Dissertations / Theses on the topic 'Daniel Gendre'
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Owen, Craig. "Dancing gender : exploring embodied masculinities." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636536.
Full textDeLater, James Huet Pierre-Daniel Huet Pierre-Daniel. "The 1683 De optimo genere interpretandi (On the best kind of translating) of Pierre-Daniel Huet : introduction, English translation, notes, and commentaries /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9439.
Full textBoldrin, Beatrice. "La danse orientale entre stéréotypes et symboles : enjeux de "féminités contemporaines"." Thesis, Paris 5, 2014. http://www.theses.fr/2014PA05H018.
Full textThis study traces the evolution of contemporary models of femininity in virtue of the mindset and self-perception of contemporary French women. My work focuses on the practice of oriental dance with respect to the question of gender identity. I intend to look at oriental dance as the catalyst of cultural confrontation and hybridization of Eastern and Western concepts of the body. Because this dance is primarily designed for women, I consider it an empirical vehicle for exploring issues of gender identity (notions of what is female, feminine, and femininity) through the investigation of the belly and the pelvis. Incorporating a qualitative survey among women practicing oriental dance today in Paris, my work seeks to understand how this dance influences the relationship a women has with her body and intimate self as well as how the Western outlook has altered and influenced oriental dance. What do contemporary dancing bodies in Paris share between themselves in the practice of this dance? How does oriental dance influence or become altered by the predominant dance forms in French culture? How do these different aesthetic concepts of the female body influence each other through Oriental dance, and how does this dance form modify the idea of what is the desirable female body? What are women searching for through the practice of Oriental dance today?
Guillen, Marissa E. "The Performance of Tango: Gender, Power and Role Playing." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213208506.
Full textHollander, Jocelyn A. "Discourses of danger : the construction of gender through talk about violence /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/8887.
Full textWhitehead, Anne. "Trauma, gender and performance : theorizing the body of the survivor." Thesis, University of Newcastle Upon Tyne, 1997. http://hdl.handle.net/10443/865.
Full textShriver-Rice, Meryl. "Inclusion in New Danish Cinema: Gender, Sexuality, and Transnational Belonging." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/598.
Full textChénetier, Marion. "L'oralité dans le théâtre contemporain : Herbert Achternbusch, Pierre Guyotat, Valère Novarina, Jon Fosse, Daniel Danis, Sarah Kane." Paris 3, 2004. http://www.theses.fr/2004PA030030.
Full textAs soon as characters have moved away from the stage, when fiction no longer sustains dramatic action, what remains of the theatre ? Orality : an utterance that displaces drama to nest it at the heart of language and transforms readers into actors of the text. Studying the written manifestations of orality through the works of six contemporaries -H. Achternbusch, P. Guyotat, V. Novarina, J. Fosse, D. Danis and S. Kane- amounts to showing how a specific enunciative mode gets encoded in the writing and is transmitted to the reader in order to make of the theatre the locus wherein physical speech can be rediscovered. Defined as what remains of the body in language when voice has deserted it, orality enhances the dimensions of sound and rhythm in writing. It thus entrusts the materiality of language with a decisive role in the constitution of meaning. Unsettling linguistic codes, orality works on the edges of language, uses it to sound the unknown ; it is the means whereby the theatre may become the site where experience again becomes possible. At the crossroads of stylistics, linguistics, poetics and esthetics, orality is an invitation to rethink the founding categories of the theatre. It also modifies the terms of the old debate in which text and staging vied for preeminence : orality is not the condition for the oral rendering of texts, even if it occasionnally programs it. As a transversal notion, orality questions the very theatricality of speech in various literary genres
Härtwig, Daniel [Verfasser], and Jens [Akademischer Betreuer] Werner. "Die Rolle von LGR6 in der Genese des humanen duktalen Pankreaskarzinoms (PDAC) / Daniel Härtwig ; Betreuer: Jens Werner." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1193924227/34.
Full textMueller, Gavin. ""Straight up Detroit shit" genre, authenticity, and appropriation in Detroit ghettotech /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182534766.
Full textCarter, Simon. "Risk, masculinity and modernity : understandings of gender and danger in the modern period." Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362625.
