Dissertations / Theses on the topic 'Dance movements'
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Ballardini, Anny. "Ghost Dance in 31 Movements." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.
Full textQuinn, Mallory Joanne. "Utilizing TAGteach to Enhance Proficiency in Dance Movements." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4751.
Full textWilkinson, Marcy. "Movements of transformation and resistance reading dance in Shakespeare /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1663116651&sid=4&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Full textJap, Lilian. "Mapping detected periodic dance movements to control tempo in the music playback of Electronic Dance Music." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-251668.
Full textAtt engagera sig i ett musikset av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.
Von, Hofe Erin Althea. "Circling the underground transnational movements in urban dances and literatures /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1872924421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textJames, Takema J. "Using Auditory Feedback to Improve Dance Movements of Children with Disabilities." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5708.
Full textGiotaki, G. "Emergent movements : the role of embodiment and somatics in British contemporary dance." Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/dddf2f58-70b8-4c9b-a3b8-8b4308208f50/1.
Full textBeck, Kimberly Jean. "The Dance movements of Christian Flor in Lüneburg Mus. Ant. Pract. 1198." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/226.
Full textCodjoe, Ama. "Dance liberation: movements of freedom in the works of Pearl Primus and Rennie Harris." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327350733.
Full textMcLay, Grant A. "Movement Capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/109619/1/Grant_McLay_Thesis.pdf.
Full textSvenns, Thelma. "SENSITIV : Designing for Interactive Dance and the Experience of Control." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280814.
Full textUnder det senaste årtiondet har många studier och projekt gjorts inom interaktiv dans. Interaktiv dans betyder att involvera teknik till dansen, vilket öppnar upp många möjligheter till att utföra dans på annat sätt än vad man vanligtvis är van vid. Många av dessa studier har ofta involverat manipulation av musik men få verkar ha involverat realtidsmusik producerat av en live-musiker. Därför har denna studie utförts tillsammans med en musiker och dansare för att undersöka samspelet mellan dessa två parter genom sensorteknik i ett utformat projekt kallat för SENSITIV. Mer specifikt så har undersökningen haft fokus på input-designen, dvs. placeringen och bearbetningen av sensorerna, för ett interaktivt system, samt hur involveringen av sensorteknik påverkar dansen. Rörelsesensorer var burna av dansaren som på så vis kunde genom sina rörelser manipulera realtidsmusiken som var producerad av musikern. Detta skapade i sin tur en interaktion i den mellanliggande förbindelsen, där dansaren kom att agera som en medmusiker. Två studier var uppförda där den första hade fokus på att utforma och utveckla en prototyp ur ett förstapersonsperspektiv, medan den andra studien hade fokus på att testa prototypen på en större grupp av dansare. Resultaten visade att placering av sensorer på de yttre kroppsdelarna, så som armar och ben, var mest lämpligt. För att nå en positiv upplevelse i termer av att känna kontroll med att dansa med sensorer, visade det sig att denna prototyp krävde mer tid att bli utforskad då en förståelse och kunskap av systemet behövdes.
Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.
Full textIn the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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.
Full textCastro, Edward A. "Imitation of an innovator : a comparative analysis of Agon by Igor Stravinsky and Dance movements for brass quintet by David Snow /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11326.
Full textHenson, Sändra Lee Allen. "Dead bones dancing : the Taki Onqoy, archaism, and crisis in sixteenth century Peru /." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0320102-105954/unrestricted/HensonS041102a.pdf.
Full textDe, La Torre Krista. "Social Movements and Environmental Law: A Case Study of Politically Disenfranchised Communities in Ecuador and Argentina." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1849.
Full textShaw, Charlotte. "Buying a balance : the 'individual-collective' and the commercial new age practices of yoga and Sufi dance." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a1fc05ce-7df5-4229-862a-132bbed153de.
Full textCraycraft, Jeremy L. "William Russell's Percussion Ensemble Music, 1931-1940." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305820085.
Full textLavelle, Lise. "Amerta movement of Java 1986 - 1997 : an Asian movement improvisation /." Lund : Centre for Languages and Literature, Lund Univ, 2006. http://www.loc.gov/catdir/toc/fy0701/2006402578.html.
