Dissertations / Theses on the topic 'Dance body movements'
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Weege, Bettina [Verfasser], Bernhard [Akademischer Betreuer] Fink, and Lars [Akademischer Betreuer] Penke. "Social Perception of Dance Movements : Investigating The Signalling Value Of Male Body Movements Using Motion-Capture-Technology / Bettina Weege. Betreuer: Bernhard Fink. Gutachter: Bernhard Fink ; Lars Penke." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1077648499/34.
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Riskin, Seth. "Light Dance : light and the nature of body movement." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/46405.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (leaves 37-39).
Light Dance is a conscious transfiguration of the body, its movement and the encompassing space; a transposition of matter to light exalted in the dance. This corresponds to the conceptualized spirit of the performer whose body is "consumed" by light. A transposition occurs between the performer and audience. The audience experiences the dissolution of the body into light. In this thesis I assemble fragments of visible and inner light experiences and concepts of the body by an intuition of the spirit . The purpose is to equate visible and inner light. The writing is based on light as the physical self of the spirit; the significance of the body and movement. Specific examples are cited to create a contextual fabric for the inspired design of Light Dance.
by Seth Riskin.
M.S.V.S.
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Bågander, Linnea. "Body of movement : (in)forming movement." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13271.
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In dance many choreographers uses neutral garments not to distract too much from the movement the ”natural” body performs. Still these garments paints the body with color, form, identity and movement qualities. The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form. The potential of dress in dance is explored in three chapters. For each of these, materials were chosen and arranged in order to provide an additional layer to the movement that the body naturally performs, allowing material to transform the body into various figures of movement. The first part introduces the use of dress in dance and how dress acts with the moving body. The second part explores how movement with the origin in the body can extend spatially and the last part focuses on the materials ability to interpret and materialize the movement. The result of this work suggest that dress has the potential in dance as both choreographic tool and movement quality of equal importance as the movement of a body in a dance performance. Further it intersects the aesthetics of dance, a temporal aesthetic, with the aesthetics of garments, as a form based aesthetic, as it suggests dress as temporal design, allowing dress to create a new body of movement.
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Acker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.
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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
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Fredricson, Flodin Fia. "Rörelsekatalysator : En fenomenologisk studie i högskolelärares kroppslighet i undervisning." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33034.
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Den här masteruppsatsen är en vetenskaplig essä i den praktiska kunskapens teori. Den är ett försök till en fenomenologisk inspirerad studie i högskolelärares kroppslighet i undervisning på lärarutbildning. Mina forskningsfrågor är: På vilka sätt erfar högskoleläraren sin egen kropp och dess rörelser i undervisningssituationer? Vilken roll spelar den egna erfarenheten om sin kroppslighet i förståelsen av sin presentation? I vilken relation står undervisningens innehåll, det som ska undervisas, till högskolelärarens kroppslighet? På vilka sätt skapar högskolelärarens kroppslighet relationer i undervisningen?Undersökningen består av berättelser från min erfarenhet som lärare i dans samt filmade observationer och intervjuer av fyra andra högskolelärare på lärarutbildningen. Studiens metod och teoretiska bakgrund är fenomenologisk och baseras på den franska filosofen Maurice Merleau-Pontys arbete om levd kropp och intersubjektivitet samt dans och rörelse teorier om kropp, rum, tid och kraft av Rudolf Laban.I analysen av det empiriska materialet lyfter jag fram tre dimensioner av kroppslighet, presentation, gestaltning och relation som jag diskuterar i relation till mina valda teorier. Som en fenomenologisk studie beskriver jag först de fyra lärarnas erfarenhet av sin kroppslighet för att sedan reflektera på det som har visat sig. Undersökningens ändamål är inte ett snabbt svar på bästa sättet att undervisa. Istället är mitt intresse att verkligen försöka förstå hur kroppen och dess rörelser kan få en större betydelse inom lärarutbildning.This master thesis has the form of a scientific essay within the theories of practical knowledge. It is an attempt to a phenomenological survey of higher education teacher´s relationship to their own corporality in teaching in a teacher education program. I investigate following question; In what ways do university teachers experience their own body and its movements in teaching? How does the teacher´s own experience of its corporality influence the understanding of the own presentation? What is the relationship between teacher´s corporality and the content of the teaching? In what way does the teacher´s corporality create relationships within the teaching?My investigation contains of narratives from my experience as a teacher in dance. It will also contain filmed observations and interviews with four other teachers in higher education at the teacher education program at the Södertörn university. The methodological and theoretical background of my study is phenomenological, based on the French philosopher Maurice Merleau-Ponty´ s work on lived body and intersubjectivity and movement and dance theories of Rudolf Laban about body, time, space and effort.Within the analysis of my empirical material I have high lightened three dimension of corporality; presentation, formation (creation) and relation, which I have discussed further in relationship to my theories. As a phenomenological study I have first tried to describe the four teacher´s experience of their own corporality and then reflect on the outcome. It is not my goal to present a quick fix answer to the best way to teach in relationship to the corporality. Instead my interest is to really try to understand how body and it´s movements can be a greater part of the interest and the curriculum of a teacher education program.
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Acaron, Rios Thania. "The practitioner's body of knowledge : dance/movement in training programmes that address violence, conflict and peace." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229434.
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This interdisciplinary thesis examines the role of dance/movement in training programmes, which address peace, violence, conflict and trauma. Despite the growing literature and scholarly interest in embodied practices, few training programmes address dance/movement peace explicitly, identify shared beliefs or make connections between movement behaviour and decision-making. The research questions explore how dance/movement trainers experience, implement and conceptualise embodied processes that enable the transformation of conflict, particularly concerning interpersonal and/or intergroup violence. In order to investigate this question, an 'internal' analysis of relations and practices amongst its practitioners progresses to an 'external' analysis of contributions to arts-based peace practices and peacebuilding. Twelve semi-structured interviews were conducted with experienced trainers working internationally who use artistic, therapeutic and educational approaches to peace practices. The practitioners' curricula and training materials were examined using thematic analysis and qualitative analysis software (NVivo). The data analysis results in a map of shared beliefs, positionality and boundary shifts amongst the respondents, and proposes an exploration of practices applicable to multiple settings and client groups. This thesis presents new research in Communities of Practice (CoP) theory with artistic communities. It also deepens previous research on dance/movement peace practices and movement analysis, which sustains peaceable and violent actions can be understood through conscious and/or unconscious movement decision-making processes. The thesis concludes that embodied processes involve reflexive and enactive interventions, and proposes analyses of spatial relations, symbolic enactment and relational nonverbal interactions as key contributions of dance/movement. These embodied processes challenge 'conventional' forms of knowledge transmission and the arts' constant pressure for legitimisation. The thematic exploration of shared practices and beliefs therefore integrates movement analysis and social theory to present an interdisciplinary contribution to embodied analyses of violence.
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Fournié, Fanny. "Danse, émotions et pensée en mouvement : contribution à une sociologie des émotions : le cas de Giselle et de MayB." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH032/document.
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Ce travail propose une réflexion menée à la croisée d'une sociologie des émotions, objet principal de la recherche, et d'une sociologie de l'art. En effet, la représentation d'un ballet romantique, Giselle, de Jules Perrot et Jean Coralli et d'un ballet contemporain, MayB, de Maguy Marin, forme le terrain de l'enquête. L'enjeu de l'analyse a consisté à rendre visibles les différents mouvements des émotions, à l'œuvre lors d'une soirée chorégraphique. D'un côté, le mouvement des danseurs sur la scène, qui, s'appuyant sur la technique corporelle, mais aussi la musique, le récit, les costumes et les décors, confectionnent les émotions. D'un autre côté, le mouvement des pensées, visibles chez les danseurs comme chez les spectateurs, à travers une sorte de dialogue intérieur participant à la fabrication des émotions individuelles. Enfin, le mouvement collectif des émotions échangées entre les danseurs et les spectateurs, dans un va-et-vient permanent, nécessaire à la construction de la matière chorégraphique. La méthodologie, qualitative, a été constituée de manière à saisir les différents temps de cette confection émotionnelle. Les observations directes, réalisées durant les répétitions, permettent de saisir, en amont, comment une technique de danse fabrique les émotions. L'observation participante lors des spectacles offre l'illustration, intime, du vécu corporel et émotionnel d'un spectateur : le ballet devient expérience, les spectateurs, acteurs de la soirée en train de se faire. Enfin, les entretiens, réalisés auprès des danseurs et des spectateurs, fournissent une matière sensible à la réflexion, tournée vers une sociologie compréhensive. Au final, la thèse présente les émotions comme « le corps » des relations sociales. Au travers elles, les individus se saisissent les uns des autres, soulignent leurs différences ou leurs similitudes, s'adaptent ou non au groupe, selon la « prise » ou la « déprise » des émotions du ballet sur euxThis study stands at a crossroads between a sociology of emotions – the main focus of our research – and a sociology of art. The survey here presented is grounded in two dance performances, the romantic ballet Giselle, by Jules Perrot and Jean Coralli on the one hand, and on the other hand, the contemporary dance performance MayB, by Maguy Marin The point of this analysis was to bring out the various movements of emotion at play in the course of a choreographic performance. First, I have studied the dancers' movements on stage, which, while resting on the body's technique as well as the music, the story, the costumes and the decors, participate in the making of emotions. Second, I have delved into the movement of thoughts, perceptible in the dancers and in the audience, via a kind of interior dialogue which takes part in the making of various emotions. Last but not least, I have looked into the collective and continuous flow of emotions moving back and forth between the dancers and the audience, and which is necessary for the construction of choreographic material. The methodology here used is a qualitative one, aiming to grasp the various moments in the making of emotions. Direct observations carried out during rehearsals allow for a prior understanding of how a dance technique can create emotions. Participatory observation during the performances grants an intimate illustration of the physical and emotional response of a spectator: the ballet becomes experience and the spectators become actors of the evening in the making. Finally, the audience and dancers' interviews offer food for thought, building towards a comprehensive sociology. In the end, this thesis presents emotions as “the body” of social relationships. Through them, individuals take hold of one another, underlining their differences or similarities. They adapt to the group or they do not, depending on the hold the emotions of the ballet may have on them
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Odhiambo, Seonagh. "A Conversation With Dance History: Movement and Meaning in the Cultural Body." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/25258.
