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Patting down the burn bag: the declassification of Impressive mastermind

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This thesis, Impressive Mastermind, examines notions of privacy and the law, particularly with regard to the USA Patriot Act implemented following the events of 9/11. The author/artist believes that numerous freedoms related to personal privacy, especially those rights protected by

This thesis, Impressive Mastermind, examines notions of privacy and the law, particularly with regard to the USA Patriot Act implemented following the events of 9/11. The author/artist believes that numerous freedoms related to personal privacy, especially those rights protected by the Fourth Amendment, were diminished in order to ostensibly seek out potential terrorists. Through the vehicle of a theatrical dance performance, Impressive Mastermind investigates these privacy issues on a public and personal level and also asks the audience to question their own views on government policies regarding personal privacy, including illegal search and seizure. Drawing on the previous work of other intervention artists, this thesis explores the realm of public intervention. Moving away from the usual spectacle of traditional theater, this multi-dimensional piece explores an experiential examination of how the public relates to what is real and what is considered performative.

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2011

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Me, myself and BI: an expression of sexuality

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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

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.

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2011

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Moving beyond form: communicating identity through dance

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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

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.

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2010

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Embodied continuity: weaving the body into a web of artistry and ethnography

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Embodied Continuity documents the methodology of Entangled/Embraced, a dance performance piece presented December, 2011 and created as an artistic translation of research conducted January-May, 2011 in the states of Karnataka and Kerala, South India. Focused on the sciences of Ayurveda,

Embodied Continuity documents the methodology of Entangled/Embraced, a dance performance piece presented December, 2011 and created as an artistic translation of research conducted January-May, 2011 in the states of Karnataka and Kerala, South India. Focused on the sciences of Ayurveda, Kalaripayattu and yoga, this research stems from an interest in body-mind connectivity, body-mind-environment continuity, embodied epistemology and the implications of ethnography within artistic practice. The document begins with a theoretical grounding covering established research on theories of embodiment; ethnographic methodologies framing research conducted in South India including sensory ethnography, performance ethnography and autoethnography; and an explanation of the sciences of Ayurveda, Kalaripayattu and yoga with a descriptive slant that emphasizes concepts of embodiment and body-mind-environment continuity uniquely inherent to these sciences. Following the theoretical grounding, the document provides an account of methods used in translating theoretical concepts and experiences emerging from research in India into the creation of the Entangled/Embraced dance work. Using dancer and audience member participation to inspire emergent meanings and maintain ethnographic consciousness, Embodied Continuity demonstrates how concepts inspiring research interests, along with ideas emerging from within research experiences, in addition to philosophical standpoints embedded in the ethnographic methodologies chosen to conduct research, weave into the entire project of Entangled/Embraced to unite the phases of research and performance, ethnography and artistry.

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Date Created
2012

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Writing through the body: Flesh narratives

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This project explores the cultivation of artistic methodologies centered in embodied movement practices. I worked in collaboration with dancers to inform the development of a movement vocabulary that is authentic to the individual as well as to the content of

This project explores the cultivation of artistic methodologies centered in embodied movement practices. I worked in collaboration with dancers to inform the development of a movement vocabulary that is authentic to the individual as well as to the content of the work. Through the interplay between movement and subconscious response to elements such as writing, imagery, and physical environments I created authentic kinesthetic experiences for both dancer and audience. I submerged dancers into a constructed environment by creating authentic mental and physical experiences that supported the development of embodied movement. This was the impetus to develop the evening length work, Flesh Narratives, which consisted of five vignettes, each containing its own distinctive creative process driven by the content of each section. This project was presented January 29- 31, 2016 in the Fine Arts Center room 122, an informal theatre space, that supplemented an immersive experience in an intimate environment for forty viewers. This project explored themes of transformation including cycles, concepts of life, death and reincarnation, and enlightenment. Through the art of storytelling, the crafting of embodied movers, and the theory of Hauntology, the viewer was taken on a journey of struggle, loss, and rebirth.

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2016