Дисертації: "Dance"

1

Castillo, Iris Margot. "The dance is in the dancer as the dancer is in the dance /." Online version of thesis, 1996. http://hdl.handle.net/1850/12236.

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2

King-Cavin, Karen. "The black dancer" coping with the politics of dance." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332947354.

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3

Green, Amy Catherine. ""Dance, Dance Revolution": The Function of Dance in American Politics, 1763-1800." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626597.

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4

Kraus, Samuel Steven, and Samuel Steven Kraus. "An Investigation of Dance, Dance Injuries, and Dance Medicine within the Tucson Community." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625026.

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This paper is an investigation of dance, dance medicine, and dance injuries in the local community. Tucson is uniquely rich with dance culture and has been for many decades. Interviews conducted with local professionals Ashley Bowman and Claire Hancock capture authentic standpoints on dance in Tucson and provide insight into the rough, demanding nature of professional dance. To this day, the national dance community struggles as underserved artist-athletes, socioeconomically and medically. Fortunately, recent years have shown progress in closing the gap between the worlds of dance and medicine. Dance medicine is a developing practice that aims to study dance epidemiology and protect the dancer's body. Dr. Daniel Latt and Professor Amy Ernst at the University of Arizona currently foster dance medicine research at the UA School of Dance through its dance medicine clinic. In March 2017, the clinic launched a long-term dance injury project that captures general and injury-specific demographics of UA Dance students. By presenting and discussing journalistic and scientific entries of dance and dance medicine within the Tucson community, I hope to inspire genuine interest in Tucson’s vast involvement in dance as well as an appreciation for the dance profession itself.

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5

Faulds, Katrina. ""Invitation pour la danse" : social dance, dance music and feminine identity in the English country house c.1770-1860." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378156/.

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The engagement of landed elite women with dance music in the early nineteenth century and the contribution that such music made to the formation of female identity has received limited scholarly attention. While research on social dance has brought to life the cultural complexities of the ballroom, and investigations into the influence of dance on principally canonical repertoire have enriched our understanding of the intersections that occurred between music and dance, the actual collection and domestic performance of dance music itself has largely lain forgotten. The English country house provides a locus through which elite women’s participation in dance and domestic music-making can be conceptualised and reconstructed. Tatton Park, the Cheshire estate of the Egerton family, contains a significant body of music ranging across several generations of women. The dance music belonging to Elizabeth Egerton (1777-1853), her daughter-inlaw, Lady Charlotte Egerton (1811-1878), and Elizabeth’s daughter, Charlotte Egerton (1824-1845), provides the basis for a series of case studies that examine links between the music they collected and the social dance activities with which they were engaged. The conception of elite women’s participation in dance as expressed by contemporary authors, and the performance of dance in other country houses as documented in newspaper and archival sources, proffer a framework through which the case studies can be interpreted and thus how concepts of elite femininity were negotiated through dance music. This study forms part of a burgeoning scholarly interest in domestic music-making in the English country house and complements two recent theses on the Tatton Park collection. What emerges is a sense of the myriad ways in which early nineteenth-century dance music was embedded in the fabric of cultural life for elite women, and how it both affirmed and negated contemporary discourses on appropriate feminine comportment.

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6

Barry, Julia. "Adapting and integrating elements of best practice in dancer wellness in elite adolescent pre-professional dance programmes into private dance studio contexts." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/214099/1/Julia_Barry_Thesis.pdf.

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Awareness of the well-being of adolescent dance students is important for their health, safety, performance ability and longevity of participation in dance. This research project investigated current strategies for supporting adolescent dance student physical, psychological, and social well-being (i.e., dancer wellness) within elite pre-professional dance training programmes and private dance studios in Australia, identifying strengths and challenges in the implementation of dancer wellness programmes. The findings offer considerations for private dance studio teachers on potential strategies for integrating dancer wellness elements within private dance studio contexts, and may inform future research on adolescent dancer wellness.

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7

Meegan, Wendy. "Dance beyond performance space : Jacob's Pillow Dance Festival and the National Museum of Dance." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/86.

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The administrative skills acquired through this internship include time management, organizational, preservation, presentation, and documentation skills. This internship is a wonderful opportunity to experience the methods different dance organizations use to preserve their past, and promote their organizations through a historical perspective. Preserving the history of an organization is an important task that many of arts administration courses fail to acknowledge. However, since many other aspects of arts administration can be more easily accomplished if this task is performed efficiently, it is a valuable subject to understand.