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DancePh.D.
This study regards the problem of a binary in dance discursive practices, seen in how "world dance" is separated from European concert dance. A close look at 1930s Kenya Luo women's dance in the context of "dance history" raises questions about which dances matter, who counts as a dancer, and how dance is defined. When discursive practices are considered in light of multicultural demographic trends and globalisation the problem points toward a crisis of reason in western discourse about how historical origins and "the body" have been theorised. Within a western philosophical tradition the body and experience are negated as a basis for theorising. Historical models and theories about race and gender often relate binary thinking whereby the body is theorised as text. An alternative theoretical model is established wherein dancers' processes of embodying historical meaning provide one of five bases through which to theorise. The central research questions this study poses and attempts to answer are: how can I illuminate a view of dance that is transhistorical and transnational? How can I write about 1930s Luo women in a way that does not create a case study to exist outside of dance history? Research methods challenge historical materialist frameworks for discussions of the body and suggest insight can be gained into how historical narratives operate with coercive power--both in past and present--by examining how meaning is conceptualised and experienced. The problem is situated inside a hermeneutic circle that connects past and present discourses, so tensions are explored between a binary model of past/present and new ways of thinking about dance and history through embodiment. Archives, elder interviews, and oral histories are a means to approach 1930s Luo Kenya. A choreography model is another method of inquiry where meanings about history and dance that subvert categories and binary assumptions are understood and experienced by dancers through somatic processes. A reflective narrative provides the means to untangle influences of disciplines like dance and history on the phenomenon of personal understanding.
Temple University--Theses
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Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design." Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.
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Utley, Allie Elizabeth. "Children and Dance: Spontaneous Tempo, Body Morphology, and The Problem of Synchronizing to an External Beat." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243958048.
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Baird, Emily Lynne. "A Qualitative Investigation of What "Body Awareness" Means to Dancers at a Public Midwestern University." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1587991748223295.
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Kissell, Kristin. "Dancing Theology - A Construction of a Pneumatology of The Body." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/941.
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Dance is the language of the soul. Dance, as a theological source, can remind us of who we are in and with the living perichoresis of the Trinity. Dance, as embodied art, can provide us with a new way of viewing and discussing pneumatology and that we too, in our incarnate reality, participate in perichoresis. Within this work I seek to answer the questions of how dance is a source of theology, why a pneumatology of the body is significant, and how dance provides a framework for a pneumatology of the body. The creation of a pneumatology of the body is a rooting or re-membering of the Spirit and our own spirit in incarnational—skin and bones—reality that includes us in Trinitarian perichoresis. Pneumatology of the body is dancing with the Holy Spirit in our given time and space to retrieve the dignity of our embodied inspirited selves as made in the imago Dei. The gifts and fruits of the Holy Spirit are not abstract concepts. Through dance as embodied art we can move from abstract, intellectual concepts of the Spirit to incarnational truth of our flesh and blood, wounds and joys, where the Trinity dwells within and around.Dance as a source of theology can provide a framework for a pneumtology of the body. The Holy Spirit as relationality holding all of life together is our Holy Bridge. Within this work, we re-member our foundational belief in the interconnectedness of body and soul, and that we too participate in the Trinitarian perichoresis as part of God’s dancing revelation. In a world of division and duality, the Spirit as Holy Bridge brings us back home to the core of who we are individually and collectively, while dance provides a space for honoring difference and duality together in harmony. Dance gives expression to situations and things in our lives that are challenging to grasp conceptually and intellectually, while allowing for the embodied witnessing of a person’s and community’s story.A dancing theology as a framework for a pneumatology of the body reminds us that Spirit is our Holy Bridge between body, senses, feelings, challenges, and transformations, between my body soul temple and your body soul temple, and between individual and communal. By dancing with us in our daily lives, the Holy Spirit draws us ever deeper across loving bridges into communion with Trinitarian perichoresis. The Trinity is the Dance of Life in which the Spirit performs the role of empowering the never-ending communion and relational vitality that is God in and with Godself.
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Curra, Audrey D. "Body and Dream| Authentic Movement and Dream Work Evoking the Great Mother Archetype Within Psyche." Thesis, Pacifica Graduate Institute, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076219.
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This thesis examines the use of two depth psychological techniques, somatic active imagination, known as authentic movement, and dream work in aiding a woman to embody elements of the Great Mother archetype within her psyche. These techniques act to unearth unconscious material, providing access to archetypal symbology. They help identify and explore the boundless archetypal content within, drawing it from the unconscious into consciousness for psychic integration. Dreams and authentic movement sessions are used to demonstrate how one might assist a woman in developing an embodied relationship with the Great Mother archetype and the archetypal Feminine as it exhibits within her psyche. The process is analyzed from a Jungian perspective and uses a heuristic methodology, contemplating the Great Mother archetype as an avenue for psychic transformation.
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Vilaplana, Talia B. "An Analysis of Intentional Kinesthetic Empathy: A Somatic Therapeutic Approach." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/815.
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This paper examines the role and significance of kinesthetic empathy through a framework modeled in Dance/Movement Therapy. With the innate capacity to connect with others, understand ourselves in greater depth, and learn about the world around us, this paper argues for the human importance of creating empathy in intersubjective dynamics and relations, for the betterment of all parties involved. A system of phases is proposed which includes biological and psychological factors to create a model for intentional kinesthetic empathy. The model looks at empathy through the lens of kinesthesia, as the most authentic way to create this empathic potential to be used as a learning tool.
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Romaguera, Lauren D. "Identification Through Movement: Dance as the Embodied Archive of Memory, History, and Cultural Identity." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3666.
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Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
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Thesis (MDram (Drama))—University of Stellenbosch, 2006.Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
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Goldstein, Alexis. "The Roads are Bumpy Ones: A Study of Body Image Through Abstract Performance." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2267.
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An overwhelming number of contemporary adolescents struggle with difficult issues. Many of these problems are socially related whereas others can be directly related to the degradation of the family unit. Among the most damaging of issues is distorted body image, which infect youth, often causing them to communicate aggressively, and even landing them in compromising situations. I have sought to challenge my students to redefine themselves through expressive movement and the creation of abstract rhythmic sounds. In teaching these techniques, I have given my former students the means to combat negative thoughts and actions, as well as an excellent tool for self-discovery. In leading a number of workshops targeted to specific populations, I have taught an innovative technique of movement expression that replaces the spoken word, thereby allowing an individual to unlock the previously undiscovered power of his/her body.
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Buckner, Margaret C. "Laban for the Actor: The Mind/Body Connection." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4748.
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When it comes to actor training in higher education, an extremely strong emphasis is placed on understanding the voice and interpreting the text. While some institutions do incorporate movement courses into the curriculum of the students, many do not serve the learning actor in the most effective way. The work of Rudolf Laban is a way to strengthen the curriculum taught to actors, specifically in regards connecting actors to their bodies. This thesis discusses and analyses the use of Laban’s movement theory in the movement classroom, and focuses on the most effective way of presenting the material to the student. Included is research on Laban’s theories, the structure of a Laban for the actor course, feedback from participants, exercises crafted to better suit the learning actor, and connections to other acting and movement practitioners. The aim is to provide actors with a well-rounded toolbox that will assist them in creating more dynamic and livable characters. This thesis hopes to serve as a guide for both instructors of movement and students alike, providing all with a resource to refer to when working with the body on or off the stage.
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Van, der Merwe Sarita. "The effect of a dance and movement intervention program on the perceived emotional well-being and self-esteem of a clinical sample of adolescents." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27209.
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The researcher aimed to determine the effect of a dance and movement intervention on the perceived emotional well-being and self-esteem of a group of in-patient adolescents in Weskoppies Psychiatric Hospital. A quantitative study, using a quasi-experimental design, was carried out using the positive and negative affect scale for children (PANAS-C) and the Rosenberg self-esteem scale to measure the two independent variables, namely perceived emotional well-being and self-esteem. There were four participants in the experimental group and six in the control group. A between-group comparison was made between the pre-test and post-test scores of the two groups. Both groups completed the positive and negative affect scale for children (PANAS-C) and the Rosenberg self-esteem scale at which point the experimental group took part in a two week, twelve session, dance and movement intervention program. After two weeks both groups once again completed these two measures. Although the results were statistically non-significant, effect size and outcome patterns pointed to an improvement in these two variables due to the intervention program.Dissertation (MA)--University of Pretoria, 2010.
Psychology
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Langston, Jeanne. "The Lived Experiences of Adult Male Trauma Survivors with Dance Movement Therapy." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6598.