Full textMcDonald, Caitlin. "Belly dance and glocalisation : constructing gender in Egypt and on the global stage." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/119585.
Full textDerambure, Angélique. "L'image et son empreinte dans les mises en scène de Daniel Benoin : Itinéraire et processus de création de la Comédie de Saint-Étienne au Théâtre National de Nice (1975-2010)." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2018.
Full textDaniel Benoin, a contemporary stage director whose personal career was a consequence of theatrical decentralization, draws his creative strength from his ability to make mental images become concrete in live shows by using numerous knowledge and artistic techniques in a hybrid way. This project on a distinctive destiny in a holist connexion with Drama enables to theorize about the creation process in which a crossed look at phenomenology and pragmatism confirms the hypothesis of a material and stylistic imprint. The comparative approach of many performances and of all the preliminary rehearsals to five theatrical shows (Wozzeck, La Cantatrice chauve, Faces, the remake of La Cantatrice chauve, Le roman d'un trader) will eventually define this mark as an idiosyncratic, formal and original one, to be found in the whole work which was studied. Thus, thanks to the help of fertile and adjustable pre-images, essential mental images settle in the heart of creation and the oneiric vision turns out to be the very essence of the artistic particularity of this stage director. Therefore the research opens up renewed angles about the aesthetics and the presence/absence of the artist in enlarged fields (such as cinema, dancing, painting, photography, music, writing)
Hersant, Céline. "Recyclage et fabrique continue du texte : Valère Novarina, Noëlle Renaude, Daniel Lemahieu." Paris 3, 2006. https://janus.bis-sorbonne.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-3619-2.
Full textThis series of analyses attempts to unravel the complex bundles of textual threads woven through the works of three contemporary dramatists. It exposes the self-conscious act of writing and the conditions of textual production that create the theatrical fiction of the three authors. The thesis takes the shape of brief investigations that at times follow unpredictable routes through the texts. They highlight the imagery used by each author, in particular, metaphors referring to techniques of dressmaking, and they demonstrate the processes of intertextual stitching, mending and weaving that construct these three oeuvres. Moreover, they seek to uncover the text’s modus operandi, namely the writing processes and techniques elaborated by each writer to construct systems of meaning. The intention of this approach is to find an appropriate position and distance from which to read the dramatic texts, since they appear to evade linearity. Indeed, reading texts by Valère Novarina, Noëlle Renaude and Daniel Lemahieu involves a veritable exercise in orienteering: how does the reader navigate through the textual strata and multiple ramifications offered by the text’s infinitesimal variations in style and meaning ; where are the reader’s reference points on a page of text where the author seems to zoom cinematically in and out by altering typography and page layout ? By seeking a direction through the text, the reader must necessarily assume the role, with the author, of co-creator. The text requires the reader to construct a dissipated unity from the textual fragments, and to re-stitch a text that is often presented in tatters by the author
Ha, Steven Kyung-Gyoon. "Classicism and Romanticism in Three Ballets by Frederick Ashton." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1607420030830412.
Full textWalmsley, Walmsley. "Masculinity and Dance : Male Dancers, Gender and Society in Stockholm, Sweden." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185745.
Full textHart, Alison. "Queering choreographic conventions| Concert dance as a site for engaging in gender and sexual identity politics." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527949.
Full textThree dances, On This Day, Panties and Pathologies , and Naked Spotlight Silver were choreographed and performed in fulfillment of the requirements to complete an M.F.A. degree in dance. The performances took place at the Martha B. Knoebel Dance Theater located on the campus of California State University, Long Beach. On This Day premiered October 2012, Panties and Pathologies premiered March 2013, and Naked Spotlight Silver premiered October 2013.
This thesis examines how each project investigates choreographic approaches used in concert dance to communicate issues of gender and sexuality as well as participate in a discourse on identity politics. The three dance pieces attempted to confront themes of marriage equality, representation and the marketing of femininity, and queer identity representations in performance. Each piece was unique in its methodologies and served as an explorative approach to political communication and artistic development.
Aramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.
Full textHistory of Art and Architecture
Kallur, Martin. "Queer Love in Social Media Marketing : A Case Study of Same-Sex Couple Representations in Watch Brand Daniel Wellington’s Social Media Channels." Thesis, Linköpings universitet, Tema Genus, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-152000.
