Tesis sobre el tema "Modern dance"
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Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /". Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.
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Mendini, Shauna Thelin. "GERTRUDE SHURR: PORTRAIT OF A MODERN DANCE TEACHER (DANCE)". Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/291198.
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Huxley, Michael. "Modern dance : a historical consideration". Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/14170.
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This thesis presents a selection of my published works and an accompanying exposition to demonstrate my sustained, substantial, continuous and coherent research and how it has made an original contribution to the field of dance history. The nine selected published works—Volume 2—written over the course of three decades, consider modern dance between 1900 and 1945 and how its historical study illuminates this significant period. All these writings made contributions to dance history that were original in their time. My first publication helped to define the field of dance history. My most recent one has taken an innovative approach to modern dance, informed by my developed understanding of the idea of dance history. The exposition—volume 1— examines my ideas of dance history. It does so by placing my writings within the context of the development of dance history as a field, especially in the UK. It goes further by considering this development within the broader context of the development of history as a discipline, both philosophically and practically. This contextualisation is then used to reflect further on my writings and their original contributions to dance historiography. I conclude with a reconsideration of the idea of dance history.
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Lee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.
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Contrino, Michelle R. "Contemporary dance praxis a philosophical and pedagogical approach to teaching contemporary dance to incoming dance majors /". Online Access "Search by author or title", 2006. http://www.oregonpdf.org.
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Lau, Tin-ming y 劉天明. "Modern dance choreography in 1990s Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29511471.
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MacIntyre, Christine Campbell. "Criterion-referenced assessment for modern dance education". Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/2182.
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This study monitored the conceptualisation, implementation and evaluation of criterion-referenced assessment for Modern Dance by two teachers specifically chosen because they represented the two most usual stances in current teaching i.e. one valuing dance as part of a wider, more general education, the other as a performance art. The Review of Literature investigated the derivation of these differences and identified the kinds of assessment criteria which would be relevant in each context. It then questioned both the timing of the application of the criteria and the benefits and limitations inherent in using a pre-active or re-active model. Lastly it examined the philosophy of criterion-referenced assessment and thereafter formulated the main hypothesis, i. e. "That criterion-referenced assessment is an appropriate and realistic method for Modern Dance in schools". Both the main and sub-hypotheses were tested by the use of Case Study/Collaborative Action research. In this chosen method of investigation the teachers' actions were the primary focus of study while the researcher played a supportive but ancillary role. The study has three sections. The first describes the process experienced by the teachers as they identified their criteria for assessment and put their new strategy into action. It shows the problems which arose and the steps which were taken to resolve them. It gives exemplars of the assessment instruments which were designed and evaluates their use. It highlights the differences in the two approaches to dance and the different competencies required by the teachers if their criterion-referenced strategy was adequately and validly to reflect the important features of their course. In the second section the focus moves from the teachers to the pupils. Given that the pupils have participated in different programmes of dance, the study investigates what criteria the pupils spontaneously use and what criteria they can be taught to use. It does this through the introduction of self-assessment in each course. In this way the pupils' observations and movement analyses were made explicit and through discussion, completing specially prepared leaflets and using video, they were recorded and compared. And finally, the research findings were circulated to a larger number of teachers to find to what extent their concerns and problems had been anticipated by the first two and to discover if they, without extensive support, could also mount a criterion-referenced assessment strategy with an acceptable amount of effort and within a realistic period of time. And given that they could, the final question concerned the evaluations of all those participants i.e. teachers, parents and pupils. Would this extended group similarly endorse the strategy and strengthen the claim that criterion-referenced assessment was a valid and beneficial way of assessing Modern Dance in Schools?
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Behunin, Laurie. "The Choreography and Production of "Jacob Five: A Journey into the Olive Vineyard"". Diss., CLICK HERE for online access, 1993. http://contentdm.lib.byu.edu/u?/MormonThesesB,10123.
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Spalink, Angenette M. "Loie Fuller and Modern Movement". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.
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Tsoulou, Marina-Georgia. "Philosophical approaches to classical ballet and modern dance". Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50522/.