Full textStathopoulou, Dimitra. "From dance movement to architectural form." Thesis, University of Bath, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538117.
Full textSmith, Gavin W. "An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.
Full textSaraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.
Full textShastri, Devdutt. "Dance of architecture : choreographic and architectural movement." Thesis, Cardiff University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584890.
Full textDu, Plessis Nicolette. "A critical review of contemporary dance/movement therapy." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002367.
Full textJones, Joy Shalee Hannah. "A movement toward wholeness exploring dance in the faith community /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
Full textFournié, 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.
Full textThis 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
Greyling, Eduard. "Benesh movement notation : African dance application : [part 1]." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7842.
Full textKim, Sue In. "Naming Movement: Nomenclature and Ways of Knowing Dance." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/110764.
Full textPh.D.
This study examines dance terminologies and documentation of Korean and French court dances, Jeongjae and Belle Dance, respectively. For Belle Dance, Raoul Feuillet's Chorégraphie (1700) and Pierre Rameau's Maître à Danser (1725) provide lists of movement terms, definitions of them, and instructions for how to enact them. For Jeongjae, Jeongjae mudo holgi, written in the nineteenth century, comprises diagrams and descriptions of dance movements. These sources have their own ways of converting dance movement into language, revealing the divergent perspectives toward body movement in each culture. Their divergent modes of documenting dance demonstrate the characteristic ways of expressing and constructing knowledge of body movement of their historical and cultural contexts. By comparing the terminologies and documentation that carry historically and culturally specific concepts, I explore underlying assumptions about what kinds of information are considered knowledge and preserved through articulation in words and graphic symbols. This study addresses the research question, what do dance terminologies and processes of documentation suggest about perspectives on dance movement in two distinct dance cultures. To articulate the differences, this study examines selected documents as a whole and dance terms in specific. The significance of characteristic features found in the textual analysis will be illuminated through an exploration of intertextual relationships between the dance texts and important sources of the period that focus on the body and how it is conceived in relation to the human being. This study suggests that, dance documents, which translate selected aspects of dance movement into words and graphic symbols, encapsulate historically and culturally specific ways of knowing dance movement. Intending to capture movement analytically and visually, Belle Dance treatises attempt to establish objective knowledge of dance. This mode of knowing corresponds to philosophical and practical milieus that constructed the theory of mind-body dualism, mathematical foundations of modern science, and reliance on sense perceptions. In contrast, Jeongjae documents take the performer's experience as the standard point of view, considering his or her inner experience as well as observable results of movement. Correspondingly, Korean traditional culture adhered to a holistic view of the body and promoted implicit expressions to describe body movements.
Temple University--Theses
LaVita, James A. "Theorizing dance practice : toward an ethnography of movement /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Full textSpalink, Angenette M. "Loie Fuller and Modern Movement." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.
Full textHooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.
Full textPh.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses
Cholod, Kirsten L. (Kirsten Lynn). "Children's causal attributions for performance in creative dance and folk dance." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22574.
Full textMerrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.
Full textCollard-Stokes, Gemma. "Dissolving borders : the integration of writing into a movement practice." Thesis, University of Wolverhampton, 2017. http://hdl.handle.net/2436/620899.
Full textO'Sullivan, Paul T. "Lost in translation: Making sense of dance through words." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/44.
Full textRiskin, Seth. "Light Dance : light and the nature of body movement." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/46405.
Full textIncludes 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.
Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.
Full textKieft, Eline. "Dance, empowerment and spirituality : an ethnography of Movement Medicine." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/dance-empowerment-and-spirituality-an-ethnography-of-movement-medicine(37601d43-dd3c-498f-88a4-8e2c0004360f).html.
Full textRiggs, Leyva Rachael. "Dance Literacy in the Studio: Partnering Movement Texts and Residual Texts." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420672347.
Full textAcaron, 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.
Full textWilliams, Sophia Mary. "Foundations to a holistic understanding of human movement and dance." Thesis, Institute of Education (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420079.
