Matching Items (40)
Description
The paper is researching the subject of texture in dancing, and exploring the definition, causes, stories, and description of texture in different dance styles through daily training, choreography and improvisation. It’s also probing if different dance styles can integrate and connect naturally together without conflict. Also, the project is related to live music and recorded music, seeking more about the relationship between dance texture and music. The final 20 minutes piece contains video projection technology and live dance performance (improvisation and choreography), which went along with my creative idea and framework of my research on the various textures. The goal of my project is to understand and figure out the definition of the texture in dancing, to find out the reasons for the forming and appearance behind each dancer's distinctive texture with unique characteristics and qualities, to make attempts to find a way to analyze and describe the texture of their movements, and to know and explore what factors do influence the texture of their display. At the same time, I was exploring how to naturally connect the sound of the violin with the dance styles and textures, and how to interpret the violinist’s creating process through dance performances. In the process, each dancer is like a materialization of the violinist’s emotions and expressions. Using the appropriate combination of music and dance movements to express the violinist’s inner mental and emotional changes in the creative process.
ContributorsKong, Tongjie (Author) / Dyer, Becky BD (Thesis advisor) / Magana, Jorge JM (Thesis advisor, Committee member) / Denaro, Anthony AD (Committee member) / Barnes, LaTasha LB (Committee member) / Arizona State University (Publisher)
Created2023
Description
This sensory ethnographic research study used a walking methodology to explore the potential of an asset-based approach to arts development. Inspired by socially engaged artists who incorporate walking as their practice, this study explored a rural arts community by walking with research participants to gain a sense of their history, consider past and future artistic developments, as well as map/learn about the physical environment through stories, conversations, and sensory-based experiences. Many arts administrators utilize a needs-based approach to identify community deficits and assets through surveys, formal interviews and focus groups, thus this research aimed to devise a different approach. This research theorized walking as an ecological inquiry and explored the embodied and entangled experiences that emerged, with the goal of co-creating knowledge from the perspective of community members, to inform and expand arts administration approaches to community arts initiatives and development. Using an ecological and mapping analytical framework, the findings describe and trace the emergence of boundary objects that were entangled with the community members stories and memories that highlighted the relational aspects of the town, community, and art. The ecological and mapping analysis directly related to my walking method because all are multilayered, multisensory, and embodied ways of learning and relaying information about a place. To conclude this research, I outline an arts administration toolbox with five distinct steps and processes to follow when utilizing this walking method within the fields of arts administration and art education.
ContributorsShelley, Morganne (Author) / Coats, Cala (Thesis advisor) / Young, Bernard (Committee member) / Ellsworth, Angela (Committee member) / Arizona State University (Publisher)
Created2021
Description
Both fashion design and education are areas where new technologies can have a significant impact. This dissertation examines the potential of virtual reality (VR) for fashion design education and focused on the profound affordances that virtual reality offers - immersion and agency. Using a phenomenological approach, the study combined arts-based research, observational field notes, and in-depth interviews to ascertain the potential value of adding VR to the fashion curriculum. A small group of 14 fashion design students participated in the study, engaging in passive viewing and active creating activities. The students reported their impressions and shared their designs. Results indicate that the use of VR in fashion design education can lead to deeper engagement, increased creativity, and enhanced learning experiences. The study found that students who used VR technology in their design and theory courses reported feeling more engaged. The data also revealed that students found the VR environment to be a valuable tool for exploring design ideas, enhancing creativity, and increasing confidence in their work. These findings have important implications for both design educators and industry professionals. The study concludes with recommendations for integrating VR technology into fashion design education and suggestions for future research.
ContributorsCrooks, Julian (Author) / Nelson, Brain (Thesis advisor) / Henriksen, Danah (Committee member) / Julian, June (Committee member) / Arizona State University (Publisher)
Created2023
Description
The Free State Arts Studios (Svomas) was an initiative for arts and design education in Russia during the years after the revolutions of 1917. The revolutionary government closed long standing schools, temporarily, then renewed them with Svomas—a program with free tuition, open admissions, and a philosophy of freedom. Svomas only lasted for two years but was a vast effort, with one branch in Petrograd, two in Moscow, one in Vitebsk, and elsewhere in regional cities. The program was among the first to teach new modern art movements on a large scale, and to integrate them withdesign and architecture. While painting courses were the most numerous, architecture was taught, and many artists had important architectural ideas that would influence developments in international architecture of the 20th century. The dissertation covers the historical progression of Svomas. It gives an idea of how the school system was created,
what it was, then what happened after it ended. Five main sections show something of what the avant-garde was doing during Svomas, they highlight: two faculty led studios, a research group, and two student groups. These sections conclude with teaching philosophies derived from analyzing written statements and the work. There are appended documents to show the thinking of the school, as well as appended imagery to show what they were doing and making.
ContributorsRichardson, David R (Author) / Zygas, Kestutis (Thesis advisor) / Brunner, Lori (Committee member) / Neveu, Marc (Committee member) / Arizona State University (Publisher)
Created2022
Description
This is a qualitative study, to examine how Indigenous ways of knowing could inform Western standardized learning by taking part in a series of learning experiences related to Hula and building connections to the local environment. I enacted a series of site-specific visitations that focused on Indigenous artistic practices related to Hawaii's highest art form, Hula, as well as local sites dedicated to Indigenous environmental preservation. These visits examined dance, chant, talk-story, and environmental practices taught from an Indigenous way of knowing. The purpose of these enactments was to know how embodied learning approaches, informed by Indigenous methodologies, impact learners’ connections to pedagogical content and the learning environment, and how that subject matter was conveyed and received through the embodied act of site-specific visitations. I will address the ways in which understanding through site visits emerged in these Indigenous ways of knowing. I will explain how the Indigenous practices and ways of knowing offer a different understanding of standardized learning, and argue what could be gained by adding these methodologies to art curriculum in site-specific locations.