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My primary concern in this thesis is to develop a framework in which classical and modern dance can be analyzed and assessed in philosophical terms. This should not be understood as an endeavour to create a system of values according to which dance should be criticized. What is being attempted is to describe and characterize dance with the tools provided by different aesthetic theories. Moreover dance, and especially ballet (due to its more solid and concrete structure and form), is used as a test - βάσανος (vasanos) in Greek - to help discern the limitations of existing aesthetic theories. At the same time the different criteria that each theory puts forward to identify a work of art are related to the notion of movement, which is central to dance. This process not only enables us to distinguish the elements of this complex form of human action, but also becomes the starting point for the elaboration of a reconfiguration of aesthetic concepts that will enable a sophisticated analysis of the phenomenon of dance. The underlying question throughout is "What makes a particular movement sequence a piece of dance rather than, for example, a piece of gymnastics?" complemented by the question "What makes an everyday life movement a dance movement?" These issues are addressed by considering how the various aesthetic theories can help us make the above distinctions. The different forms of dance are correlated with the aesthetic theories presented. The first notion I consider in this context is mimesis with special reference to Jean-Georges Noverre's account of dance, which has its roots in Aristotle's Poetics. Secondly I consider the notion of beauty - its independence from such notions as 'purposiveness', its lack of 'interest' - as analysed in Kant's Critique of Judgment. The expressive element of dance is explored in the context of R.G. Collingwood's expressivism and John Maftin's inflection of it in relation to dance. Attention to movement leads directly to the notion of form, which is explored in dialogue with André Levinson and Margaret H'Doubler. The thesis concludes by sketching an outline of a new way of approaching, understanding and hence potentially even experiencing dance (as a viewer). Dance is a carrier of a multiplicity of meanings with various contents. In the majority of cases a dance performance seeks to communicate a message to an audience. It is being suggested that dance constitutes a type of language, a communicational system, which has mimetic, expressive and formal elements. The notion of language is understood in later Wittgenstein terms. It is argued that dance comprises a 'form of life.' The elements of this system are facial expressions, movements of hands and arms, shifting of the body; all these reveal to us the quality of experience and feelings of the moving persona. Dance should be understood and appreciated in this particular context.
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Du, Plessis Nicolette. "A critical review of contemporary dance/movement therapy". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002367.
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This critical review aims to describe and define the field of dance/movement therapy. Attention is paid to central issues in psychology and dance studies which influence the advancement of the modality. Dance/movement therapy is a young profession, developed during the second half of this century, and must be viewed within the socio-cultural context of contemporary western industrialized societies. This work therefore firstly documents the development of dance/movement therapy in the light of recent studies into the nature of bodily expression and non-verbal communication. The phenomenological understanding of the human body is discussed, and the concept of bodyliness proposed in order to encapsulate a multi-dimensional understanding of the meanings of the human body. Dance/movement therapy is then delineated in relation to verbal psychotherapeutic traditions, as well as to the more marginalized body therapies. In this way it is hoped to provide an understanding of the historical precedents and theoretical contexts within which dance/movement therapy is emerging, and ultimately the possibly unique alternative service it may provide. As wide a variety as possible of theoretical approaches in dance/movement therapy is then described, and classified according to the predominant psychological orientation of the proponents. From this a critical review is attempted which is directed broadly at foundational considerations of the profession, rather than at any particular methodology. The enquiry focusses on directions for future possible research which will ensure sound theoretical frames of reference for the developing profession. Discussion of two examples of dance being used in the therapeutic context in South Africa concludes. This section is not a judgmental evaluation of techniques, but intended rather as documentation and broad classification of current work of this nature.
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Griffiths, Carolyn Margaret. "Tracing image and bodily displacement in modern and postmodern dance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.
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Through time the dancer has been both celebrated and disadvantaged by antithetical ideas: the division of soul and body, form and matter, life and death, artist and audience. For the romantics, the dancing body stood in a relationship to poetic thought in much the same way as the dancer stood to the body. Notions of the body in early modernism arose from cultural and political constructs through which poets and writers examined the nature of truth. These poets, Yeats in particular, hinted at a premise that a whole history of culture may be necessary to explain why women and art may not be considered as 'thinking bodies'. The notion of truth and of the female dancing form became bound up in the idea of the symbol of art, beauty and truth. Contemporary dance forms have evolved in various movements which either celebrated and lauded or rejected and satirised the dancer and the dancing image. Either way, the cultural and political movements of the twentieth century have bequeathed a residue of impressions surrounding bodily image. The current processes employed in today's dance practice, all of which contour the scope and diversity of contemporary dance, are couched in the multifaceted presence of postmodernism. Alongside such constructs is the fact that the twentieth century has been centred in the desire to 'create an image' and a subsequent preoccupation whole bodily image. But there are also many other channels through which the idea and use of image in postmodern dance are expressed. For instance, postmodern artists orchestrate and play with the idea of image to deconstruct forms, to lay bare the object of the dance process and in so doing, they disrupt, fragment and question established precepts and perceptions of culture. Postmodern theorists and artists also examine the literary, cultural and philosophical phenomena of politics, technology, identity and change. An examination of postmodern treatment of imagery can illuminate some of the particular processes by which choreographers explore ideas and incorporate them into their work. Postmodern dance can produce positive images for women and illuminate the conditions of men and women in defiance of the dominant constructions of gender and the hegemonic views of existence working in our culture. Gendered constructions in modernist dance forms have effected the evolution of body image whilst postmodern dance offers a complexity that 'deconstructs' these images.
