Matching Items (55)
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- All Subjects: Dance
- Creators: Koch, Carolyn
- Creators: Schupp, Karen
- Status: Published
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
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
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
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
Today's prison industrial complex in the United States often dehumanizes inmates simply because they are criminals. Members of the free society are generally too far removed from the inside of prisons that most people do not see the harsh and cruel conditions for and treatment of prisoners. As a Dance and Justice Studies major at Arizona State University, I was curious about how to intertwine my interests in dance and justice. This paper chronicles my exploration of adding a human rights issue to my dance practice through choreographing a solo dance performance based on Cleve Foster's unusual experience on death row. Research on theories of prison and punishment in American society combined with physical research in the dance studio enabled me to create a solo performance that shed light on the inhumane conditions for and treatment of prison inmates in today's society. Through the process, I found that some elements of my dance practice stayed the same, while others changed. This informed me of what continuously remains important to me, while allowing me to expand my personal dance practice. I ultimately discovered a bridge between my two passions, dance and justice, and learned a meaningful way to convey a contemporary social justice issue to the general public.
ContributorsKerr, Elena Marie (Author) / Schupp, Karen (Thesis director) / Vissicaro, Pegge (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Social Transformation (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
Description
Motion: Performing Arts and Creative Training, also known as MPACT, will provide dance training to all levels and ages in the St. Louis, Missouri area. Our highly trained and knowledgeable dance educators will provide instruction that will inspire and foster creativity in a highly educational class setting that will prepare each student for a lifelong love for dance. Students will have the opportunity to perform in multiple settings and engage in class instruction from guest artists as well as MPACT’s educators.
ContributorsHills, Mira Marie (Co-author) / Hills, Mira (Co-author) / Schupp, Karen (Thesis director) / Roses-Thema, Cynthia (Committee member) / Department of Management and Entrepreneurship (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Psychology and dance both shed light on the question: how do our personal, life experiences affect our movement? This document introduces elements from psychology and dance through associative learning, attachment styles, muscle patterning, and partner improvisation as ways of exploring this question. It aims to briefly introduce these theories and explain how they had a role in the research of the creative project. It also documents the inception, creation, and production of Lullabye, a dance work intended to be accessible to an audience with little to no experience viewing concert dance, with the target audience specifically being the writer’s mother. It has three sections, each featuring a different element of dance, storytelling, and individuality. It starts a conversation on how emotions and thoughts related to personal experiences can affect our movement.
ContributorsTello Solano, Carlos (Co-author, Co-author) / Kaplan, Robert (Thesis director) / Montoya, Yvonne (Committee member) / Schupp, Karen (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This MFA project in dance involved a dance concert that fused together different socio-cultural dance forms. Goals of the project included engaging the audience members in ways that are meaningful and express cultural identity, looking at similar and contrasting values or norms between different dance styles, and seeing how that might be expressed in a Western concert theatrical space or be adapted to that space. The research explored the themes of fusion, emotional states, and engagement through collaborative processes of choreography. A series of dance sections were developed based on different cultural movement styles that were ultimately woven together into a live performance.
ContributorsDimitrov, Tanya (Author) / Dyer, Becky (Thesis advisor) / Koch, Carolyn (Thesis advisor) / Landborn, Adair (Committee member) / Fossum, Dave (Committee member) / Rohd, Michael (Committee member) / Arizona State University (Publisher)
Created2023
Description
Though often viewed as a positive aspect of past, modern, and future interpersonal interaction, communities can be viewed under a microscope as a tool used by the human species to preserve oneself. Communities are used as a safety tool to assure the longevity of an individual. As a dancer and dancemaker, taking part in the art of dance challenges one's perception of large groups of bodies taking up space. Following a global pandemic, dancers and people alike were forced to find communities of much smaller sizes to appease the need to interact with other people. This caused the creation of safety pods and the urge to connect with others in ways that were not always favored. How did individuals suffer from a lack of interpersonal connection? Does the need for communities highlight a higher level of codependency amongst individuals who prefer relying on communities? Is this morally wrong? This thesis uses research obtained from ethical theories, travel research, and movement research to determine whether or not this action is morally right or wrong. This thesis uses an ethnographic style of writing to navigate through the creative process of dancemaking for an evening-length dance show, further analyzing the individual need for communities. This reflective writing defends the thesis and includes new revelations on the topic of communities and self-preservation.
ContributorsKing, Takela (Author) / Lerman, Elizabeth (Thesis director) / Koch, Carolyn (Committee member) / Barrett, The Honors College (Contributor) / Historical, Philosophical & Religious Studies, Sch (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2022-05
Description
Personal histories are deeply rooted into my way of existence, far before my brain became ready to challenge such notions. While Americans have been witnesses to the splintering effects of colonialism and patriarchy on socialization, I ask two questions: (1) Where to stand within a society that promotes the marginalization of both women and brown bodies? And (2) how to combat these harsh realities and protect those most affected?
Being both Black and woman, I decided to embark upon a quest of self-actualization in this document. “Ain’t She Sweet: A Critical Choreographic Study of Identity & Intersectionality,” tracks the creative process and concept design behind my applied project for the Master of Fine Arts in Dance. Developed in extensive rehearsals, community engagement, journaling processes, and lived experiences, the physical product, “Ain’t She Sweet,” explored concepts such as identity, socialization, oppression, decolonization, sexuality, and civil rights. The chapters within this document illustrate the depth of the research conducted to form the evening-length production and an analysis of the completed work.
Being both Black and woman, I decided to embark upon a quest of self-actualization in this document. “Ain’t She Sweet: A Critical Choreographic Study of Identity & Intersectionality,” tracks the creative process and concept design behind my applied project for the Master of Fine Arts in Dance. Developed in extensive rehearsals, community engagement, journaling processes, and lived experiences, the physical product, “Ain’t She Sweet,” explored concepts such as identity, socialization, oppression, decolonization, sexuality, and civil rights. The chapters within this document illustrate the depth of the research conducted to form the evening-length production and an analysis of the completed work.
ContributorsCarney, Laina Reese (Author) / Schupp, Karen (Thesis advisor) / Weitz, Rose (Committee member) / White, Marcus (Committee member) / Fitzgerald, Mary (Committee member) / Arizona State University (Publisher)
Created2019