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In the United States, approximately 7.7 million individuals are affected by posttraumatic stress disorder (PTSD) at any given time. Though women are likelier to develop PTSD symptoms, men are exposed to more traumatic events in their lifetimes. Empirically- supported PTSD options exist, however clinical application of these treatments may not consistently culminate in beneficial outcomes. Dance Movement Therapy (DMT) has demonstrated positive treatment outcomes for a variety of mental and physical disorders. Nonetheless, there is a lack of robust research related to the treatment experiences of men who have participated in DMT for trauma-related symptoms. The purpose of this phenomenological study was to explore this research gap. Focusing on adult male trauma survivors, the research question addressed the lived experiences of participating in DMT and the meaning ascribed to this involvement. Eleven adult male participants were interviewed via audio-recorded telephone interviews consisting of semistructured interview questions. Through a constructivist lens, the modified Van Kaam method of analysis was implemented revealing 4 emergent themes. The findings of this explorative study suggested positive PTSD symptom outcomes for all 11 participants including improvements in social belongingness, social acceptance, quality of life, and a reduction in symptoms of anxiety and depression. Accordingly, the findings of this research may help to advance social change through broadening clinical awareness of the beneficial neurogenic treatment advantages of somatic and creative interventions such as DMT for PTSD. Moreover, these findings may augment existing research related to movement- based treatment options for individuals coping with PTSD and trauma-related symptoms.
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Kessie, Priscilla A. "Reflections and enchantments: influences of myth, technology, identity and movement in Mirror, mirror perfected." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6972.
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This production journal acts as a public record of the journey to produce my MFA thesis film, Mirror, Mirror Perfected. Operating as a folktale, Mirror, Mirror Perfected is a hybrid speculative suspense film looking at our intersect with social media through the eyes of a young dancer in a near-future world. The journal includes notes from research during my time at the University of Iowa in New Media Studies, Sociology and Performance Studies. I explore how, for instance, the Narcissus myth attempts to influence my world through the liminality of instant gratification, technology, and the fragmentation of identity. The journal also accounts for the conceptual, personal, and practical considerations for the development of Mirror, Mirror Perfected since 2012.
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Coates, Maran. "Moderat's Rusty nails and Loie Fuller's Serpentine dance : analysis cloth, the body and movement as symbolic interpretation of meaning in film." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015733.
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The main objective of the study is to explore how cloth, the body and movement are able to communicate possible symbolic meaning in Loïe Fuller’s Serpentine Dance film and Moderat’s Rusty Nails music video. The study further attempts to establish the characteristics of fashion film to include cloth, the body and movement and provide a methodology that locates fashion film as a sign system using a visual semiotic analysis framework. The films were then compared and contrasted to determine similarities and differences in their use of cloth, the body and movement. The findings from the film analysis suggest that cloth, the body and movement communicate symbolic meaning in the films based on their associated meanings that are generated both inside and outside the film context. By focussing on cloth, the body and movement as primary communicators (rather than secondary or supporting communicators) in film, new meanings can be interpreted from their interrelationship. The results inform new ways for fashion designers and fashion filmmakers to engage with cloth, the body and movement in fashion film.
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Brandes, Alessandra Rodrigues Santos 1988. "Corpo-dança : um olhar discursivo." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268937.
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Orientador: Suzy Maria LagazziDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Neste trabalho, visamos abordar o corpo tomando-o como materialidade significante e como condição de produção primeira para a dança. Uma das formas mais antigas de expressão humana é sem dúvida a dança. A dança não é somente expressão ou forma de comunicação, mas, também é arte e, sobretudo, uma forma de linguagem na história. Na literatura que trata sobre a dança, encontramos, por exemplo, estudos que abordam a dança relacionada a rituais religiosos e outros aspectos culturais, a uma lógica biomecânica e/ou a técnicas artísticas. O nosso trabalho, também aborda a dança, mais especificamente o corpo que dança pela perspectiva da linguagem. Para tanto, filiamonos ao quadro teórico e metodológico da Análise de Discurso de perspectiva materialista, (doravante AD), datada do século XX com Michel Pêcheux, na França e, posteriormente, difundida no Brasil pela Eni Orlandi. Nessa perspectiva, tomamos a constituição do discurso na relação entre língua/sujeito/história e o sentido como um efeito de um trabalho simbólico também afetado pela história. Consideramos neste trabalho, o corpo-dança como materialidade significante (LAGAZZI, 2007, 2009), que tem uma história que o produz de determinada forma e não de outra, ou seja, aspectos que são historicamente determinados. O corpo é aqui abordado além das características biomecânicas e fisiológicas, como material de linguagem social e simbólico que produz sentidos e é significado no discurso (HASHIGUTI, 2008). Ao olhar para a relação corpo-dança, não nos detemos apenas aos aspectos biofísicos, mas também olhamos para as questões histórico-ideológicas e os diferentes discursos constituídos de sentidos que se movem na história e que atravessam tal materialidade. Portanto, pensamos o corpo-dança em relação às posições históricas constituídas por/em uma memória discursiva, determinadas por condições de produção. Pensar o corpo-dança discursivamente é considerar os processos de significação que constituem o que é dançar, as imagens de dança bem como a dos corpos que dançam. É pensar como os diferentes discursos configuram e interpretam o corpo, ou seja, como esse corpo-dança se significa e quais os sentidos produzidos nele e sobre ele, e, além disso, como a dança se constitui em um "modo de acontecimento do/no corpo"
Abstract: In this paper, we intend to study the body as a significant materiality and as a first condition of production to dance. Undoubtedly, one of the oldest forms of human expression is dance. Dance is not only expression or means of communication, but also arts and, above all, a form of language in history. When it comes to the literature regarding dance studies, we could find some research related to religious rituals and other cultural aspects, and also related to a biomechanical logic and / or artistic techniques. Our object of study is also dance, but more specifically the body that dances from the language studies perspective. Therefore, our study is based on the theoretical and methodological approach of French Discourse Analysis (henceforth FDA), which was grounded in the 20th century with the studies developed by Michel Pêcheux, in France and, afterwards, widespread in Brazil by Eni Orlandi. In this perspective, discourse constitution is taken in its relation to language/subject/history. The body-dancing is understood, in this paper, as significant materiality (LAGAZZI, 2007, 2009), which has a history that produces it in a way and not in another; in other words, aspects that are historically determined. The body is understood beyond its biomechanical and physiological features, but as a social and symbolic language material that signifies and it is signified by/in discourse (HASHIGUTI, 2008). By studying the relationship named body-dancing, it is not our purpose to explore only the biophysical aspects of the body, but the ideological-historical issues and the different discourses that are constructed by meanings that move through history and constitute such materiality: bodydancing. Thus, the body-dancing has been thought in its relation to historical positions that are constituted by/in a discoursive memory, which are determined by conditions of production. Understanding the body-dancing, from a discoursive view, means to consider the signifying processes that constitute what dance is, the images of dance, and bodies that dance, as well. It is thinking how different discourses interpret and shape the body. In other words, it is analyzing how the body-dancing signifies itself and what meanings are produced in and upon it. Besides, it is how dance is constructed as "an event of/in the body"
Mestrado
Linguistica
Mestra em Linguística
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Coughlin, Katherine Coughlin. "Appendage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531784815209006.
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Potrovic, Laura. "Ce qu'un corps peut devenir : cartographie entre danse et philosophie." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA087/document.
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Cette thèse n'explore pas ce qu'est le corps, mais ce qu'un corps peut devenir. Elle explore le corps comme un événement en train de se faire à travers les concepts tels que le Corps sans Organes (Antonin Artaud, Gilles Deleuze et Félix Guattari), le bodying (Erin Manning), le corps en train de se faire (Erin Manning) et le devenir (Gilles Deleuze et Félix Guattari). Ce que tous ces concepts ont en commun est l'état de devenir. Ici, le corps devient, et en tant que tel - c'est un verbe, une activité, une force. Cette thèse explore non seulement le corps comme une force de devenir, mais elle explore également le devenir de cette force - au niveau moléculaire, expérientiel et relationnel. Comme le dit Manning, un corps est toujours plus qu'un corps. Ici, nous essayons d'aborder les devenirs physiques, expérientiels et relationnels d'un corps en mouvement. Ce qui bouge le corps de l'état d'être vers l'état de devenir est le mouvement. Cette thèse tente de montrer comment le mouvement ne s'arrête jamais. Nous bougeons toujours, donc, il y a une continuité de devenir. Un corps n'est jamais uniquement une forme, il est une force-forme. Le mouvement est celui qui ouvre le corps vers son devenir de force(s). Un corps en mouvement n'est pas une forme d'expression, mais une force d'expressivité. Le mouvement fait le corps, par conséquent, le corps lui-même est un mouvement. Nous ne dansons pas avec le corps, nous dansons le corps lui-même. Le corps est une partition, un corps-partition, de son devenirThis thesis does not explore what body is, but what a body can become. It explores the body as event-in-making throughout the concepts such as Body without Organs (Antonin Artaud, Gilles Deleuze and Félix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). What all of those concepts have in common is the same state - a state of becoming. Here, body becomes, and as such - it is a verb, an activity, a force. This thesis does not only explore the body as a force of becoming, but it also explores the becoming of that force - at the molecular, experiential and relational level. As Manning says, a body is always more-than one. Here, we are trying to approach the physical, experiential and relational becomings of a body in movement. That which moves the body from the state of being into the state of becoming is movement. This thesis is trying to show how movement never stops. We always move, therefore, there is a continuity of becoming. A body is never just a form, but a force-form. Movement is that which opens the body toward its becoming of force(s). A moving body is not a form of expression, but a force-field of expressivity. Movement makes the body, therefore, the body itself is a movement. We are not dancing with the body, we are dancing the body itself. The body is a score, a body-score, of its own becoming
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McDavitt, Wallin Frida. "Tecken på rörelse." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5814.
