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- Genre: Doctoral Dissertation
- Creators: Arizona State University
- Member of: Theses and Dissertations
Description
My dissertation topic engages in the trajectory of Roma/Gitano culture and flamenco and its implications for Chicanx culture in New Mexico. New Mexicans have the reputation amongst US Chicanx as referring to themselves as Hispanic and aligning culturally with a Spanish sensibility. Historically in the larger US Chicanx community this type of popularity for flamenco would be described as typical of New Mexico’s wavering Chicanidad that yearns to be connected to a Spanish colonial past more than to its indigenous Mexican roots. However, I believe the reality is a bit different. What makes New Mexican Chicanx different from the larger US Chicanx community is that they utilize flamenco and its Gitano roots as a cultural example of their Chicanidad. There is scant research on how Chicanidad as a historical movement has been influenced by the flamenco culture that exists in New Mexico. This dissertation will begin a conversation that places flamenco and the precarious identity of Chicanx, Gitanos and Nuevomejicanos in dialogue through the body, the art form, and the cultural stylings of flamenco rooted in the Flamenco Festival Internacional de Albuquerque (FFI).
ContributorsAcevedo-Ontiveros, Erica (Author) / Underiner, Tamara (Thesis advisor) / Bowditch, Rachel (Committee member) / Hayes, Michelle H (Committee member) / Lopez, Tiffany A (Committee member) / Arizona State University (Publisher)
Created2019
Description
Light Emerging is a symphonic dance suite in five movements. The work’s approximate length is 25 minutes; it is scored for flute, oboe, clarinet in Bb, bassoon, horn in F, trumpet in C with loop pedal, trombone, percussion, electronic percussion, piano, strings, and fixed media. Each movement of the dance suite is written to be performed as a standalone piece or together as one multimovement work. The music showcases open quintal sonorities layered in conflicting substructures, which contract into denser brooding passages and transform into tonal fanfares.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
ContributorsJohnson, Brice (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
When dancers are granted agency over music, as in interactive dance systems, the actors are most often concerned with the problem of creating a staged performance for an audience. However, as is reflected by the above quote, the practice of Argentine tango social dance is most concerned with participants internal experience and their relationship to the broader tango community. In this dissertation I explore creative approaches to enrich the sense of connection, that is, the experience of oneness with a partner and complete immersion in music and dance for Argentine tango dancers by providing agency over musical activities through the use of interactive technology. Specifically, I create an interactive dance system that allows tango dancers to affect and create music via their movements in the context of social dance. The motivations for this work are multifold: 1) to intensify embodied experience of the interplay between dance and music, individual and partner, couple and community, 2) to create shared experience of the conventions of tango dance, and 3) to innovate Argentine tango social dance practice for the purposes of education and increasing musicality in dancers.
ContributorsBrown, Courtney Douglass (Author) / Paine, Garth (Thesis advisor) / Feisst, Sabine (Committee member) / Turaga, Pavan (Committee member) / Arizona State University (Publisher)
Created2017
Description
ABSTRACT This narrative study traces the development of a dance curriculum as it unfolded in an inner city public school. It examines the curriculum emergence through intersecting worlds of artistic practice, improvisation, lived experience and context. These worlds were organized and explored through themes of gender, emotion, longing and intersections and examined through lenses of critical theory, aesthetics and currere. It examines the interior dialogue within one individual educator who is both a dance artist and a teacher and reflects the differing and at times conflicting perspectives within those two positions. The curriculum acquired the name "curriculum by accident" because several highly unexpected events contributed to its development. The students were initially suspicious and hostile and presented significant resistance to classical dance as an artistic form. This resistance was circumvented through creative process and improvisation. The act of improvisation became both a way to approach teaching and curriculum development and as an artistic process. Improvisation courts chance, the unplanned and the accidental through a structure in which the unknown is as valued as the known. The school setting is one full of known subjects; curriculum, settings, procedures, people and expectations. Curriculum by accident was a circumstance in which a known (school) and an unknown (the evolving curriculum) melded. The development of curriculum by accident was a response to an array of intuitive and serendipitous cues. The curriculum seeped through the cracks of school experience and transmuted into a curriculum that was very successful.
