Matching Items (11)
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Description
The purpose of my creative research was to analyze my choreographic process and answer the research question: how will implementing somatic principles impact my choreographic process? In determining the impact I analyzed the use of choreographic approaches that bring proprioceptive awareness to interdisciplinary somatic themes of bodily systems, sensing, connectivity, initiation and sequencing. These somatic themes were utilized in movement invention and exploration as well as the structuring and performance of my choreography. Additionally, the research involved clarifying my role as a choreographer and my relationship to the dancers in my work. My creative research occurred in three choreographic phases and resulted in the production of B.O.D.I.E.S performed in three consecutive sections titled Discovery, Exploration, and Identity November 5-7, 2010. B.O.D.I.E.S demonstrates how somatics will lead to greater movement possibilities and dynamic range to explore in the craft of dance making.
ContributorsHillerby, Rebecca Blair (Author) / Schupp, Karen (Thesis advisor) / Roses-Thema, Cynthia (Thesis advisor) / Coleman, Grisha (Committee member) / Arizona State University (Publisher)
Created2011
Description
Physical activity has been shown to be effective in primary and secondary prevention of chronic diseases such as diabetes, cancer and cardiovascular disease (Warburton, Nicol & Bredin, 2006). Women tend to be much less active than males and are henceforth at a greater risk for developing these conditions (Biddle & Mutrie, 2008). This study addresses what impact type of physical activity in adolescence has on adult physical activity levels in the female population. Specifically, the study focuses on coordination and performance activities in adolescence, and how adult physical activity levels compare to both sedentary adolescents and adolescent endurance and ball sport athletes. Ninety-six female participants that were ages 20-29 (N=53) and 30-39 (N=43) were asked to fill out a survey about their adolescent activity levels and their current activity levels. Those participants who identified as participating in coordination and performance activity (N=43) were compared to those who were sedentary (N=14) and then further compared to those who engaged in other types of adolescent activity (N=39). It was determined that coordination and performance activities during adolescence did have a significant effect on frequency of female adult physical activity when compared to their sedentary counterparts (p=0.015). Adolescent endurance and ball sport athletes did tend to have a greater frequency of current activity in adulthood than those involved in coordination and performance activities, which was attributed to a greater frequency of practice per week in those sports. In conclusion, introducing a frequent amount of physical activity the female adolescent enjoys increases their likelihood of frequently engaging in physical activity as an adult.
ContributorsSweig, Amanda Noel (Author) / Roses-Thema, Cynthia (Thesis director) / Broman, Tannah (Committee member) / Hoffner, Kristin (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Nutrition and Health Promotion (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
Description
What makes a Russian dancer Russian? In 1909 Sergei Diaghilev essentially created a tradition of "Russian ballet" through his Ballets Russes, which brought the stars of the imperial Petersburg theater to Paris and other Western capitals. By commissioning new and innovative works, such as Igor Stravinsky's Rite of Spring and Firebird, Diaghilev revolutionized the standard repertoire of dance ensembles around the world. Ballet dancers such as Vaslav Nijinsky, Anna Pavlova, Mathilde Kschessinska, Dame Alicia Markova, all worked closely with Diaghilev. Post-Diaghilev, Rudolf Nureyev (an ethnic Tatar) and Mikhail Baryshnikov were both born in the Russian-dominated Soviet Union, and later escaped to live and dance in the West. All of these artists, despite their varied origins, considered themselves to be Russian dancers. Why? What, in their view, made them Russian? Careful and original analysis of their memoirs and other writings suggests that Russian identity is highly complex and composed of many different elements. Some dancers inherited their Russian identity from their parents. Others acquired their Russian identity through language, religious conversion to Orthodox Christianity, a common tradition of ballet training, participation in distinctly Russian dance companies, or culture. In general, these dancers do not regard "Russianness" as innate; instead, Russian identity is created and achieved through cultural practices. By participating in the educational tradition of the Imperial ballet, these dancers become Russian.