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Med våra kroppar som verktyg mäter vi rummet, beräknar stabilitet, skala, riktning. Arkitektur stimulerar våra sinnen och skapar förutsättningar för rörelse. Koreografi är en komposition av rörelser. Koreografi är också att bestämma hur en eller flera personer ska röra sig. Mitt projekt undersöker hur arkitektur koreograferar kroppen och hur jag som inredningsarkitekt därmed kan agera koreograf i mitt arbete.We use our bodies as tools to measure space, stability, scale and direction. Architecture stimulates our senses and sets a stage for movement. Choreography is a composition of movements. Choreography is also deciding how people move. My project investigates in what way architecture choreographs the body and how I as an interior architect can act choreographer in my work.
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Yakhni, Mathilda 1959. "Movimento, percepção, imaginação e a via artística : o método Feldenkrais de educação somática como parceiro para o treino de dançarinos." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284375.
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Orientador: Antonieta Marília de Oswald de AndradeDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente estudo tem como ponto de partida a idéia de que o Método Feldenkrais de Educação Somática pode ser um interessante parceiro no treino e no desenvolvimento de dançarinos de diferentes técnicas e estilos. A expectativa, ao longo do processo, é saber se os dançarinos participantes percebem diferenças em seu treino cotidiano após terem vivenciado o processo proposto. Para captar a idéia de cada participante sobre dançar, treinar e sobre o processo vivido durante o presente estudo foram utilizados entrevistas e observação de desempenho dos dançarinos enquanto realizavam seus treinos (gravados em vídeo), antes e depois de passarem pelo processo do Método Feldenkrais de Educação Somática. Os dados obtidos foram analisados com métodos qualitativos explicitados no decorrer da análise. Os resultados obtidos confirmaram a expectativa de que os dançarinos podem ser beneficiados pelo Método Feldenkrais de Educação Somática
Abstract: The present study takes as its starting point the idea that the Feldenkrais Method of Somatic Education can be an interesting partner in the training and development of dancers of different techniques and styles. The expectation over the proceedings is whether the dancers perceive differences in their training routine after having experienced the process proposed. In order to capture the idea of each participant on dance, train and on the process experienced during this study I used interviews and observation of performance while the dancers perform their practice (videotaped), before and after undergoing the process of the Feldenkrais Method of Somatic Education. The data are analyzed with qualitative methods. The results confirm the expectation that the dancers can benefit from the Feldenkrais Method of Somatic Education
Mestrado
Artes Cenicas
Mestre em Artes
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Sastre, Cibele. "Nada é sempre a mesma coisa. Um motivo em desdobramento através da Labanálise." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/26547.
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Este é um memorial descritivo e dissertativo da investigação artística feita através da utilização da Motif Writing (escrita por motivos) como propulsora de tarefas de movimento para a construção de dramaturgia em dança. A coreografia que resultou deste processo, A Cadeira _/ Uma Ilha, foi criada a partir da Motif Writing de um trecho do solo Experimento da Cadeira, visando a recriação e a multiplicação das qualidades expressivas dos movimentos do motif em outros corpos/sujeitos e relações dinâmicas entre estes, objetos, espaço e tempo. A pesquisa-criação conta com a participação das bailarinas Juliana Vicari e Luciana Hoppe, transformando o solo original em um trio. A escrita do motif relativo ao trecho selecionado da obra de referência utiliza o instrumental da Análise Laban de Movimento como ferramenta metodológica utilizada também para a condução do processo de criação. Inserido num contexto de pesquisa pós-positivista, com perspectiva artística, este memorial contém aspectos dissertativos sobre a Análise Laban em Movimento e a dramaturgia da dança como aportes para o relato do processo de criação. Ambos ajudam a compreender algumas das opções de trabalho buscadas e alcançadas, ou não, nesta investigação. Ao final deste texto comprovo a eficácia da motif writing tanto como ferramenta para reposição como para recriação da dramaturgia da obra de referência e que uma construção através deste procedimento requer a auto-revelação dos artistas. Descubro a 'reduplicação do Outro em mim‘ como potência criadora e afirmativa da minha ação como intérprete.This thesis describes the creative and analytical process I used to develop choreography for three dancers called The Chair_/ An Island. I developed this trio choreography from one fragment of an earlier solo choreography called Chair Experiment, using an aspect of Laban Movement Analysis called "motif writing". I used this method as a score to multiply the original motifs into other bodies/subjects, objects, spaces, and time. My work was done in Brazil in collaboration with two other dancers, Juliana Vicari and Luciana Hoppe. From a post-positivist approach and artistic perspective, this thesis describes features of Laban Movement Analysis and Dance Dramaturgy which enhance the creative process. Both help us to understand possible choices and directions which are available to us when creating a choreography. I conclude that motif writing is efficient as a movement score for dramaturgy composition or reposition and that the use of this procedure encourages the artists for a self revelation. I found the 'reduplication of the Other in myself‘ as a creative potential and affirmative way as a performer.
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Damkjaer, Camilla. "The Aesthetics of Movement : Variations on Gilles Deleuze and Merce Cunningham." Doctoral thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-645.
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This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts. Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.
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Pilbäck, David. "E=(motion)2 : Mellan rörelse och dans." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18963.
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Mainstream contemporary phenomenology understands the phenomenology of movement and dance through ”the lived body” of Merleau-Ponty. This paper rather suggests a phenomenology of movement and dance based on an understanding through ”the danced body” with ability to meta-feeling. It is here argued that we need to use a phenomenology of dance to understand the phenomenon of movement whatsoever. Three dimensions of our bodily dance experience are described: “the body’s centre”, “the danced body” and “the room of the dancer”. A discriminating distinction between eight types of movement experiences is proposed.
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Bonnet, Aurore. "Qualification des espaces publics urbains par les rythmes de marche : approche à travers la danse contemporaine." Phd thesis, Université de Grenoble, 2013. http://tel.archives-ouvertes.fr/tel-00846710.
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En quoi et comment l'étude des rythmes de marche rejoint-elle une approche de la ville par le corps ? Cette question qui traverse ce travail, est aussi celle que nous formulons en direction de la conception architecturale et urbaine des espaces publics contemporains. En choisissant de contribuer aux recherches sur la marche en ville et en nous consacrant à l'étude des rythmes de marche, nous avons choisi de nous intéresser particulièrement à la définition de l'espace du mouvement, c'est-à-dire à l'importance, au niveau de la perception, de l'établissement d'une relation à l'environnement qui n'en appelle pas à une expérience finalisée de la réalisation d'un parcours d'un point de départ à un point d'arrivée, mais à celle de l'avènement d'une présence. De quelle manière s'établit cette relation à l'environnement qui nous ouvre à cette expérience de parcourir la ville sur le mode des variations présentielles ? Comment peut-on envisager concevoir l'espace public urbain selon ce mode du mouvement des corps et de l'espace ? En explorant cette problématique, nous inscrivons notre travail dans le champ des ambiances architecturales et urbaines, en revendiquant pour la marche à la fois sa dimension d'expérience sensible de la ville par le corps mais aussi, par l'engagement du corps qu'elle permet, la disposition à une posture pouvant enclencher le processus de conception. Notre étude a porté sur deux terrains : l'esplanade de la BnF et la passerelle Simone de Beauvoir à Paris. Entre immersion, recueil de paroles en marche et travail vidéographique, au détour de la post modern dance et de la danse contemporaine, notre recherche croise les dimensions sensibles, spatiales du mouvement et des émotions de la marche. Les analyses menées s'attachent à découvrir et restituer les mouvements de l'expérience présentielle de ces terrains d'étude. Ces observations pourront intéresser le milieu de la conception en l'amenant à une réflexion sur la composition des espaces publics en termes de conditions d'appuis des corps en marche permettant d'établir une relation à l'environnement dans le mouvement. Cette recherche ouvre aussi à un questionnement sur la façon dont une approche par l'esthétique de l'ambiance peut s'instaurer en critique de la conception architecturale et urbaine par le mouvement.
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Dievaitytė, Ugnė. "Užsiėmimų, paremtų šokio - judesio terapija, efektyvumas keičiant 18-25 m. merginų kūno vaizdą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110621_094008-00823.
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Tyrimo tikslas – įvertinti užsiėmimų, paremtų šokio-judesio terapija, efektyvumą keičiant 18-25 m. merginų kūno vaizdą.
Tyrime dalyvavo 105 merginos iš Vytauto Didžiojo universiteto Socialinių mokslų fakulteto. Intervencinėje grupėje visame penkių užsiėmimų cikle dalyvavo 40 merginų, o lyginamojoje grupėje, paskaitoje ir abiejose apklausose dalyvavo 37 merginos.
