an aesthetics of cognitive systems: a post-humanist perspective for cognitive studies of imrovisational dance within dynamic real-time multimedia environments." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1409231568.
Full textMichailovskyte, Giedre. "Diversification of Contemporary Diplomacy - the Rise of Dance Diplomacy." Thesis, Linköpings universitet, Statsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-119689.
Full textShresthova, Sangita. "Strictly Bollywood? : story, camera and movement in Hindi film dance." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/39161.
Full textThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2003.
Includes bibliographical references (leaves 86-95).
Film dances, or filmed dance sequences accompanying film songs, are an important part of popular Indian cinema. Over the years, Hindi film dance has evolved from a cinematically simplistic, filmed documentation of performance traditions, to a recognized and increasingly respected dance category emulated in staged performances in India and abroad. Despite their significance, dances in Indian popular films have not been systematically analyzed, and their movement, history, cultural influence and migration remain largely unexplored. The ubiquitous presence and under-theorization of film dances raises many questions about why these dances emerged as key ingredients of film, how their production, dance and cinematic content has evolved over time and, finally, how these dances are received and reinterpreted by audiences outside India. The objective of my investigation here is to set the foundation for an analytical framework for understanding dances in popular Hindi films. Using the relationship between dance sequences in films and their re-staging as Bollywood dances at South Asian cultural shows as a point of departure, I explore the analytical challenges of exploring dances in Hindi films as a first step towards a larger study of the cyclical migration of these dances to be conducted at a later date. My rather formalist approach to Hindi film dances provides a foundation for investigating these dances in way that will allow me to expand on this research in the future. Most importantly, however, I believe my approach to Hindi film dances enables me to explore "Bollywood dance" as a site of reception of Hindi film dances as they move from films to stage.
by Sangita Shresthova.
S.M.
Tafferner-Gulyas, Viktoria. "Caribbean Traditions in Modern Choreographies: Articulation and Construction of Black Diaspora Identity in L'Ag'Ya by Katherine Dunham." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5137.
Full textDavis, Omilade. "Modernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558814.
Full textPh.D.
This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
Temple University--Theses
Quinn, Mallory J. "An Evaluation of the POINTE Program to Guide Dance Instructors to use Behavioral Coaching Procedures with their Dance Students." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6932.
Full textBergman, Christine. "Becoming Undisciplined: Interdisciplinary Issues and Methods in Dance Studies Dissertations from 2007-2009." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/178527.
Full textPh.D.
The purpose of this study is to begin to articulate the theoretical identity of the field of dance studies as an academic discipline and to produce a feminist intervention into the phenomena of disembodied scholarship, while asking questions about disciplinarity and interdisciplinarity within dance studies historically and today. My primary research questions are: What are dance studies research methods? And, which research methods, if any, are inherent to dance as an academic discipline? In order to answer these seemingly direct and simple questions, I also question the assumption that we know what dance studies research methods are. In Chapter 1 I first introduce and qualify myself as a dance artist and scholar, connecting my own experiences to my research; I narrate my research questions in detail and describe the significance, limitations, and scope of this project. In Chapters 2 and 3 I provide a history of the disciplinary and interdisciplinary origins of dance studies in higher education and situate that history within contemporary conversations in dance studies on disciplinarity and interdisciplinarity. In Chapter 4 I offer an analysis of the National Dance Education Organization's (NDEO) Research Priorities for Dance Education: A Report to the Nation and The Dance Education Literature and Research descriptive index (DELRdi), an online searchable database that aims to document all literature and research in dance education (not dance studies) from 1926 to the present, as it relates to issues and methods in my own research. In Chapter 5 I identify and describe current research methods found in all dance studies dissertations granted from the 4 doctoral programs in Dance in the United States over a three-year period. This chapter begins to articulate the current theoretical identity of the field. I examine and report on current trends in dance studies research methods and draw comparisons across dance studies doctoral programs, setting the foundation for future discussion of dance studies research methods. In Chapter 6 I summarize the project and make suggestions for the future. A feminist lens is used throughout as a way of providing a feminist intervention into the phenomena of disembodied scholarship by asking questions about research methods (particularly the use of critical theory as a method for research and writing about dance) and if or how particular research methods lead to the production of embodied or disembodied scholarship.