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Pylyshenko, Katja. "The experience of knowledge: a post-modern somatic approach /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu14879345899772.
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Lowry, Sarah. "Bringing spirituality Into modern performance dance an examination of the Silvestre Technique as a space for global syncretism /". Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/1131.
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Fortin, Sylvie. "The Teaching of Modern Dance: What Two experienced Teachers Know, Value and Do". The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392225790.
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Fang, Adriane. "Inspiration to impulse inviting the spectator to enter in /". Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4566.
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Thesis (M.F.A.)--George Mason University, 2009.Vita: p. 76. Thesis director: James Lepore. Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Dance. Title from PDF t.p. (viewed Oct. 12, 2009). A separate DVD containing video recordings of this MFA thesis performance from September 2008 titled "impulse Present" can be found with the paper copy located in Special Collections and Archives at George Mason University. ViFGM Includes bibliographical references (p. 73-75). Also issued in print.
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Gelfand, Lily M. "Between". Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524828727023704.
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Davis, Omilade. "Modernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558814.
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DancePh.D.
This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
Temple University--Theses
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Vincs, Kim y mikewood@deakin edu au. "Rhizome/Myzone: The production of subjectivity in dance". Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051110.154532.
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Blades, H. "Scoring dance : the ontological implications of 'choreographic objects'". Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/200b5495-4d08-4228-8c53-2dda6fe53f1f/1.
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This PhD thesis examines the way in which spectatorial relationship with certain dance works is reconfigured through emerging practices for documenting, analysing and ‘scoring’ dance, paying particular attention to the role of digital technology. I examine three central case studies, developed between 2009 and 2013, which are outcomes of major research projects, these are; Synchronous Objects for One Flat Thing, reproduced (Forsythe and OSU 2009), Using the Sky (Hay and Motion Bank 2013) and A Choreographer’s Score: Fase, Rosas danst Rosas, Elena’s Aria, Bartók (De Keersmaeker and Cvejić 2012). These ‘scores’ fall under the title of ‘choreographic objects’, a term which, following Leach, deLahunta and Whatley (2008) I use to refer to collaboratively produced, artist-‐led objects that utilise technology in various ways, to explore and disseminate choreographic processes. Focussing on western contemporary theatre dance practices and drawing on discourses from Dance Studies, Performance Studies, Philosophical Aesthetics and Digital Theory, I consider how ‘choreographic objects’ pose philosophical questions regarding the ways in which audiences access, interpret, appreciate and value works, examining the evolving role of the score in issues of identity and ontology. I also consider the score-‐like nature of these objects, drawing comparisons with codified movement notations, such as Labanotation, developed by Hungarian dance theorist Rudolf von Laban (1879 – 1958). The case studies pose many queries, however the central focus of this research is on three key questions; what are ‘choreographic objects’? How do they reconfigure spectatorial engagement with specific dance works? And, how does this reconfiguration encourage a rethinking of their ontological statuses? The case studies demonstrate an increased interest in the articulation, examination and dissemination of choreographic process. In recent years many artists, based primarily in Europe and the USA, such as Siobhan Davies (1950 -‐ ), Anne Teresa De Keersmaeker (1960 -‐ ), William Forsythe (1949 -‐ ), Emio Greco (1965 -‐ ), Steve Paxton (1939 -‐ ); have teamed up with researchers and technologists to develop digital, or partially digital objects which examine and articulate their choreographic processes. deLahunta (2013b) suggests that together these artists give rise to a ‘community of practice’. This is a notion formulated by Etienne Wenger (1998) to describe groups of people who are engaged in collective learning, including, for example, “a band of artists seeking new forms of expression” (Wenger 2006: 1). The shared interest in cultivating new ways to express choreographic process generates a form of community between these artists. The objects generated through these investigations are labelled ‘scores’, ‘archives’ and ‘installations’, however, each one problematises their categorical label, thus generating the rubric of ‘choreographic objects’; an emerging class of object which both crosses and defies existing modes of description. The circulation of ‘choreographic objects’ is relatively new therefore a detailed examination of their ontology, function and impact provides a significant theoretical and practical contribution to current dance discourses and practice. This research contextualises these objects, situating them socio-‐culturally and examining the motivations and repercussions. The ontological probing considers the nature of the objects and their impact on the way we perceive and conceptualise the notion of the dance ‘work’.