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8

Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /." Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.

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9

Meijer, Kim. "Let the Gods Dance| Transformation Through Haitian Dance." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1690650.

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This thesis is an exploration of the transformation of body and mind through Haitian dance from depth and liberation psychological perspectives. More personally, it focuses on the author’s transformational experience while being part of a Haitian dance community in Brooklyn, New York. Haitian dance is ingrained in Haitian culture, which embodies the history of Haitian people, mythology, gods, music, rituals, and ceremonies. This hermeneutic research examines Haitian dance as a way to access the somatic unconscious and support psychological healing and individuation. The research describes the somatic experience of archetypal energies, embodied consciousness, and myths through Haitian dance and how this enhances healing. In addition, this thesis explains how the author’s Haitian dance class provides healing for both individuals and a community from a liberation psychology perspective. Through dance, dialogue, and activism, participants gain deeper understandings of themselves and each other’s history and experiences.

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10

Williamson, Emilie Renne Champagne. "Physiology in Dance: Instructional Presentation for Dance Students." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/297805.

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The purpose of the following document and supplemental presentations and questionnaire is to provide an overview of physiology as it relates to dance and introduce students of dance to physiology and nutrition and so begin to encourage them to think more about how the body works and how best to sustain it. The audience chosen for the original presentation of information are the University of Arizona School of Dance freshman students, who were chosen for their dedication to dance and with the hope that the provision of this information during their freshman year, will aid them in sustaining their dance for years to come. The resulting survey analysis provided information from which to base further physiological and nutritional emphasis in their education. At the conclusion of the survey it is clear that there is a focus among dancers in their crosstraining and nutritional practices, though larger populations of students would also reveal more accurate survey results as well as guidance for future instruction. It is my hope that through providing information we may prevent young dancers from suffering under common misconceptions that may limit their performance and in turn, their career.

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11

Moffett, Ann Thomas 1980. "Dance as Inquiry: Critical Thinking in Dance Education." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10691.

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x, 78 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My research identifies critical thinking as an essential component of dance training for students of all ages and abilities, particularly students K-12. This project strategizes ways in which the studio dance teacher can create opportunities for critical thinking in the classroom and reveals ways in which learning dance can enhance critical thinking. Special consideration is placed on how critical thinking, as a skill, relates to the unique curiosities and objectives of the discipline. Within the qualitative and experiential research design, theoretical questions are proposed and practical pedagogical applications are developed. Insights from interviews with experts in the field of dance education are interwoven with practical applications from teaching two summer dance programs for distinct youth populations, a college-preparatory program for "talented and gifted" students and an open class for homeless youth living in ShelterCare housing communities.
Committee in Charge: Dr. Jenifer Craig, Chair; Rita Honka; Walter Kennedy

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12

Bidgood, Lee, and Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.

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13

Bidgood, Lee, Trae McMaken, and Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.

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14

Brauner, Nathan. "Dance Gala 2016: navigating stage management in dance." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.

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15

Henderson, Bryant. "An Inquiry Into Men's Experiences In Collegiate Dance." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22683.

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This qualitative research study was designed to gain a deeper, more profound understanding of the lived experiences of collegiate male dancers. Through three phases of research, this study uncovered societal and familial obstacles collegiate male dancers often endure during their dance journeys, and describes how males navigate and transcend them. Extensive interviewing offers detailed glimpses into the lives of 9 male students who participate in collegiate dance programs. The study reveals participants’ dance experiences prior to and during college; recognizes and questions common factors that influence collegiate male participation in dance; and identifies how male dancers feel supported and/or unsupported by their program. An experiential workshop series applied and explored existing pedagogical suggestions offered by other scholars. Subsequently, a rehearsal and performance experience physically investigated emergent themes. Recommendations are offered on how to better encourage, cultivate, and support collegiate male dance populations through enhanced pedagogies and program improvements.

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16

Christensen, Wayne Egon. "Scorpion dance." FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2353.