Full textHonisch, Juliane Jacqueline. "Dance ensemble synchronisation : movement timing between two or more people." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3404/.
Full textShresthova, Sangita. "Strictly Bollywood? : story, camera and movement in Hindi film dance." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/39161.
Full textThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2003.
Includes bibliographical references (leaves 86-95).
Film dances, or filmed dance sequences accompanying film songs, are an important part of popular Indian cinema. Over the years, Hindi film dance has evolved from a cinematically simplistic, filmed documentation of performance traditions, to a recognized and increasingly respected dance category emulated in staged performances in India and abroad. Despite their significance, dances in Indian popular films have not been systematically analyzed, and their movement, history, cultural influence and migration remain largely unexplored. The ubiquitous presence and under-theorization of film dances raises many questions about why these dances emerged as key ingredients of film, how their production, dance and cinematic content has evolved over time and, finally, how these dances are received and reinterpreted by audiences outside India. The objective of my investigation here is to set the foundation for an analytical framework for understanding dances in popular Hindi films. Using the relationship between dance sequences in films and their re-staging as Bollywood dances at South Asian cultural shows as a point of departure, I explore the analytical challenges of exploring dances in Hindi films as a first step towards a larger study of the cyclical migration of these dances to be conducted at a later date. My rather formalist approach to Hindi film dances provides a foundation for investigating these dances in way that will allow me to expand on this research in the future. Most importantly, however, I believe my approach to Hindi film dances enables me to explore "Bollywood dance" as a site of reception of Hindi film dances as they move from films to stage.
by Sangita Shresthova.
S.M.
Payne, Helen. "The experience of a dance movement therapy group in training." Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10019149/.
Full textBradley, Katie Claire. "Choreographing Cabaret: A Guide to Storytelling through Dance and Movement." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/816.
Full textMeekums, Bonnie. "Dance movement therapy and the development of mother-child interaction." Thesis, University of Manchester, 1990. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557844.
Full textCaldwell, Rachel. "Autobiography in movement and prose| The self-made image." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557458.
Full textAutobiographies have been written by notable 20th Century choreographers, establishing a strong connection between autobiographical writing and the art of choreographing. The autobiographical process, specifically the act of self-reflection, lends itself to the formation of a self-image, which is evident in both the choreographers' writing and their choreography. Because of similar processes in choreography and autobiographical writing, choreographers are inclined towards the autobiographical act, as it is an invaluable tool for self-discovery and expression. Through this process, choreographers have been able to formulate and perpetuate lasting images of themselves, supported by both their choreographic work, and their written autobiographies. Examples of this can be seen in the works of 20th Century modern dance choreographers: Isadora Duncan, Martha Graham, Yvonne Rainer and Twyla Tharp.
Olson, Darin James. "Eckhard Kopetzki's Compositions for Marimba Competitions: An Examination and Comparison of Three Movements for a Solo Dancer and Night of Moon Dances." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1305845608.
Full textFredricson, 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.
Full textThis 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.
Mazzella, di Bosco Marie. "Ethnographie d'un travail spirituel contemporain : danses libres en conscience en Île-de-France : (danse des 5 rythmes, movement medicine, open floor)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100093.
Full textCentered on the Île-de-France region, this thesis deals with the dance practices and practitioners of 5Rhythms, Movement Medicine and Open Floor, which have been grouped together here as Freeform Mindful Dances. These dances are undertaken with a view to “self-discovery”; they are close to personal development or well-being techniques without being reducible to them; although neither religious, esoteric nor properly speaking therapeutic, they are nevertheless associated, by their practitioners, with a form of spirituality, transformation and healing. What is it that makes dancing in this way – “freely”, “mindfully”, “collectively”, and to music – spiritual or transformative, that allows it to provide revelations about oneself or about the world, or to act as a factor of healing? On the one hand, the ethnography of these practices sheds a new contemporary and Western light on the close connections between dance and spirituality, and by extension, on the relationships between body, mind and emotion as they are conceived and experienced in the here and now by dancing parties. On the other hand, this research aims to offer a general model for thinking about the multitude of contemporary bodily and spiritual practices that have become increasingly fashionable in recent decades