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- Creators: Department of Psychology
- Member of: Theses and Dissertations
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The goal of this study was to look at touch and dance from different views to gain a better perspective on the benefits of touch, mainly when used in dance and also perhaps in broader contexts. Part of this investigation also looked at the stigmatized view of touch in the American culture and in turn the lack of knowledge about, and comfort with touch in our society. A personal research component involved the creation of a solo reflecting about the question of why I connect with touch so intensely. The bulk of the study involved facilitating touch experiences in two introductory level dance classes for high school students. Daily journal entries were collected from each of the eighty students that focused on their personal experiences with touch in a series of six movement sessions. The study shows that bringing touch to the dance classroom has multiple benefits, including promoting a greater understanding and acceptance of the sense of touch, a positive impact on students' views about dance, and a break down of preconceived notions about the mind and the body.
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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.
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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.