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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

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
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Description
In 1890, the State of Nevada built the Stewart Indian School on a parcel of land three miles south of Carson City, Nevada, and then sold the campus to the federal government. The Stewart Indian School operated as the only non-reservation Indian boarding school in Nevada until 1980 when the

In 1890, the State of Nevada built the Stewart Indian School on a parcel of land three miles south of Carson City, Nevada, and then sold the campus to the federal government. The Stewart Indian School operated as the only non-reservation Indian boarding school in Nevada until 1980 when the federal government closed the campus. Faced with the challenge of assimilating Native peoples into Anglo society after the conclusion of the Indian wars and the confinement of Indian nations on reservations, the federal government created boarding schools. Policymakers believed that in one generation they could completely eliminate Indian culture by removing children from their homes and educating them in boarding schools. The history of the Stewart Indian School from 1890 to 1940 is the story of a dynamic and changing institution. Only Washoe, Northern Paiute, and Western Shoshone students attended Stewart for the first decade, but over the next forty years, children from over sixty tribal groups enrolled at the school. They arrived from three dozen reservations and 335 different hometowns across the West. During this period, Stewart evolved from a repressive and exploitive institution, into a school that embodied the reform agenda of the Indian New Deal in the 1930s. This dissertation uses archival and ethnographic material to explain how the federal government's agenda failed. Rather than destroying Native culture, Stewart students and Nevada's Indian communities used the skills taught at the school to their advantage and became tribal leaders during the 1930s. This dissertation explores the individual and collective bodies of Stewart students. The body is a social construction constantly being fashioned by the intersectional forces of race, class, and gender. Each chapter explores the different ways the Stewart Indian School and the federal government tried to transform the students' bodies through their physical appearance, the built environment, health education, vocational training, and extracurricular activities such as band and sports.
ContributorsThompson, Bonnie (Author) / Iverson, Peter (Thesis advisor) / Gray, Susan (Thesis advisor) / Green, Monica (Committee member) / Arizona State University (Publisher)
Created2013
Description
Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared

Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared among my family, my friends, and my fellow peers in the dance community. We had been struggling since childhood. I began to realize that these behaviors and thought patterns were manifestations of apology, an apology that women have been learning, living, and spreading since our beginnings. Why do women apologize? How does this apology affect how we view, treat, and navigate our bodies in space? In what ways can dance be the mechanism by which we remove apology and individually and collectively find joy, freedom, and liberation? Not only was I interested in understanding the ‘why’, but I was deeply interested in finding a solution. Research for this thesis came from written materials, stories that the dancers and I shared, and choreographic research in the body. The final goal was to create a community-based performance of dance, spoken word, and storytelling that demonstrated the findings from each of those questions and catalyzed a conversation about how we can liberate ourselves. We used rehearsals to explore our own experiences within apology and shame, while also exploring how the ways in which we practice being unapologetic in the dance space can translate to how we move through the world on a daily basis.

Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
ContributorsWaller, Marguerite Lilith (Author) / Fitzgerald, Mary (Thesis director) / Britt, Melissa (Committee member) / Lerman, Liz (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor, Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05