Intervencinės grupės tiriamieji dalyvavo penkiuose 1,5 val. trukmės, kartą per savaitę vykstančiuose, šokio judesio terapija paremtuose užsiėmimuose, skirtuose formuoti pozityvesnį savo kūno vaizdą. Lyginamoji grupė dalyvavo vienoje 2 val. trukmės paskaitoje apie valgymo sutrikimus, sutrikusį kūno vaizdą ir šokio-judesio terapijos taikymo galimybes. Siekiant nustatyti intervencinių užsiėmimų efektyvumą prieš intervenciją ir po jos tiriamųjų buvo prašoma užpildyti Kūno formos, Požiūrio į valgymą, užsiėmimų naudingumo vertinimo klausimynus, Teigiamų ir neigiamų emocijų, Susirūpinimo svoriu, Išvaizdos vertinimo, Pasitenkinimo kūno sritimis skalės. Taip pat, kiekvieną užsiėmimą (prieš ir po) tiriamosios pildė Teigiamų ir Neigiamų emocijų skales.
Tyrimo rezultatai parodė, kad šokio-judesio terapija paremtuose užsiėmimuose taikomos poveikio priemonės yra efektyvios formuojant pozityvesnį kūno vaizdą, t.y. jaučiama daugiau teigiamų emocijų savo kūno atžvilgiu, mažiau– neigiamų, sumažėja susirūpinimas savo išvaizda ir svoriui ir pagerėja išvaizdos vertinimas 18-25 m. merginoms. Taip pat, nustatyta, kad po kiekvieno... [toliau žr. visą tekstą]The aim of the research is to evaluate the efficacy of sessions based on dance/movement therapy in altering body image of 18-25 years old girls. 105 girls from Vytautas Magnus University Social Sciences Faculty participated in the research. 40 girls of the intervention group attended all of the five sessions based on dance/movement therapy. 37 girls of the control group attended a lecture and pre and post measuring. Once a week intervention group participants attended one and a half an hour duration sessions based on dance/movement therapy designed for improving body image. Control group participated in two hours duration lecture about eating disorders, distorted body image and the applicability of dance/movement therapy. In order to evaluate the efficacy of the sessions based on dance/movement therapy research participants filled in Body Shape, Eating Attitude, Evaluation of Sessions Utility Questionnaires, Positive and Negative Emotions, Weight Preoccupation, Appearance Evaluation, Appearance Orientation, Body Areas Satisfaction Scales. Research participants had to fill in Positive and Negative Emotions scales before and after each session as well. The results of the research indicate that the methods used in the sessions based on dance/movement therapy have a positive effect on improving body image, i.e. positive emotions towards one’s body increased, negative ones – decreased in quantity, preoccupation with weight and appearance reduced and one’s appearance evaluation... [to full text]
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Saladain, Lise. "Approche critique du "corps disponible" dans le champ chorégraphique : une contribution à l'étude des modes de structuration du monde de la danse par l'entrée de la diffusion des savoirs." Thesis, Bordeaux, 2017. http://www.theses.fr/2017BORD0004/document.
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Un énoncé est de plus en plus présent aujourd’hui dans le discours de la communauté de la danse : celui de « corps disponible ». Dans une perspective transmissive de la fabrication du danseur, sous cette expression transparaît l’idée que le corps performant en danse n’est plus un corps adapté aux réquisits artistiques d’une danse codifiée mais un corps dont l’adaptation résiderait paradoxalement en sa très grande plasticité tant esthétique que physique. Qu’est-ce que cette nouvelle conception du corps de la danse peut-elle entraîner sur la transmission chorégraphique – et au-delà – dans la société néolibérale actuelle ? L’étude porte d’abord sur le contexte d’émergence et d’imposition de l’idée de corps disponible. Cette exploration poussée de la construction du corps de la danse au 20e siècle nous apprend qu’il existe un lien entre la production culturelle corps disponible et une certaine idée de la liberté. Quelle est, alors, la signification effective de cette expression ? Afin de répondre à cette interrogation, le second pan de l’étude consiste en une ethnographie de près de deux années auprès de compagnies en création. L’observation de l’usage du corps qui y est fait, en travail, entre danseurs et chorégraphes, nous renseigne sur ce savoir-pratique corps disponible :il sert aux danseurs et aux chorégraphes pour produire de nouvelles corporéités. Plus précisément, y est examinée la manière dont la disponibilité du corps s’actualise dans le quotidien de la création en danse en mettant à l’épreuve l’hypothèse selon laquelle le corps considéré comme disponible dans le champ professionnel n’est jamais dissocié de la notion bourdieusienne de disposition. Il s’agira ainsi d’examiner comment s’ajustent disponibilités et dispositions pour rendre intelligible ce savoir corps disponible. Le dernier pan de notre étude sera consacré à l’expansion de ce savoir : Comment les danseurs emploient ce savoir corps disponible dans le métier ? Et comment ce savoir diffuse dans d’autres espaces de pratique ?Very often nowadays, the dance community addresses the following formulation: «available body». Taking an overall look of the transmission process of the making of a dancer, it is suggested that in dance a well rounded performing body is not a body customized to artistic requirements for a codified dance anymore, but a body whose adaptation would paradoxically lie in both esthetic and physical great plasticity. What can this new dance body concept induce on choreographic transmission – and beyond - on today's neoliberal society? The study first examines the context of the emergence and enforcement of the available body idea. This thorough investigation on the construction of a dance body in the 20th century reveals that there is a connection between the available body cultural production and a certain idea of freedom. What is then the actual meaning of this term? In order to answer this question, the second part of the study involves an almost two year ethnography undertaken with companies creating new work. The observation of the use of the body in work context, between dancers and choreographers, provides information on this knowledge-practice available body: it is used by the dancers and choreographers to develop new corporealities. More specifically, the way the availability of the body is brought up to date in the daily creative work process in dance is examined, testing the hypothesis that the body regarded as available within the professional field is never isolated from the Bourdieusian disposition concept. We will thus discuss how do availabilities and dispositions adjust themselves so that to make intelligible this available body knowledge. The last phase of our study will be devoted to the development of this knowledge: How do dancers use this available body knowledge in the profession? And how does this knowledge disseminate to other areas of practice?
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Rebeschini, Nicola. "Image corporelle, Corps d'images. Processus de création et œuvre aujourd'hui. Hypothèses pour une esthétique organique : Étude comparative à partir de l'installation-performative Sketches / Notebook de Meg Stuart (Berlin, 2013)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA138.
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Le corps est être-au-monde. Le corps est l'être-vivant-de-l'image et, ainsi, le corps est image habitée. L'image-corps donne lieu à l'espace sensible lors de son apparition. L'Être comme Nature, peut-il se rendre visible à travers les images ou dans les gestes ? Y a-t-il une spécificité de certains fragments filmiques ou performatifs de la figure du corps et des formes de la persona ? Si cette spécificité a lieu, par quelles voies de la création esthétique ces images ou ces gestes se créent-ils et de quelles manières en imprègnent-t-ils l'œuvre ? Selon quels dispositifs de partage sensible de l'espace matériel et immatériel établi par l'œuvre le spectateur peut-il vivre l'expérience du surgissement de l'être dans l'image ou dans le geste dont il est témoin ? Cette étude est fondée sur l'expérience de recherche pratique et théorique des œuvres. Le sens de cette recherche est ancré dans l'expérience de la création de la danse performative et du cinéma du corps et, plus largement, du cinéma de danse. La quête d'une théorie du sensible est ici fondée, d'une part, sur l'étude du processus de création transdisciplinaire mettant en jeu le corps et les images / les images et les corps en mouvement, d'autre part, sur l'étude d'images mouvantes donnant lieu à une expérience de la présence du corps considérée comme spécifique à la matière de l'humain. Il s'agit, par cette perspective, dans un processus de création performatif, d'étudier les conditions qui donnent lieu au surgissement de ce que nous qualifions de corps d'images et, dans une œuvre filmique, de saisir et de décrire les modalités de l'apparition de ce que nous définissons comme une image corporelle. En ce qui concerne la recherche pratique, nous avons intégré l'équipe de création de l'installation performative Sketches / Notebook de Meg Stuart et, ainsi, constitué un corpus documentaire que, tout au long de notre recherche théorique, nous avons analysé et comparé avec un corpus complémentaire constitué d'œuvres performatives et, surtout, filmiques (on compte, parmi elles, Die Klage der Kaiserin, de Pina Bausch ou Sátántángo de Béla Tarr). Cette recherche nous a permis d’évoquer de nombreux liens entre diverses perspectives philosophiques et esthétiques et d'approfondir l'élaboration du concept janus bifrons d'image corporelle / de corps d'images en relation à la manifestation de la persona dans un environnement de dispositifs et de symboles que nous proposons de penser comme propre à une esthétique organique. En effet, nous reconnaissons à certains fragments de ces œuvres filmiques ou scéniques la puissance de création de l'espace sensible; une organisation de dispositifs dans l'image ou dans le geste capable de générer une mutation de l'espace de signes et de leur réception. De ce fait, nous comprenons qu'en terme de processus de création, certains fragments performatifs et certaines images semblent témoigner de protocoles d'expérience de créations qui - de manière plus propices que d'autres - permettent de donner lieu, voire de faire surgir, des images du corps comme images de la persona : par la présence particulière et universelle à la fois de l'être humain, signe ana-chronique d'une présence mortelleThe body is being-in-the-world. The body is the image's-being-alive, and thus, the body is an inhabited-image. The image-body gives place to the sensitive space within its advent. Can the Being, as Nature, be visible through images or gestures ? Is there a specificity in certain filmic or performative fragments about the figure of the body and forms taken by a persona ? If this specificity is proven, through which means of the aesthetic creation can these images or gestures be created and how do they impact the artwork ? What are the devices of material and immaterial sensitive sharing of space, as settled by the artwork, that allow the onlooker to live the experiment of the emergence of being through the image or the gesture which he is witnessing ? This study is based upon the experience of practical and theoretical research on artworks. The meaning of said research is rooted in the experience of creation concerning performative dance, cinema of the body and, in a wider perspective, dance cinema. The quest for a theory of the sensitive, in our work, has its foundations, first in the study of the process involved in transdisciplinary creation involving body and images / images and body in motion ; second, in the study of moving pictures generating an experience of the body's presence, considered as specific to human matters. In light of this point of view, our project, through the process of performative creation, is to study the conditions which give birth to the upsurge of what we call a body of images and, in filmic artwork, to grasp and describe the modalities through which what we define as a corporeal image appear. Concerning practical research, we have taken part in the creative team of Meg Stuart's performative setup, Sketches / Notebook, and thus assembled a set of documents which we have analysed and compared, all along our theoretical research, to a complementary set made of performative and, most of all, filmic artworks (among which are included Pina Bausch's Die Klage der Kaiserin and Béla Tarr's Sátántángo). This research gave us the opportunity to call to mind the numerous links existing between different philosophical and aesthetical points of view, as well as to deepen our construction of the janus bifrons concept of corporeal image / body of images, as related to the expression of the persona in an environment made of setups and symbols which our research designates as specific to an organic aesthetic. In fact, we recognize in specific fragments of these filmic or scenic artworks the creative power of sensitive space ; the arrangement of setups within the image or within the gesture, able to operate a mutation of the space of signs and their reception. Therefore, it is our understanding that, regarding the creation process, some performative fragments and some images appear to participate in protocols in creative experience which, in a more suitable manner than others, lead, or even give birth to images of the body as images of a persona, through the presence, all together individual and universal, of the human being as the anachronistic sign of a mortal presence
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Padonou, Assomption. "Danser, c'est manger : pour une ethnographie de la créativité artistique chez les Gun de Porto-Novo (Bénin)." Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/PADONOU_Assomption_2019_ED519.pdf.