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This is a utopian novel,75,000 words in length, set in mid-twenty-first century Missouri. The plot follows the coming of age of an orphan, Del, during an environmental apocalypse. With the world in decay, Del is determined to control what he can in his life. However, the town in which he lives is starving and without medicine. The people are unable to move elsewhere under a law prohibiting migration. And Del is infatuated with his brother's lover, Rachel. Additionally, Del comes to discover that he changes into animal forms during his dreams, a legacy from his Indian father. It is not until Del has taken complete control of his shape shifting abilities that he is able to win Rachel, and provide leadership to the surviving citizens of the town to help carry them into the future.

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17

Parsons, Michael S. "Fire Dance." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302553794.

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18

Pexton, Valerie. "Last dance." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1605161601&sid=2&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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19

Still, Kara B. "The Dance /." Electronic version (PDF), 2004. http://dl.uncw.edu/etd/2004/stillk/karastill.pdf.

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20

Gariba, Chames Maria Stallvierre. "Personal dance." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/82916.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Gradução em Engenharia de Produção.
Made available in DSpace on 2012-10-19T19:26:59Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T02:54:54Z : No. of bitstreams: 1 185677.pdf: 834991 bytes, checksum: 5723f5b5efc232ad510861a16bbc3b41 (MD5)
O presente trabalho traz como proposta a criação de um novo profissional Personal, na busca por um diferencial em seus serviços, pois num mundo competitivo e em constante mudança, observamos que a presença do espírito empreendedor tem crescido ao longo do tempo. Nas últimas décadas, vêm sendo implementadas políticas de ação em prol do empreendedorismo, especialmente frente aos novos desafios oriundos da abertura dos mercados, do maior acesso às informações e das novas demandas da atualidade. Dentro desse cenário, o Brasil vem consolidando essa necessidade de empreender. Com o intuito de verificar se esse profissional, chamado nesta pesquisa de Personal Dance, pode tornar-se uma das alternativas criativas dentro de uma visão empreendedora, busca-se na sua descrição, traçar o seu perfil, verificar se suas características são compatíveis com as de um empreendedor e analisar os efeitos proporcionados pela dança na qualidade de vida dos colaboradores desta pesquisa cujos dados foram coletados por meio de questionário e entrevista parcialmente estruturada, após dois meses de aulas práticas, com os servidores do órgão central da Prefeitura Municipal de Florianópolis, situada na região da grande Florianópolis, Estado de Santa Catarina. Pela análise dos dados obtidos pôde-se concluir que 95% dos entrevistados estão de acordo com a criação do Personal Dance, não só pelos benefícios explícitos proporcionados pela dança, mas também por considerá-lo um profissional criativo, dinâmico, atualizado, comprometido com seu trabalho, caracterizando-se, assim, com um perfil típico do empreendedor. Por fim, sugere-se que novos estudos sejam abordados, apontando não só a relevância da atividade física em geral, mas também da dança, como instrumento de liberação das potencialidades humanas.

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21

Burch, Kaitlyn. "Dance Lessons." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/256.

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August Diamond is left lost after the sudden death of her father. The stories in Dance Lessons explore the themes of loss and grief, retreat and return, and finding your true self. The collection is a novel in stories, each story exposing another layer of August's past, her family, and their complicated relationships.

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22

Park, Jeong Sun. "PROPOSAL FOR A CULTURALLY AND ETHNICALLY INCLUSIVE CURRICULUM DESIGN IN KOREAN DANCE HIGHER EDUCATION." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/441025.