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Clement, Jennifer. "Reforming Dance Pedagogy: A Feminist Perspective on the Art of Performance and Dance Education". [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.
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Labelle, Morgan. "Wave: A Dance Composition and Performance". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/508.
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Wave: A Dance Composition and Performance is a choreographic work and performance that tells a personal narrative in comparison to a wave. I performed the modern/lyrical dance with two other dancers, Rachel Crabtree and Kate Trabalka, on the evening of November 16th, 2018 in room 205 of the ETSU Campus Center building. My previous technical dance training, and training as a dance minor at East Tennessee State University from 2015-2018 prepared me to proudly present a piece that was entirely choreographed by me. The following research of modern and lyrical dance shaped my choreography, as well as my musical choices that I carefully selected and edited. Using weight sharing and partner work, and pulling inspiration and direction from the Laban Movement Analysis, I thoughtfully created a ten-minute-long production. Through research and contemplation of my life, I dove head first into pouring my heart and soul into the choreography, and this thesis documents all of the aspects that came together to create Wave.
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Sterner, Jeanne J. "A school of modern dance in the city of Berlin". Thesis, Virginia Tech, 1994. http://hdl.handle.net/10919/41983.
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Purkayastha, Prarthana. "Bodies beyond borders : modern dance in colonial and postcolonial India". Thesis, University of Roehampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505323.
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Bisse, Jaqueline de Meira. "Dança e modernidade". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251794.
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Orientador: Eliana AyoubDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-11T14:54:15Z (GMT). No. of bitstreams: 1 Bisse_JaquelinedeMeira_M.pdf: 7437678 bytes, checksum: 5fab20e86ef67702dcb2677d14039d3f (MD5) Previous issue date: 2008
Resumo : "Dança e modernidade" tem a intenção de trazer um conceito de dança moderna, buscando uma definição de suas características a partir da diferenciação entre a dança moderna e as formas precedentes de dança consideradas como belas artes: a clássica e a romântica. Apresenta elementos da técnica de importantes precursores e pioneiros da dança moderna, tecendo aproximações com os conceitos inicialmente apresentados. Pretende ainda estabelecer uma relação entre as diferentes técnicas e as diferentes possibilidades históricas e culturais de se conceber o corpo e suas expressividades. Pensa a dança como um caminho para reter e fixar os momentos revelados pela memória. Traz à tona a fratura que se opera entre o artista moderno e a época moderna. E compreende a dança também como uma política, um elemento vivo que, ao mesmo tempo, transforma e é transformado dentro dessa dinâmica.Traça observações sobre as implicações ideológicas da dança solo no século XX, buscando detectar o fio comum que liga as tensões aos projetos ideológicos do solo tanto no domínio social como, especialmente, às mulheres nesse contexto
Abstract : "Dance and modernity" intends to bring a concept of modern dance, seeking a definition of their characteristics from the differentiation between modern dance and the earlier forms of dance regarded as fine art: the classical and romantic. It presents elements of the art of important precursors and pioneers of modern dance, creating approaches to the concepts originally presented. It seeks to establish a link between the different techniques and different historical and cultural possibilities of conceiving the body and its expressive. Does the dance as a way to retain and fix the moments revealed by the memory. It brings to light the fracture which operates between the modern artist and modern times. And this includes dance also as a policy, an element that live at the same time, transforms and is transformed within this dynamics. It observes the ideological implications of dance solo in the twentieth century, seeking detect the common thread that links the tensions to the projects ideological ground both in the social field and, especially, the issue of women in that context
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Friedes, Deborah Eve. "From solo to group: individualism and collectivism in 1930s modern dance". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328806554.
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Mueller, Isabella F. "Force Attenuation Properties of Padded Dance Support Socks". Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556286663869203.
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Schwartz-Rémy, Elisabeth. "Ne rien inventer en art : paradoxes autour de la danse d'Isadora Duncan". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30053.
