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Description
This thesis document encapsulates the findings of my research process in which I studied my self, my artistic process, and the interconnectivity among the various aspects of my life. Those findings are two-fold as they relate to the creation of three original works and my personal transformation through the process. This document encapsulates the three works, swimminginthepsyche, applecede and The 21st Century Adventures of Wonder Woman, chronologically from their performance dates. My personal growth and transformation is expressed throughout the paper and presented in the explanation of the emergent philosophical approach for self-study as creative practice that I followed. This creative-centered framework for embodied transformation weaves spiritual philosophy with my artistic process to sustain a holistic life practice, where the self, seen as an integrated whole, is also a direct reflection of the greater, singular and holistic existence.
ContributorsDeWitt, Inertia Q.E.D (Author) / Mitchell, John D. (Thesis advisor) / Dyer, Becky (Committee member) / De La Garza, Sarah (Committee member) / Arizona State University (Publisher)
Created2013
Description
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.
ContributorsRamsey, Ashlee (Author) / Vissicaro, Pegge (Thesis advisor) / Standley, Eileen (Committee member) / Dove, Simon (Committee member) / Arizona State University (Publisher)
Created2012
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Based on the Foucauldian understanding that sexuality discourse operates as a powerful instrument for the regulation of societies and individuals, this research considers how internalized gender and sexuality discourses affect young women's embodied experiences of masturbation, and more broadly their sexual subjectivity and health. Drawing on interdisciplinary feminist perspectives on gender, sexuality, health, and embodiment, I examine female sexual health within a positive rights framework. That is, I view the rights to both sexual safety and pleasure as essential components of female sexual health, and conceptualize girls and young women as potential sexual agents. By asking young women about their lived experiences of self-pleasure, this research challenges not only the historical legacy of pathologizing female desire and pleasure, but also scholars' tendency to construct female sexuality solely in a heteronormative, partnered context. Based on focus groups, interviews, journals, and questionnaires collected from 109 female college students from diverse ethnic, religious, and sexuality backgrounds in Arizona and Michigan, I employ grounded theory to analyze individual feelings and experiences in the context of larger societal discourses. My findings indicate that when girls internalize negative discourses about masturbation (e.g. as sin or secular stigma), general heteronormative sexuality discourses, and a silence around female self-pleasure, there are severe negative consequences for how they understand and experience masturbation. I argue that they engage in sexual self-surveillance that often results in emotional and physical struggles, as well as the re-inscription of hegemonic cultural discourses on female masturbation, bodies, desire, and pleasure. By illustrating how even the most private and `invisible' behavior of masturbation can become a site for regulating female sexuality, this research provides important evidence of the power of increasingly covert mechanisms to govern gendered bodies and subjectivities through self-surveillance. Alternatively, this research also highlights the potential of normalizing self-pleasure for increasing girls' and young women's capacity for resisting oppressive gender and sexuality discourses and behaviors, developing an agentic sexual subjectivity, and feeling sexually empowered. Thus, this research also has practical implications for conceptualizing sexual health for girls and young women in a way that includes the rights to sexual safety and pleasure.
ContributorsFrank, Elena (Author) / Weitz, Rose (Thesis advisor) / Katsulis, Yasmina (Committee member) / Fahs, Breanne (Committee member) / Arizona State University (Publisher)
Created2014
Description
As a form of bodily modification, female circumcision has generated unprecedented debates across the medical community, social sciences disciplines, governmental
on-governmental agencies and activists and others. The various terminologies used to refer to it attest to differences in knowledge systems, perceptions, and lived experiences emerging from divergent cultures and ideologies. In the last two decades, these debates have evolved from a local matter to a global health concern and human rights issue, coinciding with the largest influx of African refugees to the Western nations. Various forms of female circumcision are reported in 28 countries in the African Continent; Somalia has one of the highest prevalence of female circumcision and the most severe type. The practice is antithetical to Western values and poses an ideological challenge to the construction of the normal body, its bodily processes and its existential being-in-the-world. From the global health perspectives, female circumcision is deemed to be a health hazard--especially during childbirth--though the scientific evidence is inconclusive from studies conducted in post-migration. Yet, Somali refugee women have higher childbearing disparities in host nations, including the U.S. They are also perceived as difficult patients and resistant to obstetrics interventions. Although their FGC status and "cultural" differences are often cited, there is a lack of adequate explanations as to why and how these factors shape patient-provider interactions and affect outcomes. The objectives of this dissertation study are to quantitatively and qualitatively explore these questions within and between Somali refugee women and their healthcare providers in Arizona. Two theoretical frameworks and methods--culture consensus and embodiment-- are applied to identify variations in childbearing knowledge and to explore how the cultural phenomenon of circumcision is subjectively and intersubjectively embodied in the context of childbearing. Culture consensus questionnaire (N=174) and ethnographic interviews (N=40) using phenomenology approach were conducted. Analyses suggest cross-cultural disagreement hinged on: faith in science versus God, pregnancy/childbirth interventions, language challenges, and control-resistance issues; intra-cultural disagreement underscores that Somalis are not culturally homogenous group. Preconceptions of female circumcision body as a cultural phenomenon has different and conflicting meanings that may adversely impact patient-provider interactions and outcomes.