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Dance
Ph.D.
Korea is undergoing a rapid transformation into a multiethnic society because of the influx of migrants (Kim, 2008; Han, 2007). In response, efforts to adopt multiculturalism gathered by the Korean government, and the field of education has not been an exception. (Lee & Kim, 2012; Chung 2012). While many efforts have been made to integrate multiculturalism into education, multicultural dance education programs at undergraduate institutions are non-existent or underdeveloped. This study proposes a multicultural dance education program to be considered for implementation as a required course for dance education students at undergraduate institutions in the near future. “Multicultural” in Korea has several meanings: 1) multi-race 2) minority culture 3) diverse (Ahn 2012). In this study, I use the term, a “multicultural” to refer to multiethnic people who migrated to Korea. The term “multicultural students” was used in this study to describe students who are immigrants or children of immigrants from the following groups: 1) migrant workers 2) marriage-based migrants, 3) ethnic Chinese, and 4) North Korean defectors. The purpose of the study is to develop a university dance education program that reflects the increasing diversity of the Korean population and should be a required course for education students. My intention in designing this curriculum is to help future dance teachers to be culturally and ethnically responsive to the student population in their classes. Specifically, my research explores the following questions: What aspects need to be included in a dance education curriculum so that it reflects the increasingly diverse population in Korean education? This research question is addressed through the following sub-questions: How has Korean dance education developed historically from 1945 to 2015? What are some of the social, cultural, and educational factors that inform the development of a multicultural dance curriculum in dance education? What are some of the core concepts and values that need to be embedded in dance pedagogy that reflect both traditional Korean aesthetic values and the value systems of diverse migrant and ethnic minority populations? This dissertation is a qualitative research that examines how university undergraduate dance education programs in Korea can reflect the increasing diversity of the student population in their curricula. This study employs two methods: questionnaires for dance teachers in school settings and semi-structured interviews with key persons in Korean dance education and Korean multicultural education. In addition, this study outlines historical context of dance education in Korea from 1945 to 2016, focusing on major events, key persons, and influential institutions and organizations and give overview of current and recent Korean government legislation and policy documents alongside multicultural movements that have influenced dance education in Korea. Some of the themes that emerged from the questionnaires include: Learning Attitudes of Multicultural Students, Facing Linguistic Challenges, Dance as a Medium of Communication, Communication through In-depth Discussion and Understanding, Integrated Ways of Teaching, and Finding Commonalities between Cultures. In addition, the themes that emerged throughout the interviews are Education through ‘Hŭng,’ Teaching Korean Dance in a Global Context, The Importance of the Teacher’s Role as a Cultural Facilitator, and Multicultural Curriculum as Awareness Education for All. All of these findings give insight toward developing a multicultural dance education course to foster students’ understanding of Korean aesthetical values and concepts within traditional dance, especially among multicultural students. Throughout this study, I developed a multicultural dance education course for undergraduate dance students based on three components: Bennett’s multicultural education theory, findings from questionnaires and interviews, and two major Korean dance standards: the 2015 Revised Korean National Curriculum of Physical Education and the 2014 Development of Teaching-Learning Plan of Culture and Arts Education (Dance). The goals of this proposed course were developed based on Bennett’s six goals and this course will incorporate dance studies and dance movement every week with readings, writings, and discussion. This sequence of class is based on strategies such as “in-depth communication”, “beyond dance technique”, “finding commonalities between cultures”, and “through ‘Hung’” which come from my questionnaire and interview findings.
Temple University--Theses

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23

Sukel, Katherine E. "Representations for learning dance in a computational dance tutor." Thesis, Georgia Institute of Technology, 1999. http://hdl.handle.net/1853/29347.

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24

Thiede, Jacob Ryan. ""Digital Tap Dance": Tap Dance as Medium for Composition." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703288/.

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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

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25

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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26

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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27

Stanfield, Norman. "Rough music, rough dance, rough play : misrule and Morris dance." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1056.

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England is home to a distinctive vernacular dance called Morris dance. One of the reasons that it is unique is because it is a secular dance that is displayed rather than performed as a medium for socializing. Questions often arise from audiences when they try to decode its symbolism and the purpose of its presentation. Several interpretations have emerged since Morris dance was revived by successive waves of enthusiasts. After reviewing the study and culture of pre-modern and modern Morris dance and its cultural milieu and its principal venue, Whitsuntide(also known as May Day), a potential interpretation is proposed — misrule. The title of my dissertation recalls the famous essay on the theatrical display of misrule by E.P. Thompson titled "Rough Music" (1993). Using the research that has emerged from the study of carnival behaviour by Mikhail Bakhtin and liminality by Victor Turner, the basic conditions of misrule are reviewed and illuminated. Then the symbols and behaviour of modern and premodern Morris dance are subjected to comparison and contrast with the result that modern Morris dance will be shown to have departed significantly from the premodern template of misrule. This departure may help to explain the dilemma of the current popular criticisms leveled at Morris dance today. However, a complication is raised in which the new misrule interpretation may not prove usefu lafter all because it cannot be applied to the Morris dance culture as it currently exists.

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28

Potter, Caroline M. Parler. "Learning to Dance: Sensory Experience in British Contemporary Dance Training." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487239.

