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- Creators: Barrett, The Honors College
Description
Motion: Performing Arts and Creative Training, also known as MPACT, will provide dance training to all levels and ages in the St. Louis, Missouri area. Our highly trained and knowledgeable dance educators will provide instruction that will inspire and foster creativity in a highly educational class setting that will prepare each student for a lifelong love for dance. Students will have the opportunity to perform in multiple settings and engage in class instruction from guest artists as well as MPACT’s educators.
ContributorsHills, Mira Marie (Co-author) / Hills, Mira (Co-author) / Schupp, Karen (Thesis director) / Roses-Thema, Cynthia (Committee member) / Department of Management and Entrepreneurship (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared among my family, my friends, and my fellow peers in the dance community. We had been struggling since childhood. I began to realize that these behaviors and thought patterns were manifestations of apology, an apology that women have been learning, living, and spreading since our beginnings. Why do women apologize? How does this apology affect how we view, treat, and navigate our bodies in space? In what ways can dance be the mechanism by which we remove apology and individually and collectively find joy, freedom, and liberation? Not only was I interested in understanding the ‘why’, but I was deeply interested in finding a solution. Research for this thesis came from written materials, stories that the dancers and I shared, and choreographic research in the body. The final goal was to create a community-based performance of dance, spoken word, and storytelling that demonstrated the findings from each of those questions and catalyzed a conversation about how we can liberate ourselves. We used rehearsals to explore our own experiences within apology and shame, while also exploring how the ways in which we practice being unapologetic in the dance space can translate to how we move through the world on a daily basis.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
ContributorsWaller, Marguerite Lilith (Author) / Fitzgerald, Mary (Thesis director) / Britt, Melissa (Committee member) / Lerman, Liz (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor, Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This thesis project had three key components. First, we performed an extensive literature review of different types of feminist theories to better understand the scope of their definitions. We also reviewed several articles that examined how women, especially Latinas, seek to understand and negotiate their identity as feminists. Second, we conducted qualitative interviews with Latina college women in which they shared their college experiences, their thoughts on feminism, and how they believe the cultural values they were brought up with play a role in both. Finally, we developed a 12-minute documentary film containing excerpts from participants’ interviews that reflected a number of core themes. We invited participants to view the documentary and contribute to a post-film conversation with interested faculty members and students. The interactive post-film conversation served as a reflection and expansion of the themes in the film and challenged those that participated to explore avenues of resolution through family and communication.
The motivation for this project came from a place of reflection for what it means to be a feminist and Latina and how to navigate the values of both without compromising one over the other. After personally contemplating the meanings and process without coming to a concrete understanding, we were prompted to branch out and engage other Latina college students in a conversation about what it means for them, what unique challenges they may be facing, and how they may be seeking to answer questions surrounding their identity.
The motivation for this project came from a place of reflection for what it means to be a feminist and Latina and how to navigate the values of both without compromising one over the other. After personally contemplating the meanings and process without coming to a concrete understanding, we were prompted to branch out and engage other Latina college students in a conversation about what it means for them, what unique challenges they may be facing, and how they may be seeking to answer questions surrounding their identity.
ContributorsAlvarado, Ismail G. (Co-author) / Alejandro, Nathalie (Co-author) / Hall, Deborah (Thesis director) / Villegas-Silva, Claudia (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
As an artist, I set out to creatively answer three important questions that were discovered in a variety of ways over the course of my academic career. They all had one thing in common, the awareness and wonder around how impactful presence is. But what is presence? Merriam-Webster Dictionary defined presence as, “The state or fact of existing, occurring, or being present in a place or thing.” And, “A person or thing that exists or is present in a place but is not seen. (Presence) After a tangible experience with loss, grief, disappointment, and extenuating life circumstances for many cast members involved in this seven-month movement research project, the internal battle for physical, mental, and emotional presence began to be a daily pursuit. The originally produced work, Presence-The Walk, takes a look into the unpopular practice of being still in an ever-moving society, as well as what the process of healing can look like for an individual. Videographer and MFA candidate Lawrence Fung was a large collaborator on the final product of this work. After having to adapt several different versions of the final product due to cast changes, opportunities for public performance, and the COVID-19 pandemic, dancer, mover, and artist Victoria Ward shares her experience and research exploring the constant pursuit of presence and what it looked like to present professional work given an even shorter timeline. Interdisciplinary collaboration with photographers, artists, and spoken word was also a key aspect of this work alongside the research completed by her cast of seven dancers.
ContributorsWard, Victoria Marie (Author) / Conder, Carley (Thesis director) / Meredith, Shauna (Committee member) / Rosenkrans, Angela (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Psychology and dance both shed light on the question: how do our personal, life experiences affect our movement? This document introduces elements from psychology and dance through associative learning, attachment styles, muscle patterning, and partner improvisation as ways of exploring this question. It aims to briefly introduce these theories and explain how they had a role in the research of the creative project. It also documents the inception, creation, and production of Lullabye, a dance work intended to be accessible to an audience with little to no experience viewing concert dance, with the target audience specifically being the writer’s mother. It has three sections, each featuring a different element of dance, storytelling, and individuality. It starts a conversation on how emotions and thoughts related to personal experiences can affect our movement.