Full textMcLaren, Mary Gugu Tizita. "Dancing with dangerous desires : the performance of femininity and experiences of pleasure and danger by young black women within club spaces." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/14628.
Full textThis research was carried out in Langa Township, Cape Town and worked with 7 young black women, between the ages of 19 and 26 years old. The aim was to explore the fluidity of identity, in particular gender identity, by exploring the performance of 'normative' femininity and 'hidden/subversive' femininity performed in different spaces. The focus was on 'hidden/subversive' femininity and the experiences of pleasure and danger in clubs spaces in Cape Town. It was found that these experiences centre on appearance, use of alcohol and dancing and expose the way in which young women negotiate between the pleasurable and dangerous that, consciously or unconsciously, push the boundaries of entrenched gender norms. In addition, owing 10 the nature of the research, constructions of masculinity were also explored and discovered to have a profound impact on young women's experiences within club spaces and in their everyday lives, relating to sexual relationships. This study aims to reveal the power and agency of young women, as well as the struggles and restrictions.
Morrissey, Sean Afnán. "Dancing around masculinity? : young men negotiating risk in the context of dance education /." Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59614.
Full textPettyjohn, Celine Lyn Doherty. "Swingers masculinities and male sexualities in ballroom dance /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446434.
Full textRosler, Julia. "Acting the part : gender and performance in contemporary plays by women." Thesis, University of Stirling, 2000. http://hdl.handle.net/1893/2399.
Full textMokrzycki, Bartosz Paul. "Stranger danger: the politics of child safety in the age of Reagan." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6255.
Full textvan, Dobben Danielle J. "Dancing Modernity: Gender, Sexuality and the State in the Late Ottoman Empire and Early Turkish Republic." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193284.
Full textDemenkoff, John Haynes. "Evolution and emergence of the masculinities| Epiphanies and epiphenomena of the male athlete and dancer." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3626049.
Full textTo say that the masculinities are woven into the fabric of a pre-existing culture is not enough. One must go further and explore how culture itself is constituted by, or more precisely, constituted through the masculinities. As William Doty notes in his Myths of Masculinity (1993), culture not only produces but also is produced by stories. Ancient legends and sagas, like myths, are, to a large degree, perpetuated by the modern male dancer and athlete. However, as contemporary iterations of the masculinities, male athletes and dancers have evolved beyond the scope of myths and into new cultural forms. Their emergent story threads through this dissertation.
The masculinities represent a diverse array of possibilities and pluralities. What, then, holds them together as a coherent cultural force? This dissertation is, in large part, devoted to answering that question by way of a perspicuous inquiry conducted into a) the binarisms of gender, such as hetero-normativity and homophobia, b) the existential and archetypal nature of being, c) Cartesian mind-body dualities, and d) paradigms and practices of male athletes and dancers themselves.
In his The Structure of Scientific Revolutions (1962), Thomas Kuhn used "paradigm" to explain historical shifts in the practice of the hard sciences. Subsequently, Michel Foucault, in The Order of Things (1966), appropriated the word in a hermeneutical analysis of the human sciences. It is his unique exegesis of the history of knowledge that is used to track the historical arc of the masculinities.
This dissertation ultimately moves beyond the perspectives of Kuhn and Foucault to the work of feminist Judith Butler. In Bodies That Matter (1993), Butler maintains that one's gender is a cultural construct and that the process of gendering, though performative, is largely unconscious. If gender and sex are mere social constructs, where does that leave the nascent logos of an athlete or dancer's body? A counter-argument is made that in order to be coherent, the masculinities must possess, at minimum, a mindful body in addition to an embodied mind.
Keywords: Masculinities; Dancer; Athlete; Body; Discipline; Gender; Hero; Archetype; Dasein.
Körnlein, Daniel [Verfasser], Ulrich [Akademischer Betreuer] Kohlenbach, Acedo Genaro [Akademischer Betreuer] López, and Thomas [Akademischer Betreuer] Streicher. "Quantitative Analysis of Iterative Algorithms in Fixed Point Theory and Convex Optimization / Daniel Körnlein. Betreuer: Ulrich Kohlenbach ; Genaro Lopez Acedo ; Thomas Streicher." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2016. http://nbn-resolving.de/urn:nbn:de:tuda-tuprints-54859.