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L’importance de la danse gun est, non la belle chorégraphie sur laquelle sont souvent focalisés les regards, mais plutôt l’activité du sang dans le corps dansant, y compris la dynamique culturelle suscitée par le savoir endogène auquel se réfèrent les traditions ancestrales. Car les mouvements observés lors de cette danse sont des contractions de muscles (yè) chaque fois accompagnées de relaxations du corps (hwé), comme s’il s’agissait, au fond, d’une alternance chaque fois renouvelée entre un cumul et une dépense d’énergies. Il en résulte que la danse gun se nourrit d’énergies. D’une part, elle se nourrit d’une énergie physique sous l’impulsion du cœur qui rythme la bonne circulation du sang irrigant le corps dansant de nourritures. D’autre part, la danse se nourrit d’émotions suscitées par le savoir qui éveille la mémoire à la joie, au sens d’espoir. Ainsi, la danse consiste dans l’éclosion du corps à travers la belle chorégraphie ; elle révèle à la fois une ouverture du cœur rythmant la vie et un éveil de la mémoire à la beauté du paradis, au sens d’oubli des misères des hommes et de leur histoire. Dans le cadre de cette thèse, je soutiens que la danse n’est pas seulement un art, mais elle est aussi une forme de nourriture. La danse est un art au cœur duquel le corps dansant mange la vie. La danse présente des caractéristiques nutritives d’émotions, à la fois performatives et communicatives ; elles expriment les relations des Gun entre eux, y compris avec leurs VodǔnThe importance of Gun dance is not the beautiful choreography on which the spectators are often focused, but rather the activity of blood in the dancing body, including the cultural dynamics aroused by the endogenous knowledge to which the endogenous knowledge refers ancestral traditions among the Gun people. Indeed, the movements observed during the Gun dance are contractions of muscles each time accompanied by relaxations of the body, as if it were a renewed alternation between a cumulative and an expenditure of energies. As a result, dance feeds on energy. On the one hand, it feeds on a physical energy under the impulse of the heart that rhythms the proper circulation of blood irrigating the body dancing with nutrients. On the other hand, dance feeds on emotions aroused by knowledge that awakens memory to joy, to the sense of hope that sustains life. Hence, the dance consists in the hatching of the body through the beautiful ultrasound; it reveals both an opening of the heart punctuating life and an awakening of memory to the beauty of paradise, in the sense of forgetting the miseries of men and their history. As part of this thesis, I argue that dance is not only an art, but it is also a form of food. Dance is an art in which the dancing body eats life. Gun dance has nutritional characteristics of emotions, both performative and communicative, which help to express the most fundamental relationships of the Gun people with each other, including with their Vodǔn
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Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16631/1/Maria_Adriana_Verdaasdonk_Thesis.pdf.
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Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
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Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16631/.
Full textAbstract:
Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
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Gustafsson, Lovisa. "Experimenterande dans med förskolans yngsta barn : En studie i och med dans kropp och rörelse i förskolan." Licentiate thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-191933.
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Den här uppsatsen undersöker experimenterande danspraktiker med ett- och tvååringar i förskolan, praktiskt och teoretiskt, vilket hittills endast studerats i ett fåtal studier och aldrig tidigare i ett empiriskt och praxisnära projekt med förskolans yngsta barn. Syftet är att undersöka hur danspraktiker kan göras möjliga och kommer till uttryck i experimenterande dans tillsammans med de allra yngsta barnen i förskolan när de görs till aktiva deltagare i danshändelsernas processer, utformning och innehåll i förskolan. I den tre månader långa praktiknära, empiriska studien experimenterar forskaren ihop med en grupp barn 1–2,5 år på en förskoleavdelning, vilket dokumenteras med film- och stillbildskameror av forskaren och barnen. Metodologiskt tar genomförandet stöd och inspiration i a/r/t-ografin som är en praxisnära och estetik-baserad forskningsmetod där forskaren använder den egna kroppen som forskningsverktyg. Analyserna av datamaterialet, vilket består av filmer, foton och processanteckningar, är genomförda med stöd av immanensfilosofisk teoribildning, främst med texter från Gille Deleuze och Felix Guattari samt Erin Manning och begreppet som metod, som analysmetod. Resultaten visar att när förskolans yngsta barn får möjlighet att experimentera i dans ihop med en initierad och deltagande forskare blir danspraktiken mycket varierad och dynamisk i sitt förlopp. Den tar även andra uttryck till innehåll, form och rörelse, gruppkonstellation, materialval och tidslängd än vad som vanligtvis beskrivs om dans i litteratur och forskning. Ett ytterligare kunskapsbidrag är att visa hur tillgången till immanensfilosofi kan producera nya sätt att göra och tänka om danspraktiken och den dansande kroppen och alternativa sätt att arrangera dans med förskolans yngsta barn. Studien erbjuder även förskoledidaktiska kunskaper om hur pedagoger i förskolan kan arrangera kreativa danspraktiker för de yngsta barnen i den dagliga verksamheten.This essay examines experimental dance practices with one- and two-year-olds in preschool, both practically and theoretically, a topic which has up until now only been examined in a few studies and never before in an empirical and praxis-oriented project with the youngest children of preschool. The purpose of the study is to investigate how dance practices can be made possibleand what comes to expression in experimental dance practices with the youngest children in a preschool environment when they are made to be active participants in the content and execution of experimental dance in a preschool environment. During the three months long practice-based empirical study, the researcher experiments in participation with a group of 1-2,5-year-olds at their preschool department. This work is documented with still image and film camera by the researcher and the children. Methodologically, the study has been conducted through support and inspiration from a/r/t-ography, a practicebased and arts-based research method wherein the researcher uses her own body as an instrument of research. The analysis of the data material, which consists of films, photographs and process notes, is carried out using the concepts of immanence-philosophy, mainly through texts by Gille Deleuze and Felix Guattari and of Erin Manning, and the concept as method, as a method of analysis. The results show that when the youngest children are given the opportunity to experiment in dance together with an initiated and participating researcher, the dance practice becomes varied and dynamic during its course of events. The dance practice also shows novel expressions of form and movement, group constellations, and choices of material and duration than what is commonly described of dance when discussed in literature and research. Furthermore, this essay contributes additional knowledge to the field by showinghow the access to the philosophy of Gille Deleuze and Felix Guattari can produce new ways of doing and thinking about dance practice and the dancing body and alternative ways to arrange dance with the youngest children of the preschool. The study also offers didactical knowledge of how teachers in a preschool environment can arrange creative dance practices for the youngest children in everyday activities.
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Invartsen, Mette. "EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-177.
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Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.LINKS
https://vimeo.com/164552586
https://vimeo.com/164558381
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Büscher, Barbara. "Live Electronic Arts und Intermedia : die 1960er Jahre." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39497.
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Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstandThe developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose
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Fdili, Alaoui Sarah. "Analyse du geste dansé et retours visuels par modèles physiques : apport des qualités de mouvement à l'interaction avec le corps entier." Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00805519.
