Matching Items (9)
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- All Subjects: Dance
- Member of: Theses and Dissertations
Description
Purple World was a choreographic project that investigated improvisational, compositional, design, and technological experiments to research movement possibilities in interdisciplinary and interactive settings. In developing the work, the dancers exchanged different individual perspectives through "movement recall." This movement recall was inspired by the sensations associated with their physical memories from childhood, conditioned movement patterns, and the ways dancers can use their bodies to creatively problem-solve the philosophical questions in their lives. The work united dance, interactive work, structured improvisation, props, and installation. The intersection of discussion with collaborators, creative methods inspired by other artists, and the elements described above provided a structure for the artist to investigate his choreographic artistic identity by cultivating individual movement vocabulary in himself and his dancers.
ContributorsKikuchi, Fumihiro (Author) / Fitzgerald, Mary (Thesis advisor) / Jackson, Naomi (Committee member) / Kim, Marianne (Committee member) / Arizona State University (Publisher)
Created2015
Description
Cultural background is very important for people, and people from different cultural backgrounds will have different understandings of art. This document explores how individuals relate to other cultures and incorporate the advantages of Chinese cultural values into contemporary dance experiences as researched for the applied project, III. This project uses the Bagua theory in the ancient Chinese book the I Ching to carry out the process of collaborative creation through different art forms in collaboration with artists from different mediums. This document details the artist’s process of self-exploration and creative expansion using personal cultural background and influences (both Eastern and Western). Through this research the artist has come to understand and develop unique personal perspectives and formulate a creative method that she will continue to use in the future; it centers the importance of cultural identity and how that shapes experiences of art and art-making.
ContributorsHu, Yayi (Author) / Standley, Eileen (Thesis advisor) / Mitchell, John (Committee member) / Kim, Marianne (Committee member) / Arizona State University (Publisher)
Created2019
Description
The piece WAKE UP BREATHING holds personal significance as an investigation of thought-provoking issues of breathing through film installation, video and live performance. This research specifically addressed how breath training exercises enhance dance performance and improve a dancer’s control of their body, as well as how these exercises can function as material for choreographic inquiry. During the creation of the concert, the choreographer employed breath building exercises and applied different breath techniques with a cast of nine dancers. The choreographer and dancers worked collaboratively to develop creative material, enhance performance and help members of the audience understand why breathing in dance is so meaningful.
ContributorsKong, Zijia (Author) / Jackson, Naomi (Thesis advisor) / Kaplan, Robert (Committee member) / Kim, Marianne (Committee member) / Arizona State University (Publisher)
Created2019
Description
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.
ContributorsSteinken, Brigitte Rose (Author) / Fitzgerald, Mary (Thesis director) / Amazeen, Eric (Committee member) / Dyer, Becky (Committee member) / Barrett, The Honors College (Contributor) / School of Dance (Contributor) / Department of Psychology (Contributor)
Created2013-05
Description
The action of running is difficult to measure, but well worth it to receive valuable information about one of our most basic evolutionary functions. In the context of modern day, recreational runners typically listen to music while running, and so the purpose of this experiment is to analyze the influence of music on running from a more dynamical approach. The first experiment was a running task involving running without a metronome and running with one while setting one's own preferred running tempo. The second experiment sought to manipulate the participant's preferred running tempo by having them listen to the metronome set at their preferred tempo, 20% above their preferred tempo, or 20% below. The purpose of this study is to analyze whether or not rhythmic perturbations different to one's preferred running tempo would interfere with one's preferred running tempo and cause a change in the variability of one's running patterns as well as a change in one's running performance along the measures of step rate, stride length, and stride pace. The evidence suggests that participants naturally entrained to the metronome tempo which influenced them to run faster or slower as a function of metronome tempo. However, this change was also accompanied by a shift in the variability of one's step rate and stride length.
ContributorsZavala, Andrew Geovanni (Author) / Amazeen, Eric (Thesis director) / Amazeen, Polemnia (Committee member) / Vedeler, Dankert (Committee member) / Department of Psychology (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Metaphor as a way of thinking permeates daily life. It affects how people understand and experience everything. It also plays an important role in artistic creation. The idea of creating highly personal but commonly understood metaphors was central to the research and creation of Ink. I created this work to find out how I—as a Chinese artist with unique personal experiences, educational experiences, and cultural perspectives—can explore metaphors that would resonate with predominantly Western audiences. This research specifically addressed the metaphorical meanings of the colors black and white and drew from my visual artistry to compose dances, stage setting, and costume design.