ContributorsTello Solano, Carlos (Co-author, Co-author) / Kaplan, Robert (Thesis director) / Montoya, Yvonne (Committee member) / Schupp, Karen (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The Constructivists were a prominent group of Avant Garde artists that began to work in the years preceding the Bolshevik revolution and continued to work prominently until Stalin came to power. As other Avant Garde movements became prevalent throughout Europe, Constructivism became the Modernist movement that encapsulated Russia’s Socialist future. Constructivist artist-workers embraced the idea that objects of art must be useful in the daily life of a Soviet worker as well as representative of the future for which communists were working. As such, they aligned with the new national ideals aesthetically by illustrating national and political goals in a functional way. Constructivists wanted to create objects that would signify and enable future Soviet life through their usefulness and their ideological intensity. This thesis argues that Constructivist objects served a third purpose as productive agents of community.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
ContributorsBrown, Theodora Circe (Author) / Hoogenboom, Hilde (Thesis director) / Hedberg Olenina, Ana (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The Honors Creative Project evolved drastically from start to finish, despite its origin remaining the same. My core goal in this project was to connect two seemingly mutually exclusive aspects of my life, engineering and dance. After conducting an IRB study and using data from my own personal experiences, I was able to see how dance had in fact made me a better engineer. There were skills that I gained and learned in dance that were directly applicable to engineering, and I believe will be critical to my success as an engineer. As the focal point of the project angled towards myself, I had to look deeply into who I am and how I reached this point. I conducted self-reflections on various aspects of my current life and also on the struggles and hardships I overcame during my years at ASU. From these reflections, I learned a lot about myself and how my personal identity has evolved. This identity evolution became the backbone behind my thesis defense. I took my research and self-reflections and designed a series of artwork that I personally designed and painted myself. I my engineering side to conduct the research and collect the data, and then used my artistic side to present my findings to the public in a way that attracted and audience and caused others to reflect upon their own identities.
ContributorsArizmendi, Romann Fuentes (Author) / Olarte, David (Thesis director) / Welz, Matt (Committee member) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The goal of this thesis is to explore and present a range of approaches to “algorithmic choreography.” In the context of this thesis, algorithmic choreography is defined as choreography with computational influence or elements. Traditionally, algorithmic choreography, despite containing works that use computation in a variety of ways, has been used as an umbrella term for all works that involve computation.
This thesis intends to show that the diversity of algorithmic choreography can be reduced into more specific categories. As algorithmic choreography is fundamentally intertwined with the concept of computation, it is natural to propose that algorithmic choreography works be separated based on a spectrum that is defined by the extent of the involvement of computation within each piece.
This thesis seeks to specifically outline three primary categories that algorithmic works can fall into: pieces that involve minimal computational influence, entirely computationally generated pieces, and pieces that lie in between. Three original works were created to reflect each of these categories. These works provide examples of the various methods by which computation can influence and enhance choreography.
The first piece, entitled Rαinwater, displays a minimal amount of computational influence. The use of space in the piece was limited to random, computationally generated paths. The dancers extracted a narrative element from the random paths. This iteration resulted in a piece that explores the dancers’ emotional interaction within the context of a rainy environment. The second piece, entitled Mymec, utilizes an intermediary amount of computation. The piece sees a dancer interact with a projected display of an Ant Colony Optimization (ACO) algorithm. The dancer is to take direct inspiration from the movement of the virtual ants and embody the visualization of the algorithm. The final piece, entitled nSkeleton, exhibited maximal computational influence. Kinect position data was manipulated using iterative methods from computational mathematics to create computer-generated movement to be performed by a dancer on-stage.
Each original piece was originally intended to be presented to the public as part of an evening-length show. However, due to the rise of the COVID-19 pandemic caused by the novel coronavirus, all public campus events have been canceled and the government has recommended that gatherings with more than 10 people be entirely avoided. Thus, the pieces will instead be presented in the form of a video published online. This video will encompass information about the creation of each piece as well as clips of choreography.
This thesis intends to show that the diversity of algorithmic choreography can be reduced into more specific categories. As algorithmic choreography is fundamentally intertwined with the concept of computation, it is natural to propose that algorithmic choreography works be separated based on a spectrum that is defined by the extent of the involvement of computation within each piece.
This thesis seeks to specifically outline three primary categories that algorithmic works can fall into: pieces that involve minimal computational influence, entirely computationally generated pieces, and pieces that lie in between. Three original works were created to reflect each of these categories. These works provide examples of the various methods by which computation can influence and enhance choreography.
The first piece, entitled Rαinwater, displays a minimal amount of computational influence. The use of space in the piece was limited to random, computationally generated paths. The dancers extracted a narrative element from the random paths. This iteration resulted in a piece that explores the dancers’ emotional interaction within the context of a rainy environment. The second piece, entitled Mymec, utilizes an intermediary amount of computation. The piece sees a dancer interact with a projected display of an Ant Colony Optimization (ACO) algorithm. The dancer is to take direct inspiration from the movement of the virtual ants and embody the visualization of the algorithm. The final piece, entitled nSkeleton, exhibited maximal computational influence. Kinect position data was manipulated using iterative methods from computational mathematics to create computer-generated movement to be performed by a dancer on-stage.