ContributorsClay, Joy Neylufer (Author) / Hoogenboom, Hilde (Thesis director) / Roses-Thema, Cynthia (Committee member) / Moldabekova, Saule (Committee member) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
In my undergraduate honors thesis, I strive to convey my idea that dance is more than just movement, it’s one of the many artistic tools used to express emotions; which therefore has the power to storytell without words. It is my hope to create a captivating form of art that you not only view, but can interact and interpret.
ContributorsSawant, Sarika (Author) / Roses-Thema, Cynthia (Thesis director) / Sulikowski, James (Committee member) / College of Health Solutions (Contributor) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
This thesis is an exploration into somatic movement methods to help ease chronic pain. The study follows my personal experience as a researcher and a dancer with fibromyalgia and other chronic pain conditions. I carry forward a body-centered autoethnographic frame, as the prevailing ethos of this work revolves around considering bodily experience as an authority in personal well-being. My research follows the spirit of the Intuitive Inquiry research methodology developed by Dr. Rosemarie Anderson and evolved as I progressed through my own research and organizing processes. This thesis document is organized according to eight physical cycles of intuitive inquiry that emerged from my movement and research processes. The cycles address my conditions of chronic pain and disability, my history with dance competition in the United States, my experience with conceptualizations of the body, and the successes I experience with somatic practices, particularly Tensegrity as it applies to the body. My intuitive physical cycles conclude with a proposal for methods of movement and inner-body communication that promote ease in the body and sustainable movement.
ContributorsSmith, Holly (Author) / Roses-Thema, Cynthia (Thesis advisor) / Olarte, David (Committee member) / Anand, Julie (Committee member) / Tang, Yi-Yuan (Committee member) / Arizona State University (Publisher)
Created2023
Description
In this project, Schrodinger’s X, I explored a way of promoting a more neutral understanding among people from the same or different cultural background and the possibilities of one performance. I created an online interactive, immersive performance by combing dance, role-play games, and film. In this project, instead of sitting and watching, the audience is also part of the performance. They have the power to explore the world of this performance by making options during the performance. Each audience member sees the specific content and ending(s) based on their choice. At the end of the performance, the audience also has options to replay the performance or explore another character. There is no reference or model or documentation that relates to online interactive video performance. Thus, I explored the form of performance on my own. As the leader of this project, the author played the role of both the director and choreographer, coordinator and collaborator with six dancers, one cinematographer, and three composers. The diversity of the members of this project is extraordinary: Asian, Asian Americans, and Americans. Each member had contributed their unique voice and perspective to this project. The final product of this project contains a traceable online interactive video that audiences can replay anytime with a demonstration video and this document. Keywords: interactive videos, dance, interactive performance, cultural difference, role-play games, online performance
ContributorsLei, Qinzi (Author) / Kaplan, Robert (Thesis advisor) / Roses-Thema, Cynthia (Thesis advisor) / Williams, Wendy (Committee member) / Arizona State University (Publisher)
Created2021
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
Abstract
This study investigates the effects of Bharatanatyam dance on stress, mood, and anxiety. I have danced Bharatanatyam since I was 8 years old, it has offered me a way to release stress and anxiety. This study provides empirical data to support the claim that Bharatanatyam has therapeutic effects that release stress and reduce anxiety. This investigation was conducted through self-reports and interviews. A Positive Affect and Negative Affect Schedule (PANAS) scale was used to determine positive and negative effects. The average positive affect during the “dance weeks” (DW) was 46.6 and the average negative affect was 12.2. During the “no dance weeks” (NDW), the average positive effect was 23.7 and the average negative affect was 31. The participant’s interview PANAS results had an average positive effect of 39.8 and an average negative effect of 12.8. Analyzing the self-report journaling highlighted a more prevalent use of positive words during the DW and a more significant use of negative words during the NDW. The Bharatanatyam dancers who were probed to enter post-performance environment for an interview also used positive words to describe Bharatanatyam dancing. In conclusion, practicing Bharatanatyam had an overall positive effect on mood, and can reduce stress and anxiety.