Temple University--Theses
Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.
Full textDiLodovico, Amanda. "Choreographies of Disablement." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/479157.
Full textPh.D.
Choreographies of Disablement interrogates the historical relationship between dance and disability to recognize and define ‘disablement’ as a choreographic concept within contemporary dance practice. Working from choreographic analysis, interviews, and theories of sovereignty and crip time I argue ‘disablement’ grows out of the historical nexus in which Western concert dance, through the paradigm of ballet, was cultivated: the seventeenth century French political sphere and the prestige of a sovereign balletomane King. The performances of French kings in the burlesque ballet choreographies of 1624-1627 serve as the historical center of this research because disability has a political role to play at the dawn of concert dance in the West. This insight provides the historical perspective from which I locate the development of ‘disablement’ in the seventeenth century and identify its emergence in twenty-first century choreographies. This dissertation uses the historical and political significance of the burlesque ballets as a touchstone to then analyze three contemporary sites of choreography produced between 2004 and 2016. Chapter 3 considers the repertory of German choreographer Raimund Hoghe, a queer disabled artist. I focus attention on his piece Sacre – The Rite of Spring (2004), which draws upon dance’s historical, canonical past. Chapter 4 focuses on Disabled Theater (2012), devised by French choreographer Jérôme Bel in collaboration with the Swiss-based company Theater Hora, a professional theater company comprised of performers with developmental disabilities. The piece is composed of theatrical tasks, including the presentation of self-choreographed dance solos. Chapter 5 centers on the collaborative performance work, A Fierce Kind of Love (2016), comprised of Philadelphia-based disabled and nondisabled performers with choreography by US dance artist Nichole Canuso. Taken together, my analysis of these sites questions the state of disability within the discursive space of dance studies, and in turn positions ‘disablement’ as a historically inflected site of choreographic thinking materializing in contemporary practice.
Temple University--Theses
Kosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.
Full textAramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.
Full textHistory of Art and Architecture
Kivenko, Sharon Freda. "Mobile Bodies: Migration, Performance and Social Belonging in Malian Dance." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718756.
Full textAnthropology
Hillion, Toulcanon Marie-Muriel. "Maloya dance and music: Réunionese Créole togetherness." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2532.
Full textCost, Julia Allisson. "In Passing." Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/scripps_theses/14.
Full textSimmons, Emily H. "All that pushes and pulls: A Choreographic Exploration of the Blurred Relationship Between Individuality and Conformity." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/353.
Full textDomb, Krauskopf Ana Elena. ""Fire, lights, everything!" : exploring symbolic capital in the Tecnobrega dance scene." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/59728.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (p. 85-88).
The music industry, along with the world of media as a whole, is in a state of transition. What is being sold is not so clear anymore, nor is it obvious what parts of the traditional business will survive. Audiences play a crucial role in these shifts; they've become empowered and increased their participation within media industries. Working towards the premise that audiences can add value to media businesses beyond the act of consumption, this thesis argues that for media industries to benefit from their contributions it is first necessary to locate these audiences as active participants and producers of value. This thesis studies the dynamics of participatory audiences through the case of Brazil's Tecnobrega scene (literally 'cheesy techno'), expanding on a 10-day ethnographic field trip to the capital of Tecnobrega, Belem. This music industry has circumvented mainstream conventions by forgoing copyright and collaborating with 'pirates'. Tecnobrega's audiences not only assist in the circulation of content, but through their socializing and fan production, they create and trade symbolic capital that directly affects the popularity, and consequently the perception of value, of various parts of the industry. The competencies acquired through these types of participation have the potential to overflow into other domains; they can help shift the conceptualization of the public sphere and can, likewise, become paths for the exploration of cultural citizenship and agency within globalization processes.
by Ana Elena Domb Krauskopf.
S.M.