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Cette thèse, sous la direction de Claude Jamain, interroge l’affirmation de Duncan selon laquelle elle n’invente pas sa danse qu’elle qualifie de naturelle. Afin de répondre à ce paradoxe, l’idée est de saisir l’élaboration de sa danse comme matière en termes kinesthésiques, moteurs et qualitatifs, en interactions avec les contextes historiques et culturels auxquels elle se confronte en Amérique, en Europe et à la charnière des XIXe et XXe siècles. Après une présentation des pratiques corporelles en Amérique, la thèse aborde la façon dont l’imaginaire de la nature en Amérique et les différentes visions de l’antique aux Etats-Unis d’Amérique et en Europe participent de l’élaboration de sa danse. La conclusion,loin d’apporter une réponse radicale, tendrait à considérer sa danse à la fois comme renaissance de l’antique et naissance d’une nouvelle danseThis thesis, directed by Professor Claude Jamain, questions Duncan’s assertion that she does not invent her dance, which she describes as natural, even though, it is immediately praised for its novelty. In order to deal with this paradox, this research seeks to capture the way she developed her dance as a discipline with its kinesthetic, motor and qualitative aspects,against the historical and cultural contexts she encountered in America and Europe at theturn of the 19th and 20th centuries. After a presentation of bodily-practices in the United States, the thesis shows how the imaginary view of nature in America and the differing visions of antiquity in the United States and in Europe feed the development of her dance.Our conclusion, far from offering a radical answer, would rather consider her dance as are birth of the antique, as well as a new emerging dance
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Strohschein, Heather. "Between modern dance and intercultural performance the multiple truths of the Bird Belly Princess /". Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182295842.
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Randall, Tresa M. "Hanya Holm in America, 1931-1936: Dance, Culture and Community". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/14993.
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DancePh.D.
Though she is widely considered one of the "four pioneers" of American modern dance, German-American Hanya Holm (1893-1992) occupies a shadowy presence in dance history literature. She has often been described as someone who fell in love with America, purged her approach of Germanic elements, and emerged with a more universal one. Her "Americanization" has served as evidence of the Americanness of modern dance, thus eclipsing the German influence on modern dance. This dissertation challenges that narrative by casting new light on Holm's worldview and initial intentions in the New World, and by articulating the specifics of the first five years of her American career. In contrast to previous histories, I propose that Holm did not come to the U.S. to forge an independent career as a choreographer; rather, she came as a missionary for Mary Wigman and her Tanz-Gemeinschaft (dance cultural community). To Wigman and Holm, dance was not only an art form; it was a way of life, a revolt against bourgeois sterility and modern alienation, and a utopian communal vision, even a religion. Artistic expression was only one aspect of modern dance's larger purpose. The transformation of social life was equally important, and Holm was a fervent believer in the need for a widespread amateur dance culture. This study uses a historical methodology and accesses traces of the past such as lectures, school reports, promotional material, newspaper articles, personal notebooks, correspondence, photographs, and other material--much of it discussed here for the first time. These sources provide evidence for new descriptions and interpretations of Holm's migration from Germany to the U.S. and from German dance to American dance. I examine cultural contexts that informed Holm's beliefs, such as early twentieth century German life reform and body culture; provide a sustained analysis of the curriculum of the New York Wigman School of the Dance; and consider how the politicization of dance in the 1930s--in both Germany and the U.S.--affected Holm and her work.
Temple University--Theses
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Hooper, 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.
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DancePh.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
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Farrar, Alexandria M. "Exploring Motivations Behind Food Choices of Collegiate Female Modern Dancers". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1491213244018103.
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Carlozzo, Abby. "A STUDY OF DANCE IMPROVISATION IN AFRICANIST AND POST-MODERN CONTEXTS AS EXPERIENCED BY PHILADELPHIA-BASED ARTISTS". Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/393830.
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DanceM.A.
This thesis examines the philosophical and aesthetic characteristics of dance improvisation in two enormous contexts: Africanist dance forms and the diverse genres that this term encompasses, and postmodern dance practices that grew out of the work of the Judson Dance Theater in the sixties. The impetus for this study grew out of previous research in Ouagadougou, Burkina Faso in West Africa where I collaborated with a Burkinabe dancer to uncover how our histories influence our approach to movement-making. I soon realized that we possessed different understandings of dance improvisation, and I endeavor to unpack those differences in this study. I seek to evidence the range of understandings of dance improvisation that exist in the United States by including the voices of six Philadelphia-based artists who I have interviewed for the purpose of this research. Although I initially contacted Olivier Tarpaga, Zakiya Cornish, and Cachet Ivey for their work with African dance genres, and Esther Baker-Tarpaga, Marion Ramirez, and Molly Shanahan for their work with postmodern practices of improvisation, the amount of overlap between the two contexts soon became apparent. In exposing the diverse practices of improvisation, I hope to spark a conversation about what constitutes dance improvisation in the United States.