Each original piece was originally intended to be presented to the public as part of an evening-length show. However, due to the rise of the COVID-19 pandemic caused by the novel coronavirus, all public campus events have been canceled and the government has recommended that gatherings with more than 10 people be entirely avoided. Thus, the pieces will instead be presented in the form of a video published online. This video will encompass information about the creation of each piece as well as clips of choreography.
ContributorsJawaid, Zeeshan (Co-author, Co-author) / Jackson, Naomi (Thesis director) / Curry, Nicole (Committee member) / Espanol, Malena (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / Dean, W.P. Carey School of Business (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Persian music is immensely rich in history, culture, and expression. There has always been a very unique style and feel to it with common themes and elements present in all songs created by Persian artists. It has specific unique elements in its composition, quite different from Western classical music, common across all forms of Persian music regardless of genre or generation: highly vocal melodies, greater use of ornamentation, and particular notation. While different, these elements are not incompatible with one another. This musical composition uses a string ensemble of Violin, Viola, Cello, and Double Bass to combine and incorporate the unique styles and elements of Persian music with those of Western classical music. This Persian-inspired waltz brings out aspects of both styles to convey both styles in harmony together and, at the same time, portrays each respective style within the setting and context of the other.
ContributorsSadeghi, Amir Jahan (Author) / Caslor, Jason (Thesis director) / Desbordes, Julie (Committee member) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The sport of Ultimate, formerly known as Ultimate Frisbee™, spread around the world in the mid-seventies and was considered an alternative sport that embraced a more casual atmosphere than other traditional, competitive sports. Ultimate is now receiving national and international attention as a competitive sport, with broadcasts of games on networks such as ESPN. As it transitions into a mainstream sport while attempting to maintain its alternative roots, it is possible that there are contrasting opinions between those who want to bring it further into the mainstream and those who want to maintain as much as possible of the original, alternative culture. In this work, we surveyed members of the Ultimate community for their perspectives on the unique culture of Ultimate.
Because the Ultimate community considers itself to be progressive, despite its largely Caucasian makeup, one topic of exploration was the political landscape of the Ultimate community. A second unique aspect of ultimate is the system for enforcing rules used by the players on the field, known as the spirit of the game. This system replaces referees and creates an ethical dynamic both during play and within the community that is not found in other sports. The last major topic of study here is the self-perception of the players as athletes. Because Ultimate continues to maintain a reputation as an alternative sport, athletes may perceive themselves differently than in more established sports.
When asked if Ultimate players perceived the Ultimate community as accepting of athletes who are people of color (POC) or members of the lesbian, gay, bisexual, or transgender community (LGBT), the community reported being accepting of all minorities. However, acceptance of POC athletes was rated significantly lower than the acceptance of LGBT athletes. When asked about comradery, the respondents rated comradery higher within the Ultimate community than in other sports. When asked how impartial players were in Ultimate compared to other sports, players with more experience tended to report perceiving themselves as more impartial. All demographics reported being more impartial in Ultimate than in other athletics. When asked about the seriousness of Ultimate, those who had not played another sport considered Ultimate to be more serious than those who had played another sport. In addition, players with more years of Ultimate experience also considered it to be more serious than those with fewer years of experience. Overall, additional studies on Ultimate culture are needed in order to obtain more viewpoints, as there is a lack of research in this field for comparison.
Because the Ultimate community considers itself to be progressive, despite its largely Caucasian makeup, one topic of exploration was the political landscape of the Ultimate community. A second unique aspect of ultimate is the system for enforcing rules used by the players on the field, known as the spirit of the game. This system replaces referees and creates an ethical dynamic both during play and within the community that is not found in other sports. The last major topic of study here is the self-perception of the players as athletes. Because Ultimate continues to maintain a reputation as an alternative sport, athletes may perceive themselves differently than in more established sports.
When asked if Ultimate players perceived the Ultimate community as accepting of athletes who are people of color (POC) or members of the lesbian, gay, bisexual, or transgender community (LGBT), the community reported being accepting of all minorities. However, acceptance of POC athletes was rated significantly lower than the acceptance of LGBT athletes. When asked about comradery, the respondents rated comradery higher within the Ultimate community than in other sports. When asked how impartial players were in Ultimate compared to other sports, players with more experience tended to report perceiving themselves as more impartial. All demographics reported being more impartial in Ultimate than in other athletics. When asked about the seriousness of Ultimate, those who had not played another sport considered Ultimate to be more serious than those who had played another sport. In addition, players with more years of Ultimate experience also considered it to be more serious than those with fewer years of experience. Overall, additional studies on Ultimate culture are needed in order to obtain more viewpoints, as there is a lack of research in this field for comparison.
ContributorsRandall, Sean Edward (Co-author) / Furey, Michael (Co-author) / Mebane, Tyler (Co-author) / Crook, Sharon (Thesis director) / Arrowsmith, Ramon (Committee member) / Simeone, Michael (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05