ContributorsBendix, Susan W. (Author) / Blumenfeld-Jones, Donald (Thesis advisor) / Barone, Thomas (Committee member) / Jackson, Naomi (Committee member) / Arizona State University (Publisher)
Created2010
Description
Dear reader, I hope you will read this entire dissertation. If you are reluctant because of its length, I invite you to contact me for a conversation instead. Over the past eight years I have been a part of three unfolding histories: colonialism, sustainability science, and the Atlas of Creative Tools (the Atlas). In this dissertation I describe how I am a part of these histories. I advocate for partnering them so that the Atlas is used by people in the field of sustainability science to advance cognitive justice in their work. This advocacy is supported by research conducted using a mixed-methods approach. I combine qualitative methods used to study each of the three histories with the experiential knowledge I gained from being a part of them. Throughout the dissertation I move back and forth between academic research and experiential knowledge. Each informs the other. This back-and-forth movement is itself a method to interrogate the assumptions of dissertation writing. My purposes for doing so are two-fold. I want to honor the dissertation as a form of knowledge production that can promote cognitive justice while also pointing out how it hinders it. Additionally, the back-and-forth interrogation method involves using creative tools from the Atlas in the text itself. This demonstrates how the Atlas can be used to promote cognitive justice while producing knowledge in sustainability science. I structure this dissertation to aid you in four ways. First, I provide a view of sustainability science as a contested space that people can and do use to advance cognitive justice. Second, I write about my research and analysis of the Atlas so that my descriptions can be used right away by other practitioners who are working with the Atlas. Third, my methods for interrogating the dissertation itself are meant to be used, modified, and built on by others. Finally, I hope that the connections I make between the Atlas and sustainability science are helpful for your work, and that they inspire you to try the Atlas and see how you can use it to promote cognitive justice in your own contexts.
ContributorsNock, Matthew (Author) / Haglund, LaDawn (Thesis advisor) / Manuel-Navarrete, David (Thesis advisor) / Lerman, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2023
Description
This dissertation examines practices of belonging in contemporary Italy as a fluid process. I examine the Chinatalian experience in Rome, Italy. I am interested in the ways that a Chinatalian phenomenology creates a discursive space for myriad practices of being both Chinese and Italian. “Chinatalianess” is an elastic process and a way of life unique to the individual and the historic and geopolitical context of the moment; it is not definable by nationality, biological characteristics, or even shared cultural practices. “Chinatalian choreographies” are sets of literal and symbolic bodily operations that resist exclusion and generate material and symbolic support for Chinatalians. I would argue that “Chinatalian choreographies” also create the potential for a more just Italy. I analyze actual choreographed events —for example, a happy hour in Rome and a dance performance by a Sicilian dance company — and autobiographical texts written by Chinatalians. My theoretical and practical approach is interdisciplinary and intersectional; I use critical ethnography as a primary method, which builds on theories and practices in critical dance studies, feminist geographies, and postcolonial Italian studies to engage the ways that Chinatalians in Rome are contributing to new forms of “Italian” culture. The recent resurgence of anti-Chinese sentiment during the COVID-19 pandemic lends urgency to this project which asks: What are the lived conditions of Chinatalians in contemporary Italy? Who is allowed to contribute to “Italian” culture? This thesis demonstrates that the notion of Italianess and Chinatalianess, are cultural fictions. Not only is Chinatalian identity and culture an invention but its performance is situated in the specific historical and geopolitical context in question. Rome provides the backdrop to this project, and it is against and alongside this history and contemporary context that my argument for a more just Italy emerges.
ContributorsYoung, Angeline (Author) / Johnson, Christopher (Thesis advisor) / Joslin, Isaac (Committee member) / Kwan, SanSan (Committee member) / Shabazz, Rashad (Committee member) / Arizona State University (Publisher)
Created2023
Description
Derived from the Greek word soma, meaning body, somatics is a field of movement methodologies designed to promote a greater sense of physical self-awareness through kinesthetic learning. Gaga Movement Language and Bartenieff Fundamentals, two methodologies based on somatic principles, offer unique processes to develop an individual’s movement vocabulary. By synthesizing Gaga Movement Language and Bartenieff Fundamentals with vocal pedagogy and vocal repertoire, singers can develop a kinesthetic awareness of their vocal technique that informs their artistic expression, movement vocabulary, and performance ability.
This paper presents a model for a Voice Somatics Integration Lab (VSI Lab), geared toward voice performance majors and designed to bridge the gap between Gaga Movement Language, Bartenieff Fundamentals, and vocal pedagogy. The course will culminate in a performance of a song or aria that students have selected, staged, and choreographed in accordance with the lab curriculum, along with a brief three-to-five-minute presentation detailing their choreographic process. Complete with a detailed syllabus and lesson plans, the course will use movement philosophies and techniques to guide each student in developing their pieces. Ultimately, the VSI Lab will assist singers in more effectively blending the physical demands of staging and choreography with their singing technique and artistry.
This paper presents a model for a Voice Somatics Integration Lab (VSI Lab), geared toward voice performance majors and designed to bridge the gap between Gaga Movement Language, Bartenieff Fundamentals, and vocal pedagogy. The course will culminate in a performance of a song or aria that students have selected, staged, and choreographed in accordance with the lab curriculum, along with a brief three-to-five-minute presentation detailing their choreographic process. Complete with a detailed syllabus and lesson plans, the course will use movement philosophies and techniques to guide each student in developing their pieces. Ultimately, the VSI Lab will assist singers in more effectively blending the physical demands of staging and choreography with their singing technique and artistry.
ContributorsHolm, Melanie (Author) / Weiss, Stephanie (Thesis advisor) / Dreyfoos, Dale (Committee member) / Knowles, Kristina (Committee member) / Mills, Robert (Committee member) / Arizona State University (Publisher)
Created2020