Temple University--Theses
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Tafferner-Gulyas, Viktoria. "Caribbean Traditions in Modern Choreographies: Articulation and Construction of Black Diaspora Identity in L'Ag'Ya by Katherine Dunham". Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5137.
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The interdisciplinary field of Dance Studies as a separate arena focusing on the social, political, cultural, and aesthetic aspects of human movement and dance emerged in the late 1980s and early 1990s. Dance criticism integrated Dance Studies into the academy as critics addressed the social and cultural significance of dance. In particular, Jane Desmond created an integrated approach engaging dance history and cultural studies; in the framework of her findings, dance is read as a primary social text. She emphasizes that movement style is an important mode of distinction between social groups, serving as a marker for the production of gender, racial, ethnic, and national identities.
In my work, I examined the ways in which the African American identity articulates and constructs itself through dance. Norman Bryson, an art historian, suggests that approaches from art history, film and comparative literature are as well applicable to the field of dance research. Therefore, as my main critical lens and a theoretical foundation, I adopt the analytical approach developed by Erwin Panofsky, an art historian and a proponent of integrated critical approach, much like the one suggested by Bryson; specifically, his three-tiered method of analysis (iconology). I demonstrate that Erwin Panofsky's iconology, when applied as a research method, can make valuable contributions to the field of Dance Studies. This method was originally developed as a tool to analyze static art pieces; I explore to which extent this method
is applicable to doing a close reading of dance by testing the method as an instrument and discovering its limitations.
As primary sources, I used Katherine Dunham's original recordings of diaspora dances of the Caribbean and her modern dance choreography titled L'Ag'Ya to look for evidence for the paradigm shift from "primitive" to "diaspora" in representation of Black identity in dance also with the aim of detecting the elements that produce cultural difference in dance.
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Reeves, Anthony R. "Understanding French Baroque performance practice via a modern edition of Jean-Philippe Rameau's "In convertendo"". Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/298728.
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This study explores performance practices used in French choral music of the late Baroque era, using In convertendo (ca. 1713; rev. 1751), a grand motet by Jean-Philippe Rameau (1683-1764), as the exemplar. As the foundation of the project, the author created a new edition of the motet (which is included in an appendix to the document) from primary source material. The document is divided into two major sections. History and Performance Practice. After a brief overview of Rameau's life and career, the first section summarizes the development of the grand motet genre from the early works of Eustache Du Caurroy (1549-1609) through the contributions of Rameau. The second section discusses the following topics: the various agrements and their usage; matters of meter, tempi, and dynamics; conventions of rhythmic alteration; issues of pitch and instrumentation; and the use of the historical French Latin pronunciation for this repertoire. The document concludes with a chapter describing the author's edition of In convertendo and detailing the editorial procedures employed in creating it.
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Hudler, Melissa Lynne. "The rhetoric of stasis, gesture and dance in Renaissance literature". Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/550333/.
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Focusing attention on a neglected aspect of Renaissance scholarship, this study aims to illuminate the rhetorical role of the body in Renaissance literature by exploring the rhetorical nature of three forms of corporeality: stasis, gesture, and dance. Generally speaking, rhetoric of the body is not lacking in early modern scholarship. However, consideration of the literary body as a rhetorical entity that not only articulates but also creates meaning is indeed a neglected area. The body-as-text paradigm that grounds performance studies provides for a unique and nuanced approach to literary text analysis. The methodology employed in this thesis combines a historical and text-based approach, with substantial attention given to classical rhetoric because of its awareness of the rhetorical capacity of the body. The rhetoric of stasis is explored in Sir John Davies’ poem Orchestra and in three works by Shakespeare: The Winter’s Tale, The Rape of Lucrece, and Coriolanus. In this chapter, trauma is presented as a framing mechanism for the characters’ static presence. Gesture and its rhetorical quality are studied through distinctive analyses of Shakespeare’s The Winter’s Tale, The Rape of Lucrece, and Titus Andronicus. An analysis of Ben Jonson’s Epicoene provides a comic close to this study of gesture. This chapter also has as its framework the concept of trauma, presenting it as either a cause for or effect of gesture. Finally, the rhetoric of dance is examined in further analyses of Orchestra and The Winter’s Tale and also in Ben Jonson’s Pleasure Reconciled to Virtue. The literary approach to the rhetorical study of stasis, gesture, and dance taken in this study includes its dramaturgical and compositional functions, providing for a new lens through which to view instances of corporeality in Renaissance literature. This project attends to the early modern awareness and understanding of the rhetorical capacity and force of the body, and does so in a way that allows the speaking body to be examined within original contexts, thus bridging literary and performance analysis.