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La présente thèse a pour but d'approfondir l'étude du geste dans le cadre de l'interaction Homme Machine. Il s'agit de créer de nouveaux paradigmes d'interaction qui offrent à l'utilisateur de plus amples possibilités d'expression basées sur le geste. Un des vecteurs d'expression du geste, très rarement traité en Interaction Homme Machine, qui lui confère sa coloration et son aspect, est ce que les théoriciens et praticiens de la danse appellent " les qualités de mouvement ". Nous mettons à profit des collaborations avec le domaine de la danse pour étudier la notion de qualités de mouvement et l'intégrer à des paradigmes d'interaction gestuelle. Notre travail analyse les apports de l'intégration des qualités de mouvement comme modalité d'interaction, fournit les outils propices à l'élaboration de cette intégration (en termes de méthodes d'analyse, de visualisation et de contrôle gestuel), en développe et évalue certaines techniques d'interaction.Les contributions de la thèse se situent d'abord dans la formalisation de la notion de qualités de mouvement et l'évaluation de son intégration dans un dispositif interactif en termes d'expérience utilisateur. Sur le plan de la visualisation des qualités de mouvement, les travaux menés pendant la thèse ont permis de démontrer que les modèles physiques masses-ressorts offrent de grandes possibilités de simulation de comportements dynamiques et de contrôle en temps réel. Sur le plan de l'analyse, la thèse a permis de développer des approches novatrices de reconnaissance automatique des qualités de mouvement de l'utilisateur. Enfin, à partir des approches d'analyse et de visualisation des qualités de mouvement, la thèse a donné lieu à l'implémentation d'un ensemble de techniques d'interaction. Elle a appliqué et évalué ses techniques dans le contexte de la pédagogie de la danse et de la performance.
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Yu-Teh, Yang, and 楊妤德. "The expression of flowing space from body movements of dance." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/9qpr6d.
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碩士實踐大學
時尚與媒體設計研究所碩士在職專班
94
Abstract This research attempts to create with performing dance movements and the flowing expressions of costume-sculpted space by drawing from the concept of amoebic body movements introduced by Rudolf Amheim. It examines the interplaying connections between physical movements and clothing forms, and the ways in which they mutually limit or complement each other; through manifestations of dance movements, changing visual space takes place in the combination of body and costume. The human body is infused with perception, sensation and dynamics. Physical movement is produced when bones, joints and muscles interact, which operates in time tracing, with no definite or fixed demarcations. Such changes of movement create a visual image similar to that of a moving amoeba, while the dancing body brings forth an energetically flowing visual, in which the costume shapes to the moving figure, just like the outer membrane, changing forms with body movements. On the other hand, the process is a kind of internal/external interaction: When the body meets its costume, it reacts to the constraining or supporting forces of the clothing form in movements and strengths, both directly and indirectly. The forms stimulate reactions in the nature of body movement, which re-enters and returns to the flowing expressions of the dynamics between body and costume, exhibiting the interdependent relationship between them, and creating the third state, as if extending from the body, in sculpting images. This creative study investigates principally the ways in which the formal space of costume conditions the movements and their characteristics.The flowing creation consists of four consecutive parts: First, the movement relationships qualified by restraints from inside and outside the clothing forms and the subsequent changes of flow are examined. Second, various physical movements are transfigured into representations of forms in costumes. Third, study of space-rhythm relationships and their manifestations is experimented in making forms with a variety of materials. Fourth, active energies of the body interact with forms; the stationary camera documents the studying of static/dynamic state of forms. It is not merely creative designs for fashion. The focal point of this creative study lies in the interplaying relationship between body dynamics and clothing forms in their unity: In the process of inside interaction between body and costume, followed by the changing movements outside, clothing and body movements progressively come into one being, which is the third visual transformation, expressed in the integration of the two.
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Kang, Man-Jung, and 康曼蓉. "The Body Conceptions in Contemporary Movements of Truku Traditional Dance." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/40749068549682173952.
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碩士國立東華大學
族群關係與文化學系
103
This thesis attempts to understand the body conceptions and cultural meanings in the contemporary movements of Truku traditional dance by means of historical documents, fieldwork observations, interviews, Labananalysis（LMA）, and Bartenieff Fundamental. The thesis elucidates how does the Truku culture transfer the tribal life experiences into the forms of dance, and how does tribal body view represent myths, Gaya and their spiritual belief system. The movements of Truku traditional dance consider the body norms of Gaya as an agent, and further integrates the myths, spirit belief and Gaya into the body conception of the tribe, thereby re-shaping the differences of the movements between men and women. The thesis claims, for Truku tribe, that the dance movements do not focus on the forms but on the guides of the tribal spirit belief. The form of Truku traditional dance expresses the characteristics of the tribal people; the roles of men and women thus will be specifically distinguished. Drawing on the movements of Truku dance, the body concepts of Gaya and spirit belief, the Truku traditional dance is therefore refined through its own culture.
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Wu, Guan-De, and 吳冠德. "Splicing of Upper and Lower Body Dance Movements for Kinect Applications." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6atrbu.
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碩士國立中正大學
資訊工程研究所
103
In this thesis, we present a motion splicing method for generating dance movements which make dance step more diversely. Specifically, we show that spatial and time alignment technique by using virtual direction and velocity-based synchronization for spliced movements looks natural and smooth. Hence, in the proposed motion splicing approach, it is possible to increase the number of generated motions as well as the number of desired actions that can be performed by virtual characters. Additionally, we implemented motion blending by using Dynamic Time Warping to produce a next motion table of recommendations. Finally, the generated results show that the proposed solution can be beneficially applied to generate varied movements as well as the dance movements which non-spliced with a small amount of motion database.
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Dumas, Russell. "Necessary incursions : rethinking the unstable body in dance." Thesis, 2014. https://vuir.vu.edu.au/28776/.
Full textAbstract:
Necessary Incursions explores the practice of dancing and the agency of the dancer in a choreographic elaboration of the unstable body. It seeks to contextualize, integrate and expand on three related arenas (technique, practice and theatrical presentation) and to throw light on the conditions that have led to the demise of choreographic practices in western concert dance during the past thirty years. As a theoretical enquiry articulated from the position of ‘an expert practitioner’ (Melrose 2005), Necessary Incursions will include reflections on my own artistic work written as a series of polemical texts. These texts seek to problematise domains of modern and postmodern dance practice through the re-contextualisation and analysis of personal narratives.
Necessary Incursions will be realised in two parts: dance for the time being, which comprises a theatrical rendition to be presented in Dance Massive (March 2013) and Southern Exposure, which will consist of polemical texts that help situate the work and which have formed an integral part of the methodology. Southern Exposure will also articulate the underlying premises of the ongoing performance work dance for the time being and offer a number of contextual elaborations.
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Cheng, Yu-Wen, and 鄭育雯. "The Effects of Creative Dance on Body Movement Creativity of Elementary School Students." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/66216034362658160954.
Full textAbstract:
碩士台南應用科技大學
生活應用科學研究所
99
The purpose of this study was to explore the effects of creative dance on body movement creativity of the lower grade elementary school students. The study adopted the pretest-posttest nonequivalent-group design, randomly selecting two 1st grade and 2nd grade classes in an elementary school in Tainan as experimental objectives. The experimental group participated in the self-designed creative dance class, 16 periods and 40 minutes for each period, while the control group participated in routine dance class. Two groups were pretest and posttest by the "Action and Action Creativity Test”and a video recorder. The findings were addressed as below. 1. With complete performance, the experimental group made an obviously progress. 2. The fluency, uniqueness and imagination of the experimental group were obviously enhanced. 3. The fluency and imagination of the control group were obviously enhanced, but their imagination indicated indifference between the pretest and posttest. 4. The experimental group demonstrated better performance in fluency, uniqueness and imagination while comparing the control group.
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"MOVE." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.17915.
Full textAbstract:
abstract: MOVE was a choreographic project that investigated content in conjunction with the creative process. The yearlong collaborative creative process utilized improvisational and compositional experiments to research the movement potential of the human body, as well as movement's ability to be an emotional catalyst. Multiple showings were held to receive feedback from a variety of viewers. Production elements were designed in conjunction with the development of the evening-length dance work. As a result of discussion and research, several process-revealing sections were created to provide clear relationships between pedestrian/daily functional movement and technical movement. Each section within MOVE addressed movement as an emotional catalyst, resulting in a variety of emotional textures. The sections were placed in a non-linear structure in order for the audience to have the space to create their own connections between concepts. Community was developed in rehearsal via touch/weight sharing, and translated to the performance of MOVE via a communal, instinctive approach to the performance of the work. Community was also created between the movers and the audience via the design of the performance space. The production elements all revolved around the human body, and offered different viewpoints into various body parts. The choreographer, designers, and movers all participated in the creation of the production elements, resulting in a clear understanding of MOVE by the entire community involved. The overall creation, presentation, and reflection of MOVE was a view into the choreographer's growth as a dance artist, and her values of people and movement.Dissertation/Thesis
M.F.A. Dance 2013
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Costa, Diana Sofia Esteves Castro. "O Ensino de Filosofia com Dança no mundo da Escola e na Escola do mundo." Master's thesis, 2020. http://hdl.handle.net/10316/93746.