ContributorsLiang, Yingzi (Author) / Rajko, Jessica (Thesis advisor) / Kim, Marianne (Committee member) / Rex-Flint, Melissa (Committee member) / Arizona State University (Publisher)
Created2017
Description
For my MFA project, I aimed to explore the differences between Chinese and Western dance cultures and investigate strategies for integrating them. This thesis reflects on the process of creating my original dance work, "Water, Disappearing in Water," and how it informed my understanding of choreography and creation. Through a combination of theoretical knowledge and practical experimentation, I have gained new insights and techniques for choreography. My work, which draws on Tai Chi, calligraphy, somatics, and modern dance, exemplifies the potential of cross-cultural collaborations to inspire new forms of artistic expression. Under the umbrella of integrating Eastern and Western cultures, my goal was to extract elements of Chinese traditional culture to make modern dance more open and inclusive, while also exploring new possibilities for incorporating traditional culture. The first chapter investigates the construction of the narrative text of dance works by examining the pre-choreography and creation stages. It also examines the transition from narrative text to feasible dance work structure, which poses a significant challenge in the practice process. The second chapter delves into the possibility of integrating Eastern and Western cultures in dance from a theoretical and practical perspective. Using the first and second parts of the work as examples, I analyze the "force" of modern dance, the "shape" of Tai Chi movements, and the relationship between emotion and the lines of Chinese calligraphy. The third chapter centers on exploring the significance of imagery expression in somatic choreography. The fourth and final chapter of this thesis sets a new goal of combining dance and multimedia technology to challenge the limitations of traditional dance performance. Overall, this thesis showcases how my original dance work combines theory and practice to explore new possibilities in future dance works.
ContributorsMa, Ying (Author) / Dyer, Becky (Thesis advisor) / Conder, Carley (Thesis advisor) / Kim, Marianne (Committee member) / Arizona State University (Publisher)
Created2023
Description
Like many other Southeast Asian American (“SEAA”) families who fled from war and genocide around the 1970s and through the 1990s, my family avoided discussing their trauma or addressing any resulting mental health issues. As I came to internalize patterns that stemmed from my parents’ untreated wounds, without any way of ever truly understanding those wounds, I inevitably developed symptoms of my own trauma, including depression and anxiety. Although the topic of intergenerational trauma (“IGT”) has been discussed in a growing body of research within the specific context of Asian American families that have resettled in western countries, the focus has been on the trauma itself: its development and manifestations in the first (parent) generation and its transmission and impact on the second (offspring) generation. Little has been researched or written about healing and recovery from IGT on an individual level. Due to this gap in the literature, and my background as a dancer and artist, I turned to autoethnography and arts-based research methods to explore pathways to understanding and healing from family trauma. Using a combination of movement-based inquiry and narrative inquiry, I examined both of the following questions: (1) What can performed autoethnography that draws on narrative research as well as inquiry led by movement improvisation and choreographic processes, produce in terms of deeper knowledge about one’s traumas and about new ways of expressing oneself or being in the world? (2) How can such a movement- and somatic-centered autoethnographic research methodology also serve as a recovery modality? Although my family strongly believed the arts, and dance in particular, to serve no purpose other than to get in the way of job security and financial stability, the following research contains implications regarding whether and how families similar to mine could benefit from these practices.
ContributorsLe, My-Linh (Author) / Dyer, Becky (Thesis advisor) / Lerman, Liz (Thesis advisor) / Kim, Marianne (Committee member) / Grimes, D. Sabela (Committee member) / Arizona State University (Publisher)
Created2020
Description
Impermanence is constant within the world humans live in; the physical environment is ever-changing, parallel with human evolution. Although the moment of a human lifespan is fleeting in comparison to their surrounding landscapes, the evidence of movement that lapses through time and space in relation to body and place reveals a hidden dance that soars across the history of humankind. This document explores the relationship between moving bodies and various environments, specifically how an individual’s perception of place influences the way people dance. Given the author’s background as a choreographer, performer, and filmmaker, the goal and method of this document is to understand the author’s and his ensemble of dancers’ perceived senses within a given geographic environment and to merge personal dialect in an artistic product. Ultimately, what was found was translating into an evening-length, movement-centered presentation.
The author's curiosity with foreign landscapes and his exploratory spirit are the driving forces for this project. Before arriving at the thesis topic, the author knew that environmental exploration and dance would be at the forefront of the research. Similar to a museum exhibition context, this document yearns for variety, and studies the environments through an event that encapsulates it all. This document explores the author’s multiple artistic interests in photography, film, and live performance, all of which were presented in a single event.
The author's curiosity with foreign landscapes and his exploratory spirit are the driving forces for this project. Before arriving at the thesis topic, the author knew that environmental exploration and dance would be at the forefront of the research. Similar to a museum exhibition context, this document yearns for variety, and studies the environments through an event that encapsulates it all. This document explores the author’s multiple artistic interests in photography, film, and live performance, all of which were presented in a single event.
ContributorsFung, Lawrence (Author) / White, Marcus (Thesis advisor) / Standley, Eileen (Committee member) / Amazeen, Eric (Committee member) / Arizona State University (Publisher)
Created2020