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Kosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.
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Crisp, Rosalind. "Solo work". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/29103.
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Imagine a lilly pond. Each lilly floating independently. The individual lilly is framed by the water that surrounds it. The lilly pond becomes apparent by the presence and absence of lillies. This thesis is a compilation of diverse floating articles. Not everything has been covered. I hope that the gaps revealed illuminate the edges of the work. Different writing styles have been adopted in an attempt to get closer to the complexity and ephemerality of the research -- research that has taken place in the dancing body. In presenting the written material this way, I wish to take the reader on a journey -- an experiential journey into the dance -- one that is 'like' the dance rather than an extracted description of it. I hope that the reader will 'come to their senses' and feel the materiality of the dance as I have studied it and known it in my body and with-in the bodies of the other two dancers. The framework for the research in the body has been the integration of the histories collected in our bodies -- practices, trainings, country and culture -- all of which continue to slip and slide, continually re-forming themselves and re-inventing the dancing and not-dancing bodies that we are.
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Bates, Whitney. "Le sacre du printemps: The First Rite (An Exploration of Modern and Aerial Dance as Storytelling)". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/380.
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Le sacre du printemps, a ballet choreographed in 1913 by Vaslav Nijinsky, played an important part in changing the way the world thought about choreography. Since, modern choreographers such as Graham and Taylor have followed in the tradition of creating their own versions of Le sacre. This thesis outlines the significance of Le sacre. It also describes how Bates created a choreographic project using Nijinsky, Taylor, and Graham influences, and also combining modern dance floor techniques with aerial choreography.
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Wilkinson, 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.
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Sieg, Morgan E. "Changing Tensions: The Use of Percussion in the Modern Dance Pedagogy of Franziska Boas". Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587732772039277.
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Simmons, Emily H. "All that pushes and pulls: A Choreographic Exploration of the Blurred Relationship Between Individuality and Conformity". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/353.
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All that pushes and pulls is a modern dance work that investigates the blurred relationship between individuality and conformity in Western society. The ensemble piece explores the influence of trends of individuality - social movements that emphasize individualism in an attempt to break from the conformity of mass society yet eventually become adopted into mainstream norms. Through an emphasis on personal movement styles, manipulation of uniform choreography, and explorations of group dynamics and spacing, the piece illustrates how individuals navigate these trends in a society where individual expression has become a requirement rather than a suggestion.
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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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Barnes, Duncan Martin. "Selling the modern day tribe: The commodification of rave culture". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2107.
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This thesis examines youth and rave culture from the late 1980s to the present. It considers the history as well as the global and local impact of rave. I provide a visual ethnographic study from 1999-2014, based on my work as a commercial photographer of the Perth, Western Australian scene. While critically reflecting on existing subcultural research this thesis adds another dimension – the effect that global corporations have had in reshaping subcultural practices, specifically the commodification of rave culture in the form of the contemporary electronic dance festival.
The research incorporates both qualitative and quantitative data to interrogate media coverage on rave culture as well as interviews and first hand experience within the rave scene. I analyse mainstream print and electronic media reporting of rave as a deviant youth subcultural practice linked to the use of the drug ecstasy. I consider the effect this had on rave and it’s rebranding to become known in contemporary times as EDM (electronic dance music). As a result I examine how rave has shifted from a youth subcultural activity to being not only mainstream and commercial, but also owned and controlled by global corporations. My discussion of the conventions of festival/music scenes will demonstrate how rave, which once operated outside ‘acceptable’ boundaries, has become a part of the conventional norm.
A unique aspect of this thesis is the inclusion and analysis of my photographs taken over a 15 year period that document the changes that occurred as rave transitioned from a subversive underground scene to corporate run multimillion dollar events. The photographs are also compiled into an accompanying monograph. The monograph allows for an immersive visual experience of non-staged event images and predetermined studio and location photographs. The book offers what words alone cannot fully engage with – a representation of what was and remains a highly visual scene, based on fashion, performance and settings.