on-governmental agencies and activists and others. The various terminologies used to refer to it attest to differences in knowledge systems, perceptions, and lived experiences emerging from divergent cultures and ideologies. In the last two decades, these debates have evolved from a local matter to a global health concern and human rights issue, coinciding with the largest influx of African refugees to the Western nations. Various forms of female circumcision are reported in 28 countries in the African Continent; Somalia has one of the highest prevalence of female circumcision and the most severe type. The practice is antithetical to Western values and poses an ideological challenge to the construction of the normal body, its bodily processes and its existential being-in-the-world. From the global health perspectives, female circumcision is deemed to be a health hazard--especially during childbirth--though the scientific evidence is inconclusive from studies conducted in post-migration. Yet, Somali refugee women have higher childbearing disparities in host nations, including the U.S. They are also perceived as difficult patients and resistant to obstetrics interventions. Although their FGC status and "cultural" differences are often cited, there is a lack of adequate explanations as to why and how these factors shape patient-provider interactions and affect outcomes. The objectives of this dissertation study are to quantitatively and qualitatively explore these questions within and between Somali refugee women and their healthcare providers in Arizona. Two theoretical frameworks and methods--culture consensus and embodiment-- are applied to identify variations in childbearing knowledge and to explore how the cultural phenomenon of circumcision is subjectively and intersubjectively embodied in the context of childbearing. Culture consensus questionnaire (N=174) and ethnographic interviews (N=40) using phenomenology approach were conducted. Analyses suggest cross-cultural disagreement hinged on: faith in science versus God, pregnancy/childbirth interventions, language challenges, and control-resistance issues; intra-cultural disagreement underscores that Somalis are not culturally homogenous group. Preconceptions of female circumcision body as a cultural phenomenon has different and conflicting meanings that may adversely impact patient-provider interactions and outcomes.
ContributorsFawcett, Lubayna (Author) / Maupin,, Jonathan N. (Thesis advisor) / Brewis Slade, Alexandra (Committee member) / Johnson-Agbakwu, Crista E. (Committee member) / Arizona State University (Publisher)
Created2014
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
For this master's thesis, a unique set of cognitive prompts, designed to be delivered through a teachable robotic agent, were developed for students using Tangible Activities for Geometry (TAG), a tangible learning environment developed at Arizona State University. The purpose of these prompts is to enhance the affordances of the tangible learning environment and help researchers to better understand how we can design tangible learning environments to best support student learning. Specifically, the prompts explicitly encourage users to make use of their physical environment by asking students to perform a number of gestures and behaviors while prompting students about domain-specific knowledge. To test the effectiveness of these prompts that combine elements of cognition and physical movements, the performance and behavior of students who encounter these prompts while using TAG will be compared against the performance and behavior of students who encounter a more traditional set of cognitive prompts that would typically be used within a virtual learning environment. Following this study, data was analyzed using a novel modeling and analysis tool that combines enhanced log annotation using video and user model generation functionalities to highlight trends amongst students.
ContributorsThomas, Elissa (Author) / Burleson, Winslow (Thesis advisor) / Muldner, Katarzyna (Committee member) / Walker, Erin (Committee member) / Glenberg, Arthur (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
Masculinity has been increasingly recognized as a critical and relatively unexplored area of inquiry in anthropological gender studies. This project seeks to expand anthropological research on masculinity to contemporary American society. Using the case study of a male-centered popular new sport, Mixed Martial Arts (also known as cagefighting) this project integrates theories of embodiment and feminist perspectives to explore how masculinity and masculine hegemony are shaped, contested, and perpetuated in the United States. Using a multi-level framework this project explores: 1) How is masculinity experienced and expressed by Mixed Martial Arts fighters as a form of self-identity? How do their bodies play a role in constructing masculinity? 2) What are the pervasive forms of masculinity associated with Mixed Martial Arts (MMA)? Are they truly representative of the sport? 3) Can these pervasive forms of masculinity be seen as hegemonic? How would hegemony operate in relation to individual experience? Using multiple methods to capture multiple points of view was critical to thoroughly examining the complex notion of masculinity. This study employed participant observation, semi-structured interviews, focus groups, surveys, photo elicitation, and media content analysis, as each presented particular benefits and allowed for the development a more well-rounded understanding of masculinity within the realm of MMA. This study also situates the rise of MMA and its representations of masculinity within the greater perspective of contemporary American society. By doing so reveals how ideologies of prescribed masculinity do not arise out of a vacuum but in relation to particular economic, social and political contexts. An emphasis of this study was to examine the daily lives of MMA fighters to understand how their participation in what may be regarded as a hypermasculine activity affects their own perceptions of masculinity. In looking at how masculinity is embodied, the gaps and often contradictions between representation and individual experiences are revealed. Ultimately, the goal of this research is to contribute to a better understanding of masculinity as both an embodied and relational construct.
ContributorsHolthuysen, Jaime (Author) / Hjorleifur Jonsson (Thesis advisor) / Tsuda, Takeyuki (Committee member) / Ballestero-Salaverry, Andrea (Committee member) / Arizona State University (Publisher)
Created2011
Description
No Doors: A Personal Exploration of Movement and Technology, details the interdisciplinary strategies that were used in the making of a series of interactive/reactive/immersive (IRI) installations that drew audiences into an experience and encouraged active observation and/or participation. The interdisciplinary IRI installations described in this document combined movement, sculpture, production design, and various forms of media and technology with environments in which participants had agency. In the process of developing this work, the artist considered several concepts and practices: site-specific, various technologies, real-time processing, participant experience, embodied exploration, and hidden activity. Throughout the creative process, the researcher conducted a series of four focus labs in which a small audience was invited to engage with the work as a way of gathering data about the effectiveness of the installations in facilitating active audience observation and/or participation. The data collected after each focus lab informed the revision of the work in preparation for the next focus lab, with the ultimate result being the production of a final exhibition of five interdisciplinary IRI installations. The installations detailed in this document were loosely based on five elements: water, fire, air, earth, and spirit.
ContributorsMcCaman, Sharon (Author) / Schupp, Karen (Thesis advisor) / Rajko, Jessica (Committee member) / Pinholster, Jacob (Committee member) / Tinapple, David (Committee member) / Arizona State University (Publisher)
Created2018