Full textAbstract:
Relatório de Estágio do Mestrado em Ensino de Filosofia no Ensino Secundário apresentado à Faculdade de LetrasO presente Relatório de Estágio intitulado “O Ensino da Filosofia com Dança no mundo da Escola e na escola do mundo” é realizado no âmbito da unidade curricular “Estágio e Relatório Final” do Mestrado de Ensino de Filosofia no Ensino Secundário da Faculdade de Letras da Universidade de Coimbra. Este relatório contém uma parte de exposição, de consideração e de crítica relativamente à Prática Pedagógica Supervisionada à qual me submeti no Ano Letivo de 2019/2020, bem como uma descrição do contexto educativo da Escola Secundária com 3º Ciclo D. Dinis, Escola onde estagiei. Para além destas, encontramos aqui, também, um momento de pesquisa e de reflexão acerca de conceitos que se mostrarão fundamentais ao longo deste documento, como o conceito de pensamento filosófico, que se autoafirma corpóreo e o conceito de movimento na Dança, que é um movimento peculiarmente pensante. A partir do estudo dos conceitos supramencionados veremos que estes se relacionam e que esta relação leva a um outro momento de pesquisa e de reflexão que proporcionará a abertura de um novo horizonte sobre o pensamento acerca da Dança e sobre o pensamento acerca da Filosofia que irão gerar uma nova forma de lecionação da disciplina de Filosofia no Ensino Secundário. Uma nova forma de lecionar a partir da utilização do caráter pedagógico-didático da Dança como metodologia para o Ensino da Filosofia no Ensino Secundário, não nos desviando minimamente daqueles que são os objetivos que constam no documento Aprendizagens Essenciais de Filosofia no Ensino Secundário, em articulação com o do Perfil dos Alunos à Saída da Escolaridade Obrigatória.
The presented Internship’s Report, entitled “Teaching Philosophy with Dance in the School’s world and in the world’s school” is carried out within the curricular unit “Internship and Final Report” of the Master Degree in Teaching High School Philosophy at Coimbra’s University Humanities College, attended in the academic year 2019/2020. This Report has a part of exposition, consideration and criticism regarding to the Supervisional Pedagogical Practice to which I submitted, as well as a description of the educational context of the Secondary School with 3rd Cycle D. Dinis, in which I interned. Beside these, we also find here a moment of research on concepts that are crucial throughout this paper, like the concept of philosophical thought, which asserts itself corporally and the concept of movement in dance, which is a peculiarly thinking movement. From the study of the aforementioned concepts, we will see that they are related to each other and that this relationship leads to another moment of research and reflection, which allows the opening of a new vision on the thought about dance and on the thought abou philosophy, that will create a new way of teaching Philosophy in Secondary School. A new way of teaching from the use of the pedagogical-didactic character of Dance as a methodology for the Teaching of Philosophy in High School, without deflection from the objectives presented on Essential Learning of Philosophy in Secondary School, in conjunction with the Student Profile on Leaving Compulsory Scholarity.
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Potgieter, Colleen Angela. "Creating awareness of contact-making styles through movement within a gestalt context." Diss., 2006. http://hdl.handle.net/10500/1707.
Full textAbstract:
Movement intervention in a Gestalt therapeutic setting using structured activities and free improvisation is a successful method in creating awareness of contact-making styles for late adolescents. An overview of the existing literature regarding the theoretical aspects of the interrelatedness of movement therapy, awareness, contact-making styles and the use of movement as a therapeutic intervention within a Gestalt context was presented. This included a description of the meta-theoretical assumptions that underpinned the research. A case-study consisting of eight late-adolescent females using the exploratory and descriptive nature within the qualitative research model was applied. All participants reported growth and awareness within themselves. The researcher concludes that movement intervention within a Gestalt therapeutic context can support an approach that adapts itself to the developmental phase of the individual and is a creative way of maintaining interest and focus.Social Work
M. Diac. (Play Therapy)
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Romarco, Evanize Kelli Siviero. "Dança e educação somática : a aplicação do método GDS para o aprimoramento do movimento expressivo e performático em dança." Doctoral thesis, 2014. http://hdl.handle.net/10400.5/8349.
Full textAbstract:
Doutoramento em Motricidade Humana na especialidade de DançaO campo da educação somática fundamenta-se em contínua sistematização e estruturação do conhecimento empírico em que a prática é a base da teoria, e a percepção das sensações (por meio da experiência) é a base do aprendizado. A dança contemporânea se funde a esses princípios criando indagações que o bailarino e o coreógrafo encontram ao trabalhar o movimento, possibilitando, por meio da experiência, superar as dificuldades e voltar o olhar a outros horizontes, novas danças e novos movimentos. Por este caminho e pela construção e reconstrução da postura corporal nasce o método GDS, uma prática somática que se apresenta como um procedimento de leitura da postura, dos gestos e formas do corpo que fornece elementos para o diálogo entre o corpo e suas relações internas e externas. Assim, conduzir o corpo a um processo de aprendizado integrado, que envolva a capacidade de ler sensações, hábitos e comportamentos pode trazer contribuições significativas a favor não só da boa saúde, mas também, da expressividade artística e do movimento na dança. Nesse sentido, os objetivos deste estudo foram: a) desenvolver um método de trabalho didático-pedagógico de aplicação dos princípios do GDS à dança contemporânea e verificar se o mesmo pode contribuir para o desenvolvimento e aprimoramento do movimento expressivo e performático de graduandos de curso superior de Dança; b) analisar se as posturas morfocomportamentais do método GDS podem contribuir para melhorar a qualidade performática do bailarino; c) verificar se o fatores tempo e intensidade deste trabalho prático pode influenciar o seu resultado e d) refletir sobre a propagação da aplicação do método GDS na dança, em outros terrenos como na vida diária e profissional dos bailarinos. Para alcançar tais objetivos, realizamos uma pesquisa de campo com uma abordagem crítico-dialética, por meio de uma pesquisa-ação com aplicações do método GDS em aulas de dança contemporânea para 32 bailarinos dos cursos de bacharelado e licenciatura em dança da Universidade Federal de Viçosa-MG-Brasil organizados em dois grupos – G1 e G2. Na coleta dos dados utilizamos cinco instrumentos: 1) registros videográficos e fotográficos das aulas; 2) observações das aulas e dos registros videográficos; 3) diário de bordo; 4) entrevista focal de grupo; 5) questionário de qualidade de interpretação dos bailarinos. O tratamento dos dados realizou-se por meio das análises qualitativa e quantitativa (porcentagem simples, teste de Friedman e de Sinais). Como resultado, os alunos puderam, por meio do GDS, ter um olhar mais apurado sobre si e para as suas posturas quando dançam. Quanto ao processo de percepções de mudanças do corpo e no movimento constatamos que a maioria dos alunos dos dois grupos percebeu, já nas primeiras sessões, que ocorreram mudanças referentes à propriocepção, aos vícios posturais, à consciência corporal e à própria qualidade do movimento, elementos essenciais para o desenvolvimento de um corpo sensível no ato de dançar. Os participantes – com o método GDS – ultrapassaram as paredes da sala de aula aplicando-o em alguns aspectos da vida diária e em outros estilos e contextos da dança (Balé clássico, Composição coreográfica e solística). Constatamos que a proposta didático-pedagógica de aplicação do método GDS na dança é relevante e eficaz para o seu entendimento e desenvolvimento como um elemento diferenciado para o aprimoramento do movimento expressivo e performático de graduandos em dança, contribuindo para a sua formação profissional.
ABSTRACT - The field of somatic education is based on a continuous and systematic structuring of empirical knowledge where the practice is the basis of the theory and the perception of sensations through experience is the basis of learning. We believe that contemporary dance merges these principles by creating questions that the dancer and choreographer find to work the movement, allowing through of the experience, overcome difficulties and turn our gaze to other horizons, new dances, and new moves. Permeating this way and by construction and reconstruction of body posture, the GDS method born, a somatic practice that primarily presents as a procedure of reading posture, gestures and body shapes that provides elements for dialogue between the body and its relations internal and external. Thus, lead the body to an integrated process of learning, which involves the ability to internally read feelings, habits and behaviors that they can reveal, can bring significant contributions not only for good health but also of artistic expression and movement in dance. The aim of this study was to develop a didactic-pedagogical proposal for applying the principles of the GDS method to contemporary dance and ensure that it can contribute to the development and improvement of the expressive and performative movement undergraduate degree in Dance; whether the morphological postures this method can help improve the performative quality of the dancer; verify that the factors time and intensity of practical work can influence the outcome and reflect on the spread of this method in dance, other fields as in daily and professional lives of dancers. For this study we conducted a field study with a critical- dialectical approach, through an action research through the applications of the GDS method in dance classes, for 32 dancers of degree course in dance from the Federal University of Viçosa-MG-Brazil divided into two groups named G1 and G2. To collect the data we chose to use five instruments: video and photographic records of the classes; observations of lessons and videographic records; logbook; focal group interview and the questionnaire of the quality of interpretation of the dancers. The data analysis was conducted through qualitative and quantitative analysis (simple percentage, Friedman and Signs test). As a result the students were able through the GDS have a closer look at themselves and their attitudes when they dance. As regards the process perception changes in body and in movement we can analyze that most learners in both groups realized changes since the first sessions regarding the proprioception, to bad postural habits, body awareness and the very quality of movement, essential elements for the development of a sensitive body in the act of dancing . Participants with the GDS method surpassed the walls of the classroom by applying it in some aspects of daily life and in other dance styles and contexts (Classical ballet, choreography and composition individual), which implies that the proposal didactic- pedagogic for the implementation of GDS method in dance was relevant and effective for your understanding and development as a distinctive element to improve the expressive and performatic movement of undergraduates in dance, contributing to the training of the same.