Matching Items (42)
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- All Subjects: Dance
- All Subjects: Performing Arts education
- Creators: Schupp, Karen
- Creators: Jackson, Naomi
- Status: Published
Description
MOVE was a choreographic project that investigated content in conjunction with the creative process. The yearlong collaborative creative process utilized improvisational and compositional experiments to research the movement potential of the human body, as well as movement's ability to be an emotional catalyst. Multiple showings were held to receive feedback from a variety of viewers. Production elements were designed in conjunction with the development of the evening-length dance work. As a result of discussion and research, several process-revealing sections were created to provide clear relationships between pedestrian/daily functional movement and technical movement. Each section within MOVE addressed movement as an emotional catalyst, resulting in a variety of emotional textures. The sections were placed in a non-linear structure in order for the audience to have the space to create their own connections between concepts. Community was developed in rehearsal via touch/weight sharing, and translated to the performance of MOVE via a communal, instinctive approach to the performance of the work. Community was also created between the movers and the audience via the design of the performance space. The production elements all revolved around the human body, and offered different viewpoints into various body parts. The choreographer, designers, and movers all participated in the creation of the production elements, resulting in a clear understanding of MOVE by the entire community involved. The overall creation, presentation, and reflection of MOVE was a view into the choreographer's growth as a dance artist, and her values of people and movement.
ContributorsPeterson, Britta Joy (Author) / Fitzgerald, Mary (Thesis advisor) / Schupp, Karen (Committee member) / Mcneal Hunt, Diane (Committee member) / Arizona State University (Publisher)
Created2013
Description
This six month IRB approved qualitative study was held at Arizona State University to see how a group of seven university dancers' body appreciation and body perception would be affected by introduction and familiarized with Bartenieff Fundamentals and other somatic practices. During this process the individuals gained knowledge about their own bodies through somatic movement activities, journal writings, group discussions, and personal interviews. Movers then used this knowledge to create movement phrases that represented their own personal journeys with body image struggles, doubts, and insecurities. These movement phrases were then linked together in a 40-minute expressive movement piece that represented the journey the group of movers had made and was still making together.
ContributorsRodgers, Patricia (Author) / Jackson, Naomi (Thesis advisor) / Britt, Melissa (Committee member) / Vissicaro, Pegge (Committee member) / Arizona State University (Publisher)
Created2014
Description
This study intended to identify what children's perceptions and experiences are with contact improvisation and how these experiences relate to their education; their understanding of being an individual within a community; and their physical, social, and intellectual development. An interpretive phenomenological research model was used, because this study aimed to understand and interpret the children's experience with contact improvisation in order to find meaning relating to the form's possible benefits. The research was conducted over the course of ten weeks, which included classes, interviews, discussions, questionnaires, and journals. This study showed that contact improvisation empowered the children, opened the children's awareness, developed critical thinking, and created a deeper understanding and trust of the self and relationships formed within the class. The experiences found through teaching contact improvisation to these children showed that there are benefits to teaching children the form.
ContributorsCrissman, Angel (Author) / Schupp, Karen (Thesis advisor) / Dyer, Becky (Committee member) / O'Donnell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Bisexuality is a unique kind of sexual identity, as a gray area between heterosexuality and homosexuality. The piece You made up the Story and I Played with all the Parts explores bisexuality as a lived artistic experience based on my sexual journey within a society that advocates heterosexuality. The piece includes movement phrases and text derived from conversations with intimate partners, characters based on former partners, storytelling, a 1950s-style sex education video parody, and audience participation via dialogue. The creation of movement and dialogue manipulated heteronormative social stigmas into a canny social acceptance of bisexuality. The multifaceted nature of the piece provokes viewers to consider how sexuality is constructed socially through my own interpretation. As a result, the work suggests that bisexuality is a legitimate sexual identity and represents a culture within American society.
ContributorsBedford, Crystal (Author) / Corey, Frederick (Thesis advisor) / Dove, Simon (Thesis advisor) / Jackson, Naomi (Committee member) / Arizona State University (Publisher)
Created2011
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
The Mormon Plan of Salvation explains that people originate in a heavenly state and are sent to Earth in a physical form, where they aspire to lead good lives and gain wisdom in order to reach glory in the afterlife. The dance piece "From There to Here to There: Whose Journey is it Anyway?" explores each stage in the Plan of Salvation at a different location, requiring dancers and audience to travel both metaphorically and physically. The piece incorporates several kinds of journeys: the collective journey of humankind based on the Plan of Salvation, the dancers' own journeys, and audience's journey as they watch the piece, and my journey as an artist. In the process of making this piece, I refined my identity as a 21st century Mormon artist interested in conveying religious messages through the traditionally secular art form of postmodern dance.
ContributorsFrost, Randi (Author) / Kaplan, Robert (Thesis advisor) / Daughtrey, Doe (Committee member) / Schupp, Karen (Committee member) / Arizona State University (Publisher)
Created2011
Description
A Sense Of is a performance-based work that addresses the effects of the transformation of space, time, and energy through the various sensory modes. The work is an invitation to the artist's perspective of the world, which is combined with the performers' creative voices and interpretations of the artist's explorations into sensory awareness. The movement installation entitled A Sense Of was presented in November 2011. This document presents an overview of the project. It addresses relevant literature, examines the creative process used in the work, and provides an analysis of the project as a whole.
ContributorsUllom, Kathryn (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Schupp, Karen (Committee member) / Klett, Mark (Committee member) / Arizona State University (Publisher)
Created2012
Accessing the centre: complementary conditioning & somatic wellness for competitive Irish step dance
Description
This thesis examines the integration of somatic principles into Irish Step Dancing. The researcher conducted a twelve week case study that explored how utilizing the Centre-line Support System in training competitive Irish Step Dancers, through integrating Alexander Technique and Bartenieff Fundamentals of Total Body Connectivity can generate increased height and efficiency in jumping and an improvement in upper-body carriage, while longitudinally reducing the occurrence of over-use injuries. Research occurred between January and March 2012 in Tucson, Arizona and Dublin, Ireland. Additional research and reflection occurred in Belfast, Glasgow, and London, United Kingdom; Limerick, Cork, and Galway, Ireland; Amsterdam, The Netherlands; Chicago, Illinois; Phoenix, Arizona; and Los Angeles, California.
ContributorsBuck, Helen (Author) / Vissicaro, Pegge (Thesis advisor) / Hoffner, Kristin (Committee member) / Jackson, Naomi (Committee member) / Arizona State University (Publisher)
Created2012
Description
This document outlines the formation and development of Worth the Weight, or WTW, a platform that seeks to sustain the Breaking community in Phoenix, Arizona and connect the generations by bringing them together in a newly and never before seen event in Breaking, an all weight class and division competition. In the last five to ten years there has been a noticeable decline in the local Breaking community, in part due to the introduction of new dance categories, economic and social changes, the cross over of academia and traditional studios in Phoenix; all combining to create a lack of longevity in veterans of the culture to pass on the tools of the trade to the next generation.
WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
ContributorsMagaña, Jorge Edson (Author) / Vissicaro, Pegge (Thesis advisor) / Schupp, Karen (Committee member) / Gabbert, Kenneth (Committee member) / Arizona State University (Publisher)
Created2015
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