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This thesis addresses the social process of bodily learning and the cultural shaping of sensory experience. It draws on literature from the anthropology ofdance, the anthropology ofthe body, and the anthropology of the senses in order to explore the socially constituted practices by which dancing bodies are created in present-day London. Based on heavily participatory fieldwork undertaken at a nationally recognized school for professional contemporary dance, it explores issues of social access, identity, bodily transfonnation, and institutionalized bodily control as they relate to the process of becoming a professional dancing body within the British context. A central theoretical premise underpinning this investigation is that the heretofore unresolved division between concepts of 'mind' and 'body' (and its related dyad of 'subject' and 'object') is not merely a philosophical construct but has its roots in actual bodily experience. As such ethnographic material is presented within a dualstrand framework that highlights varying experiences of body-as-object and body-assubject among British contemporary dance students.

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29

Thorndike, Ashley P. "Articulating Dance Improvisation: Knowledge Practices in the College Dance Studio." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.

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30

Thomas, Helen. "Dance, modernity and culture : explorations in the sociology of dance /." London ; New York : Routledge, 1995. http://catalogue.bnf.fr/ark:/12148/cb37459079h.

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31

Hyman, Randolph-Dalton. "The self is the dancer : a cross-cultural conceptualization of dance education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0028/MQ50523.pdf.

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32

Hess, Bernhard. ""The crazy dance"." Diss., lmu, 2006. http://nbn-resolving.de/urn:nbn:de:bvb:19-103134.

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33

Farrelly, Jane, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Dance and healing." THESIS_CAESS_CAR_Farrelly_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/804.

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Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health concerns
Master of Arts (Hons) (Contemporary Arts)

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34

Howard, Suzanne, and suzieholidayhoward@hotmail com. "Learning to Dance." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080215.163153.

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This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.

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35

Brown, Brittany S. "Sleepwalk, Dance, Repeat." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/9.

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Sleepwalk, Dance, Repeat is a one-act play with existentialist themes such as absurdity, death, and authenticity. Existentialism deals with subjective human experience in a meaningless, incomprehensible world. We are condemned to label everything around us, but the world is such that we can never be satisfied with our labels because they do not capture individuality. Everyone, to some degree, feels the need to understand what's going on, but we are always missing some piece of the puzzle. Thus, absurdity is the normal state of affairs for us. It is the result of our trying to comprehend the incomprehensible. The protagonist, Rose, is an existentialist hero in that she gradually accepts the inability to comprehend. My goal in writing this play was to breathe new life into existentialist ideas and introduce them to others in a way that sparks significant introspection.

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36

Bail, Muriel. "Dance and architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23739.

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Nordin, Sanna Maria. "Imagery in dance." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433643.

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38

Sanders, Lorna. "Dance education renewed." Thesis, University of Surrey, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435193.

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39

Howell, Jenny. "Dance Theater Workshop." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/116.

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The following report documents the internship performed by Jenny Howell at Dance Theater Workshop (DTW) in New York, New York from January 11, 2010 to April 16, 2010. Since 1965, DTW has existed as a non-profit organization devoted to presenting and supporting contemporary dance and the artists who create it. DTW currently operates from its building located at 219 West 19th Street between Seventh and Eighth Avenues in the Chelsea district. During this time with DTW, I worked closely with the Marketing and Development Departments as the Audience Engagement intern responsible for the organization and execution of the audience engagement activities and special events. This report includes information regarding DTW's history and organizational structure. It explains the duties I performed and my overall contributions. It also discusses the strengths, weaknesses, opportunities, and threats of the organization. Finally, it presents current best practices in areas of the non-profit field, and makes recommendations for DTW based on this research.

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40

Roichman, Limor. "Dance on screen." Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/13447/.

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This thesis explores dance on screen from the artist's point of view following the making of the video GAIA - Mysterious Rhythms (20 min,Digital Betacam). The video and the thesis together form the PhD submission. The interaction of practice and theory, through a process of creative work, analysis and reflection resulted in the structuring of a model with which I claim the autonomy of dance on screen as a hybrid art form, a form which like other creative forms, such as painting, sculpture or even dance, has its own particular aesthetic qualities and limits. This thesis proposes that dance as a live form ceases to exist in the process of its recreation as a screen form. The argument about dance on screen is based not within the context of contemporary live dance, but within the contexts of film/video, screen choreography and performance, including 'performative' texts and art as performance engaging both artists and viewers. To locate dance on screen in a contemporary framework, I refer to central developments issuing from the television series Dance for the Camera produced by BBC2 & the Arts Council and the IMZ/Dance Screen international festivals. I approach choreography in screen terms thereby referring to the expression of movement in the broader sense, including performance, body language, the motion of objects and natural events, and rhythms and movements created via film/video technology. The moving body on screen is also utilised for the expression of mythical journeys as in Gaia. Overall, this thesis demonstrates that dance on screen, originating from the contexts of modem and post-modem art and culture, constitutes a unique art form and phenomenon reflecting current concerns with the notions of hybridity and performance.