Full textKörnlein, Daniel Verfasser], Ulrich [Akademischer Betreuer] [Kohlenbach, Acedo Genaro [Akademischer Betreuer] López, and Thomas [Akademischer Betreuer] Streicher. "Quantitative Analysis of Iterative Algorithms in Fixed Point Theory and Convex Optimization / Daniel Körnlein. Betreuer: Ulrich Kohlenbach ; Genaro Lopez Acedo ; Thomas Streicher." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2016. http://d-nb.info/1112269401/34.
Full textLeissner, Debra Holt. "The Gender of Time in the Eighteenth-century English Novel." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278321/.
Full textWebb, Brock F. "This side of midnight: Recovering a queer politics of disco club culture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363615857.
Full textMorrissey, Sean Afnán. "Dancing around masculinity? : young men negotiating risk in the context of dance education." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=59614.
Full textDenney, Karson B. "Real Men Can Dance, But Not in That Costume: Latter-day Saints' Perception of Gender Roles Portrayed on Dancing with the Stars." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2615.
Full textBoivineau, Pauline. "Danse contemporaine, genre et féminisme en France (1968-2015)." Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0034/document.
Full textThis thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist
Keenan, Sharon M. "A Choreographic Exploration of Race and Gender Representation in Film and Dance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1002.
Full textKosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.
Full textLópez, Rodriguez Fernando. "Mutations du désir en danse : tablao et flamenco contemporain : genre, contextes de production et catégories esthétiques (Espagne 1808-2018)." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080037.
Full textThis thesis examines the emergence of contemporary flamenco dance in Spain in the years 1990-2000. This dance is analyzed here as an artistic phenomenon that arises in reaction to the so-called traditional flamenco dance produced in tablaos from the 1950s. Tablaos, which offer flamenco shows for tourists, are analyzed from the moment of its creation until today as well as in relation to the café cantante, its esthetic ancestor (1850-1920), having as main perspective of analysis the one of gender studies. In a first moment, I analyze the continuities and the discontinuities between the café cantante and the tablao. After, the focus is on the emergence of « contemporary flamenco dance » , explaining as much the contextual factors that favored its birth as the personal motivations of the artists and the aes-thetic stakes at work. I also analyze the aesthetic and social consequences that such a phenomenon has produced among the various actors of the flamenco milieu. Finally, I show the effects that the economic crisis of 2008 had on the flamenco scene and how the artists had to develop a variety of survival strate-gies that resulted in a complexification of aesthetic positions based on the elements built during the pe-riod. previous years of the 1990s and 2000s. The development of this research is also based on the analysis of three case studies directly relat-ed to my artistic work, and ends with an epilogue that describes Pensaor, a choreographic piece created in parallel with the written thesis where I « perform my research »
Caltabiano, Pamela Ann. "Embodied Identities: Negotiating the Self through Flamenco Dance." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/33.
Full textPereira, Germana Cleide. "Dois pra lÃ, dois pra cÃ: a construÃÃo dos modelos de masculinidade e feminilidade na academia de danÃa de salÃo." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=9797.
Full textO objetivo dessa pesquisa à analisar a construÃÃo dos papÃis masculinos e femininos na academia de danÃa de salÃo. Para isso, foram tomados os espaÃos do salÃo de danÃa do Projeto DanÃar Faz Bem, o processo de ensino-aprendizagem dessa atividade, as normas da academia e especialmente as disposiÃÃes tÃcnicas e estÃticas dos danÃarinos para a produÃÃo de um corpo-danÃa apropriado a damas e cavalheiros. Desse modo, foram analisados corpos, gestos e performances de professores e alunos, durante as aulas, as interaÃÃes entre homens e mulheres e o ritual da escola de danÃa com seus ensinamentos a iniciantes e veteranos.
The objective of this research is to analyze the construction of male and female roles in the Academy of ballroom dancing. For this, the spaces were taken ballroom dancing Project Does Well, the process of teaching and learning of this activity, the rules of the academy and especially the technical and aesthetic dancers to produce a body-suited to dancing ladies and gentlemen. Thus, we analyzed the bodies, gestures and performances by teachers and students during the lessons, interactions between men and women and ritual dance school with its teaching beginners and veterans.