Kennedy, Fenella Kate. "Movement Writes: Four Case Studies in Dance, Discourse and Shifting Boundaries." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563804914734557.
Full textAmin, Takiyah Nur. "Dancing Black Power?: Joan Miller, Carole Johnson and The Black Aesthetic, 1960-1975." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/143846.
Full textPh.D.
This dissertation examines the work of two African-American female choreographers, namely Joan Miller and Carole Johnson, and their engagement with the Black Aesthetic during the height of the Black Arts movement in America. The work seeks to examine how these subjects articulated, shaped, responded to, extended, critiqued or otherwise engaged with the notion of the Black aesthetic primarily through the mediums of concert dance and choreography. In consideration of the above, I conducted two, single subject case studies with Joan Miller and Carole Johnson in order to better understand the complexity of the experience of these African-American female dance makers during the selected period and gain a richer understanding of the ways in which they did or did not engage with the notion of the Black Aesthetic through the medium of dance. The subjects for the single case studies were selected because they fit the criteria to answer the research question: each woman is an African-American dance maker who was generating choreography and working actively in the dance field during the identified historical period (1960-1975.). The study employs content analysis of individual semi-structured interviews, cultural documents (including but not limited to playbills, photographs, newspaper clippings, video documentation, and choreographers' notes) and related literature (both revisionist and of the period) to generate a robust portrait of the experiences of the subjects under study. Taken simultaneously, critical race theory and Black feminist thought supply an analytical framework for this project that has allowed me to study the intersecting and mutually constitutive aspects of race, class, gender and economic location from a unique standpoint--that of African-American female choreographers during the Black Power/Black Arts Movement era--in an effort the answer the research question and sub-questions central to this project. The dissertation ultimately posits that both Johnson and Miller did, in fact engage meaningfully with key concepts articulated under the banner of the Black Aesthetic during the height of the U.S.-based Black Arts Movement. Moreover, the project asserts that both women extended their understandings of the Black Aesthetic in order to embrace additional issues of interest; namely, gender and class (on Miller's part) and international human rights (on Johnson's part.) As such, this project ultimately discusses the implications of the inclusion of Miller and Johnson's work within the canon of dance history/studies as a radical shift from the dominant narratives concerning the work of Black female choreographers during the period. Additionally, the dissertation asserts that the inclusion of these narratives in the context of literature and scholarship on the Black Power/Black Arts Movement supports moves in contemporary revisionist scholarship interested in broadening the research on the work of women in the creative arts during the period of interest. Lastly, the project suggests new research trajectories and areas of inquiry but explicating Patricia Hill Collins's work on Black Feminist Thought. By looking at the defining characteristics of Collins scholarship, the project extends the discussion on African-American women's epistemology to include dance performance and creation and complicates the role of who is empowered to make meaning through the lens of Black Feminist Thought and in what form.
Temple University--Theses
Johnstone, Kristina. "Interrogating community dance practice and performance in African contexts : case studies of a New York University and Makerere University collaboration in Kampala, Uganda (2010) and a collaboration between the Eoan Group and the University of Cape T." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/3549.
Full textLiu, Cuilan. "Song, Dance, and Instrumental Music in Buddhist Canon Law." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11232.
Full textMurdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.
Full textHart, Alison. "Queering choreographic conventions| Concert dance as a site for engaging in gender and sexual identity politics." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527949.
Full textThree dances, On This Day, Panties and Pathologies , and Naked Spotlight Silver were choreographed and performed in fulfillment of the requirements to complete an M.F.A. degree in dance. The performances took place at the Martha B. Knoebel Dance Theater located on the campus of California State University, Long Beach. On This Day premiered October 2012, Panties and Pathologies premiered March 2013, and Naked Spotlight Silver premiered October 2013.
This thesis examines how each project investigates choreographic approaches used in concert dance to communicate issues of gender and sexuality as well as participate in a discourse on identity politics. The three dance pieces attempted to confront themes of marriage equality, representation and the marketing of femininity, and queer identity representations in performance. Each piece was unique in its methodologies and served as an explorative approach to political communication and artistic development.