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Borges, Pedro José. "Café of Dance." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/35842.

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A beginning of questions about architecture and humanity and searching for those answers that begin to initiate the process of design and improving the quality of life. This is an investigation and an understanding of those values which make a place unique. Once those attributes have been found then we can begin to embrace them within architecture. Inside the small town of Veron, on the eastern shore of the Dominican Republic, unique economic and social conditions are apparent there that are mirrored throughout this small island nation and throughout many parts of Latin America. There are powerful forces at work, along with nature, that are affecting local communities and degrading the social status. This is only a small microcosm of the social, economic and environmental effects of the tourism industry in this paradise nation. How do we sustain those qualities that are embedded within the fabric of a nation's culture, heritage, and begin to give the nation a voice within design. How do you provide a sustainable solution between private tourism industries and local governments and communities within the setting and conditions of the eastern shore of the Dominican Republic?
Master of Architecture

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Vassallo, Amy Jo. "Dance injury epidemiology." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18600.

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Dance greatly contributes to social, cultural and economic development, as well as entertainment and recreational physical activity. There are many different motivators and benefits to dance participation at the recreational, elite student and professional level. There is also a risk of injury at all levels of dance practise and any injury has the potential for significant consequences. In order to effectively prevent injuries it is critical to understand their magnitude and characteristics. However, there is a paucity of data relating to dance participation and injuries in the recreational dancer, as well as research investigating injuries in professional dancers across all different styles and employment situations. Therefore, six studies were conducted in this thesis, which aimed to develop a better understanding of the epidemiology of injuries across the full spectrum of dance participation. This thesis addressed current gaps in the literature, including the incorporation of recreational dancers and the use of high quality nationally representative data. It also contributed to the local professional dance industry through Safe Dance IV, which incorporated a broader scope of professional dancers than previous Australian studies. Overall this thesis highlighted the high prevalence of injuries in dance and emphasised that injury prevention and management are important considerations for all levels of dancers.

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Farrelly, Jane. "Dance and healing." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/804.

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Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health concerns

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Farrelly, Jane. "Dance and healing /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060509.115337/index.html.

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Thesis (M. A.) (Hons) -- University of Western Sydney, 2003.
A thesis submitted in part fulfilment of the requirements for the degree of Master of Arts (Hons) (Contemporary Arts) at University of Western Sydney. Includes bibliographical references and appendices.

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Creger, Michael. "Dance of Dreams." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4899.

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It seems that the world does not exist in the way that we perceive it. Among the reasons for this are both the inaccuracy of the information gathered by our senses, and the cultural and linguistic structures through which we interpret this sensory information. This thesis and this group of sculptures, exhibited in the Autzen Gallery April 17 - May 10, 1995, are an attempt to address these issues and to point in a direction which may lead to greater understanding of the world and our place within it. Using primarily welded steel, and building from a foundation based on simple geometric forms, and making reference to more mystical, less reasoned cultural views, I have created sculpture that attempts to strike a balance between science and superstition, with a blending of rational and intuitive expression.

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Traiger, Lisa. "Making dance that matters dancer, choreographer, community organizer, public intellectual Liz Lerman /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1399.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Dance. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Cholod, Kirsten L. (Kirsten Lynn). "Children's causal attributions for performance in creative dance and folk dance." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22574.

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This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.

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Beveridge, Jane Munro. "Dance as encounter : a practical-theoretical enquiry into intimate contemporary dance." Thesis, Manchester Metropolitan University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436796.

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Schlegelmilch, Andrew. "WRITING AS A CURRICULUM COMPONENT IN DANCE EDUCATION AND DANCE PROGRAMMING." Kent State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=kent1174435307.

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50

Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project, Ada." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15820/1/Sarah_Neville_Thesis.pdf.

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As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.

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