This study investigates the effects of Bharatanatyam dance on stress, mood, and anxiety. I have danced Bharatanatyam since I was 8 years old, it has offered me a way to release stress and anxiety. This study provides empirical data to support the claim that Bharatanatyam has therapeutic effects that release stress and reduce anxiety. This investigation was conducted through self-reports and interviews. A Positive Affect and Negative Affect Schedule (PANAS) scale was used to determine positive and negative effects. The average positive affect during the “dance weeks” (DW) was 46.6 and the average negative affect was 12.2. During the “no dance weeks” (NDW), the average positive effect was 23.7 and the average negative affect was 31. The participant’s interview PANAS results had an average positive effect of 39.8 and an average negative effect of 12.8. Analyzing the self-report journaling highlighted a more prevalent use of positive words during the DW and a more significant use of negative words during the NDW. The Bharatanatyam dancers who were probed to enter post-performance environment for an interview also used positive words to describe Bharatanatyam dancing. In conclusion, practicing Bharatanatyam had an overall positive effect on mood, and can reduce stress and anxiety.
ContributorsKothakapu, Shourya (Co-author, Co-author) / Roses-Thema, Cynthia (Thesis director) / deLusé, Stephanie (Committee member) / Mandala, Sumana (Committee member) / School of Life Sciences (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The purpose of this project was to create a workshop for adults without dance experience to immerse them in dance as a form of therapy. The goals of this workshop are to foster physical awareness and physical creativity. There are four main areas the participants would get experience in from this workshop including self-care/awareness, expression, gesture and choreography. These four areas are the ways that the two main goals manifest themselves. For this project I reviewed research by many different professionals from the therapy, psychology, self-care, dance, and dance therapy fields. Their studies as well as my own experience aided in putting together my themes for the workshop and class activities. I include my methodology, lesson plans, a workbook, and my reflection on the process.
ContributorsWilson, Deepika (Author) / Roses-Thema, Cynthia (Thesis director) / Giorgis, Cyndi (Committee member) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
The ASU School of Dance presents Transition Projects I, February 13-15, with works by dance faculty and undergraduate students, performed at Dance Studio Theatre, PEBE 132.
ContributorsAmmerman, Mark C. (Set designer) / Benard, Jacqueline (Costume designer) / Britt, Melissa (Choreographer) / Caban, Francesco Gabrial (Choreographer, Videographer) / Caban, Fred (Videographer) / Felix, Steven (Choreographer, Lighting designer, Costume designer) / Fitzgerald, Mary (Choreographer) / Frey, Callie (Dancer) / Hauk, Chelsey (Dancer, Costume designer) / Howe, Martha E. (Choreographer) / Koch, Carolyn (Lighting designer) / Kozulla, Ashle (Dancer) / Manners, Robin (Dancer) / McHale, Samantha (Dancer) / McNamara, Caitlyn (Dancer) / Mihaleva, Galina (Costume designer) / Millizer, Emily (Dancer) / Myers, Molly (Dancer) / Peck, Hutton (Dancer) / Pelegrino, Laura (Dancer) / Perez, Larisa (Choreographer, Dancer) / Ramey, Jenna (Dancer) / Razey, Jenna (Dancer) / Roses-Thema, Cynthia (Choreographer) / Sapienze, Angelo (Videographer) / Smith, Chelsea (Choreographer, Lighting designer, Costume designer) / Spenceley, Jenni (Dancer, Choreographer, Costume designer) / Trujillo, David (Lighting designer) / Walker, Morgan (Videographer) / Wilcox, Madeline (Dancer) / Williams, LaShonda L. (Choreographer, Costume designer, Set designer) / Zakrzewski, Emily (Dancer) / Herberger Institute of Dance School (Publisher)
Created2009