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Taylor, Bruce D. "Creative collaboration: Defining the collaborative process between a conductor, composer, and choreographer in creating and staging an original work for modern dance". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280338.
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This document is a record of an observed creative experience, defining the collaborative process between conductor, composer, and choreographer in creating and staging an original work for modern dance. There are three areas of focus. First, an introduction to and rationale for the project is coupled with an historical examination of the collaboration between a composer and choreographer (Igor Stravinsky and George Balanchine), and a review of the documentation on the conductors' traditional role in dance as established by the ballet conductors Robert Irving and George Crum. Second, suggested methods will be proposed for the skill level, and technique that a conductor should acquire to use as a method for gathering the talents of collaborating artists (choreographers and composers). These methods are comprised of vision, knowledge and expertise, respect and mediation. Third, a collaborative framework comprised of three sections was created, based upon an objective review of the data collected from the project so that the collaborative process between members could be effectively and efficiently studied. The three sections of this framework are (1) the artistic desires of the creative team , (2) the role of each team member, and (3) the working methodology of the creative team members. It is against this framework that the collaborative process between conductor, composer, and choreographer is defined as it relates to creating and staging a work for modern dance. In addition to highlighting the non-traditional role of the conductor as an intermediary and facilitator in directing artists in collaboration. The framework developed is demonstrated by specific examples from this project that indemnify the findings, offering a clear and concise strategy that future conductors might use as a reference and guide.
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Viana, Julia Monteiro 1986. "Processo criação fronteira arte vida fronteira key zetta e cia". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285284.
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Orientador: Cassiano Sydow QuiliciDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T21:26:16Z (GMT). No. of bitstreams: 1 Viana_JuliaMonteiro_M.pdf: 1833227 bytes, checksum: 67ce42673b9461d1eddd19181fbe01ae (MD5) Previous issue date: 2014
Resumo: A presente pesquisa desenvolve um questionamento às fronteiras que separam diferentes gêneros artísticos e a arte da vida cotidiana, a partir da experiência com o trabalho da key zetta e cia, companhia de dança contemporânea de São Paulo. O estudo dos processos de criação de algumas obras produzidas pela companhia conduziram a uma problematização mais abrangente dessas temáticas e de suas relações com práticas corporais de culturas "orientais" e artes performativas contemporâneas
Abstract: The present research questions the bounderies that separates different artistic genders and art from daily life, taking as reference the experience with key zetta e cia, contemporary dance company of São Paulo. The study about some of their creative processes has led to an expanded discussion about these themes and its relations with eastern body practices and contemporary performing arts
Mestrado
Artes da Cena
Mestra em Artes da Cena
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Prickett, Stacey Lee. "Marxism, modernism and realism : politics and aesthetics in the rise of American modern dance". Thesis, Open University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304885.
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Strohschein, Heather Anne. "Between Modern Dance and Intercultural Performance: The Multiple Truths of the Bird Belly Princess". Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182295842.
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Richardson, Denise Christine. "Pirouettes into parallel : how classical ballet technique informs the training of contemporary dancers". Thesis, Queensland University of Technology, 2000.
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Prior to the 1960s, which marked the beginning of a fusing of dance styles, classical ballet and modern dance were seen as incompatible. Even with an increasing number of dancers subsequently taking classes in the alternate dance style, the mutual distrust continued; particularly, debate about the suitability of this technique as a training mechanism for modern, or what was now more often called contemporary dance. Simultaneous to this polemic was concerned international discourse on the future of classical ballet itself, and the suitability of curricula that includes classes in both contemporary dance and ballet for the training of diversity in dancers. These
issues, which are of particular relevance in Australia where the predominant form of dance training is in classical ballet, were the genesis for this study.
Through a case study of dance teachers, choreographers, artistic directors, and students in a tertiary setting, this study investigates how the classical ballet technique
informs the training of contemporary dancers at a vocational level. It identifies the aesthetic qualities attributable to the classical ballet technique, and explores key issues in ballet teaching methodology thought to be relevant to the training of contemporary dancers. While examining and supporting the dual technique system
of training dancers at a vocational level, the study also establishes a rationale for such a program at the studio level. Finally the difficulties that ballet trained dancers
experience as they learn contemporary dance for the first time are specified and examined.
It is anticipated that this study will facilitate consensus amongst dance educators, dancers, and employers of dancers about the value of classical ballet in the training
of contemporary dancers. This consensus will have the potential to inform both curriculum and methodological discussion in dance training courses.
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Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /". Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).