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- Creators: Arizona State University
- Creators: Dyer, Becky
Description
This document serves as a discussion of and reflection on the collaborative process of rehearsing and performing arrive, create: a Dance made by Many. My intention for the work was to deconstruct the traditional performance paradigm, focusing on constructing a generous performance atmosphere. During the rehearsal process the cast collectively worked to develop an ensemble dynamic for improvisational dance making. The construct of the performance encouraged the audience to engage with the work, both physically and imaginatively through sensory interaction with objects as well as verbal conversation. This document: recalls my background in dance improvisation; explores the relationship of philosophical and dance-making practices; discusses the process of making and performing the work; discusses research data collected from participants; and reflects on the project as a whole. Topics explored include: phenomenological perspectives, ethics of care, "moving identity", dancers' sense of authorship, transparency of dance work, collaboration, dance filmmaking, and dance improvisation in performance.
ContributorsWall-MacLane, Laurel (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Etheridge Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2013
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
Description
The intention for the dance production Story was to develop and explore a collaborative creative process to communicate a specific narrative to an audience. The production took place in the Margaret Gisolo Dance Studio at Arizona State University on November 18, 19, and 20, 2011. The purpose of my thesis work was to investigate how my personal inspiration from classical ballet, balletic movement vocabulary, fantasy narrative (an imaginative fictional story), supportive lighting, set, costumes and expressive sound might merge within a collaborative dance-making process. The final choreography includes creative input from the participating dancers and designers, as well as constructive feedback from my thesis committee. My reflection on the creative process for Story describes the challenges and personal growth I experienced as a result of the project.
ContributorsAllen, Karryn (Author) / Dyer, Becky (Thesis advisor) / Murphey, Claudia (Committee member) / Gharavi, Lance (Committee member) / Piver, Harper (Committee member) / Arizona State University (Publisher)
Created2012
Description
This thesis paper, Something about Self: Moving the Creative Flow Within, explores the progression of the author's abilities as a facilitator in a creative context through her project presentation SELF(ish): grow(tru)thOUGHT. Along with the subjective assessment of creative facilitation, the underpinnings of the author's creative process and artistic vision are exposed through relevant literature, significant inspirations, personal insight, process comparisons, and imaginative metaphors. The author/artist offers a unique perspective on personal interests collected over the course of her graduate studies. Waugh expounds upon pertinent content such as intuition in creativity, the emotional link to the mind-body connection, dance movement therapy and its effects on states of being, self-realization and self-transcendence. Each of these contextual elements contributed to the creation of exercises for movement generation used in a performative dance work. Ultimately, this paper elucidates a transparent, versatile creative practice and the evolution of a unique, passionate artistry that is based on a balance between structure and flow.
ContributorsWaugh, Whitney (Author) / Murphey, Claudia (Thesis advisor) / Fitzgerald, Mary (Committee member) / Jimenez, Candy (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
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 purpose of the production and the choreographed work, "Sustainable Place," was to bring awareness to the public about sustainability issues through the medium of dance. The piece was performed in Nelson Fine Arts Center's Dance Lab at Arizona State University on October 8th, 9th, and 10th of 2010. The work was layered with inspirations from sustainability issues, recycling processes, and resiliency concepts.
ContributorsNewman, Emily (Author) / Jackson, Naomi (Thesis advisor) / Fitzgerald, Mary (Committee member) / Pijawka, David (Committee member) / Arizona State University (Publisher)
Created2011
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
ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all art forms: movement, voice, visual or digital, stimulate possibilities for expression and enable people to move forward in new directions. To this end, my project fused multiple avenues of engagement, innovative dance technology, and alternative or site-specific locations to create a community-based project aimed at promoting dialogue and enhancing ties between several groups in the Phoenix area. In this paper, I argue that a multi-layered approach to community-arts and the use of advanced technology builds bridges for diverse populations to come together to participate and learn from one another. I also maintain that community exists among all communities involved in a process of community arts, not just the participants and facilitator. When community engagement and awareness are prioritized, a multi-layered approach creates the possibilities of growth, honesty, and understanding for all people involved.
ContributorsBritt, Melissa (Author) / Fitzgerald, Mary (Thesis advisor) / Vissicaro, Pegge (Committee member) / Mitchell, John (Committee member) / Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2010
Description
ABSTRACT Moving beyond Form: Communicating Identity through Dance chronicles the journey of investigating my personal creative process in dance. This was a search for strategies to empower myself creatively, enabling me to move beyond the limitations of a prescribed form or style of dance and communicate ideas that were relevant to me. But on a deeper level, it was an exploration of my capacity to self-define through movement. The challenge led me to graduate school, international study with world-renowned choreographers and to the development of a holistic creative practice, Movement to Meaning. The aim of this creative practice is to express internal awareness through movement, thereby enabling the mover to dance from an internal reference point. In my research, I utilized Movement to Meaning to re-contextualize Sandia, a traditional-based dance that is indigenous to various Mande subgroups in West Africa. This project culminated in a choreographic presentation, Ten For Every Thousand, which was performed in October 2010 at the Nelson Fine Arts Center at Arizona State University in Tempe, Arizona.
ContributorsDavis, Omilade (Author) / Vissicaro, Pegge (Thesis advisor) / Dove, Simon (Committee member) / Sunkett, Mark (Committee member) / Arizona State University (Publisher)
Created2010