Merritt, Carolyn P. "Locating the Tango: Place and the Nuevo Social Dance Community." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/13758.
Full textPh.D.
In this dissertation, I examine the impact of globalizing processes upon the contemporary Argentine tango scene in Buenos Aires. Focusing on a contested trend referred to as tango nuevo, I engage debates surrounding: authenticity and cultural ownership; the performance of gender and sexuality; generational conflict in human movement practice; the enduring significance of place in an era of heightened globalization; the role of place and global economics in shaping transnational cultural formations; community as a site of anxiety, hierarchy and conflict; the tension between preservation and evolution in the survival of cultural phenomena; and conflicting narratives of dance as drug, therapy and pain. The result of a five-year pursuit of Argentine tango, both as an anthropologist and a dancer, this dissertation is informed by two years of fieldwork in Buenos Aires, three years of preliminary research in Philadelphia, a preliminary fieldsite investigation in Buenos Aires, and participant observation in a handful of U.S. tango communities preceding fieldwork. This dissertation will add to the literature on Argentine tango by challenging popular and scholarly notions of what may be encompassed under this term. With community as the key concept underlying my study, I hope to expand upon the application of semiotic analysis in dance studies through an emphasis on practice and phenomenology, framing community through the performance of shared bodily vocabularies that are open to renewal and transformation. Building upon recent anthropological investigations of globalization and modernity, I suggest that human movement practices present a rich area for further research into the enduring significance of place. In approaching a fluid, global community via local-level fieldwork that is oriented towards the passage of media, ideas and dancers across borders, my project suggests a solution to the quandaries of doing ethnography and microanalysis in complex, transnational macro-contexts. With the growth of new sites, new codes, and a new community of practitioners, I argue that the study of tango in anthropological perspective offers a unique view into the ways in which individuals carve out notions of personhood, identity and culture in a globalized world.
Temple University--Theses
Richard, Byron Marvin. ""DADDY, ROOT ME IN": TETHERING YOUNG SONS IN THE CONTEXT OF MALE, INTER-GENERATIONAL, CHILD-CENTERED, DANCE EDUCATION." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/37316.
Full textPh.D.
This study of the dance experiences of related men and boys pursues overlapping and related research goals. It is an investigation about reflective teaching practice in the process of developing an emergent curriculum for this multi-generational group of men and boys. It is an investigation about the communicative moments between participants through which members expressed their pedagogical regard for each other, their needs, desires and their dance learning. And it is an investigation about this group of men and boys as an example of aesthetic community, a community engaged in expressing and mediating individual style and dispositions through a group process and resulting in deeply shared aesthetic meanings and group style. Fourteen participants in six family groups danced together on seven Saturdays in a small community north of Philadelphia, Pennsylvania. Participants ranged in age from five-years old to more than forty-five years old. Dance curriculum was designed in reference to the teacher's knowledge and experience of creative movement for primary aged children, and in reference to the teacher's dance performance and choreographic experiences and experiences of parenting. Based on detailed transcriptions of two-camera video documentation of the seven sessions, a narrative analysis thickly describes significant movements of participants, before, during and after the sessions, as well as interactions and participants' utterances. Post-session captioned drawings are discussed in detail following each session. Major findings are then presented as related to three research goals: reflective practice for emergent curriculum design, intersubjectivity as it occurred in this example of inter-generational dance education and an examination of this group of learners as an example of aesthetic community. Findings are discussed in relation to relevant literature and recommendations posed for further research.
Temple University--Theses
Nance, Curtis Kemal. "Brothers of the 'Bah Yah!': The Pursuit of Maleness in the Umfundalai Tradition of African Dance." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/291024.
Full textPh.D.
Inaugurated by Kariamu Welsh in 1970, Umfundalai is an evolving contemporary African dance technique that draws movements from African and Diasporan dances. As one of the first of thirteen men to study and perform the technique, Umfundalai reified a North American African male identity, empowering me to navigate American and African American social scripts that posit dancing as a non-masculine activity. This study employs an autoethnographic lens to illuminate men's constructions of gender in Umfundalai. Specifically, the research explores maleness, an experienced gendered agency, among eight male practitioners, including the researcher. Brothers of the Bah Yáh is framed as a multi-layered inquiry that applies phenomenological values and procedures to forward an auto-ethnographic intention. The study's qualitative methodology draws on Max van Manen's hermeneutic phenomenology and Anselm Strauss's applied grounded theory, as well as historical description and dance analysis. Sources of data include interviews with seven Umfundalai men, Umfundalai's progenitor and first dance master; an in-depth research journal recording my own lived experience descriptions and memories of dancing Umfundalai; and videos of selected Umfundalai repertory. The study is informed by the literature of masculine studies, highlighting the social function of masculinities as scripted and learned ideals. There is a dearth of resources theorizing the African American presence in African dance on the American concert stage. Drawing on primary sources, the empirical findings of the study are framed in a historical analysis of the emergence of a male presence in Umfundalai since 1993, including male-inspired developments in the technique. Analysis of in-depth interviews reveal that performing Umfundalai choreography affords men an opportunity to dance a self-determined construction of gender performance and that Umfundalai studio practice can be a site for men's affirmation of their `dancer' identities as well as friction with gender performance. Further, while Kariamu Welsh's approach to developing Umfundalai's movement system may be described as gender-neutral, the continuance of Umfundalai by its dance masters substantiated a gendered Umfundalai in which movement and performance were aligned with scripted conventional masculine tropes. The Brothers of the Bah Yáh: The Pursuit of Maleness in the Umfundalai Tradition of African Dance reveals that `the pursuit of maleness' was a unique construction experienced only by the researcher. Contradicting my initial presumption, the other men in this study found their gendered agency outside of Umfundalai. Moreover, a large majority of men in this study draw significantly on conventional masculinities, namely strength and power, to feel their maleness. Further, a spirituality of solidarity was uncovered - an embodied masculinity that can arise while dancing Umfundalai choreography and observing other men dancing at the same time. The dissertation concludes that expressions of maleness as described by Umfundalai's dancing men have currency in sports and in the larger American and African American communities out of which Umfundalai's dance culture emerges. Strength, power, and spiritual transformation situated in similitude represent commonalities of male experiences. At the same time, Umfundalai choreography can house multiple masculinities. Dances like Kariamu Welsh's Raaahmonaaah! (1989) and my Genesis: The Royal Dance of Kings (1996) serve as portals for masculinities that dismantle the hegemony that erodes the community in which it exists. Further research is needed to understand how dancing men can be a force that dismantles racism, sexism, and homophobia.
Temple University--Theses
De, Boer Kyle Dylan. "Queer transgressions : the choreographing of a male homosexual presence with reference to selected choreographers." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1009442.
Full textLee, Deng-Huei. "The Evolution of Yeats's Dance Imagery: The Body, Gender, and Nationalism." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4312/.
Full textBéhar, Pierre. ""Silesia Tragica" : épanouissement et fin de l'école dramatique silésienne dans l'oeuvre tragique de Daniel Casper von Lohenstein (1635-1683)." Paris 4, 1985. http://www.theses.fr/1985PA040002.
Full textHopkin, Rachel Claire. "Argentine Tango in Cincinnati: An Ethnographic Study of Ethos, Affect, Gender, and Ageing in a Midwestern Dance Community." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574766653540698.
Full textGreenberg, Maximanova O. "“Am I Sexy Yet?”: Contextualizing the Movement of Exotic Dance and Its Effects on Female Dancers’ Self-image and Sexual Expression." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/352.
Full textSvensson, Sara, and Ida Nordmark. "”Alla kan dansa!” : Synen på rörelse till musik samt dans i ämnet idrott och hälsa ur ett genusperspektiv." Thesis, Linnéuniversitetet, Institutionen för idrottsvetenskap (ID), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27632.
Full textBarwick, Emily Moran. "Layers of the LapDance Scholarship: conception & foundational thought processes, history, development, & issues inherent therein and arising therefrom." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3563.
Full textFrankel, Tara Maylyn. "Weaving Through Reality: Dance as an Active Emblem of Fantasy in Performance Literature." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/37.
Full textTrygged, Sofia. "In Danger or Dangerous? : A discourse analysis of representations of Swedish women and children affiliated with ISIS after the breakdown of the 'caliphate'." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403386.
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