ContributorsSoudani, Jessica Marie (Author) / Coats, Cala (Thesis advisor) / Young, Bernard (Thesis advisor) / Button, Melissa (Committee member) / Arizona State University (Publisher)
Created2022
Description
This is a qualitative case study, using a feminist lens as a theoretical frame, that examines institutional problems that Mexican women encountered since the Bracero Program. At that time, women were not allowed to work certain jobs and were left at home separated from their husbands or fathers while the men migrated to The United States for seasonal agricultural labor as Braceros. Braceros were Mexican male farmworkers that were recruited through a federal guest program to legally work and migrate to the United States seasonally after World War II, from 1942-1964. As a result, women were left alienated and exploited on their own, and it was up to them to take charge of the family and hold everything and everyone together. There is little known research that discusses these women’s experiences and stories. And to uncover these stories, I address the ways photography and traditional Mexican storytelling, and arts-based storytelling reveal hidden stories of family, longing, sacrifice, and women’s unrecognized labors. Through an autoethnographic methodology, I explain my place as a Mexican American woman and as a researcher during the study. This study uncovers the history of migrating Bracero families, acknowledges the women’s experiences, and discusses the importance of passing down stories of an often-overlooked moment and experiences of migration and immigration in both United States and Mexican history.
ContributorsSalas, Nancy Elizabeth (Author) / Young, Bernard (Thesis advisor) / Coats, Cala (Committee member) / Hood, Mary (Committee member) / Arizona State University (Publisher)
Created2022
Description
This study provides insights into expanding the concepts of community arts in general and more specifically community-based art practices (CAP); highlights the participatory characteristics in the processes of CAP, and seeks to discern the mechanism that contributes to the formation of community collective identity. Revolving around Bhattacharyya’s (1995, 2004) conceptualization of community development, this study found it essential for exploring the fundamental concept of community in relation to community identity. To examine the concept of community identity, this research anchors the inquiry by studying how community-based art practice contributes to community identification and seeks to discover the connection between identity process and social change. The research also discusses the emergent concepts that serve as influential factors to the formation of community identity and proposes an alternative identification mechanism, ‘jen-tung’ process, which provides a needed new dimension to the existing theories of social identity formation and community efficacy development.
ContributorsHsia, Chiamei (Author) / Knopf, Richard C. (Thesis advisor) / Buzinde, Christine (Committee member) / de la Garza, Sarah Amira (Committee member) / Shockley, Gordon (Committee member) / Arizona State University (Publisher)
Created2020
Description
To understand the visual culture and art education practices within three ideologically distinct kindergartens, I employed an interdisciplinary approach, utilizing tools from the fields of art, education, anthropology, literary theory, visual studies and critical social theory. Each of the three schools was considered to be the "best" of its kind for the community in which it resided; TBS was the original bilingual school, and the most Westernized. It was set in the heart of a major city. The second school, OBS, operated from an Islamic framework located in an under-developed small transitioning suburb; and the last school, NBS, was situated in Al-Jahra, an "outlying area" populated by those labeled as bedouins (Longva, 2006). The participants' attitudes towards art education unfolded as I analyzed my visual observations of the participants' daily practices. I have produced a counter-hegemonic visual narrative by negotiating my many subjectivities and methods to gain new knowledge and insights. This approach has provided a holistic understanding of the environment in each site, in which attitudes and practices relating to art education have been acquired by the community. Operating from three different educational paradigms, each school applied a different approach to art education. The more Westernized school viewed art as an individual act which promoted creativity and expression. In the Islamic school art was viewed as an activity that required patterning (Stokrocki, 1986), and that the child needed to be guided and exposed to the appropriate images to follow. In the bedouin school, drawing activities were viewed as an opportunity for representing one's individual story as well as a skill for emergent literacy.
ContributorsAl-Bader, Jawaher Khaled (Author) / Young, Bernard (Thesis advisor) / Margolis, Eric (Committee member) / Tobin, Joseph (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT Art educators use a variety of teaching and demonstration methods to convey information to students. With the emergence of digital technology, the standard methods of demonstration are changing. Art demonstrations are now being recorded and shared via the internet through video sharing websites such as YouTube. Little research has been conducted on the effectiveness of video demonstration versus the standard teacher-centered demonstration. This study focused on two different demonstration methods for the same clay sculpture project, with two separate groups of students. The control group received regular teacher-centered demonstration for instruction. The experimental group received a series of YouTube videos for demonstration. Quantitative data include scores of clay sculptures using a four-point scale in three separate categories based on construction abilities. Qualitative data include responses to pre and post-questionnaires along with classroom observations. The data is analyzed to look at the difference, if any, between YouTube instruction and regular teacher-centered instruction on middle school students' ceramic construction abilities. Findings suggest that while the YouTube video method of demonstration appeared to have a slightly greater effect on student construction abilities. Although, both instruction methods proved to be beneficial.
ContributorsLee, Allison (Author) / Erickson, Mary (Thesis advisor) / Young, Bernard (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study will explore the role and impact of socially engaged art (SEA) on participants when presented through an interactive and nomadic mobile context. Using an action research methodology, I will use a pop-up camper to serve as research and art making hub. I will travel with the hub to various locations throughout Arizona working with participants to create an artistic response to prompts that encourage them to think about their own communities and participants’ roles within them. Some of these pieces will travel with the hub to future locations, serving as a point of response and/or engagement for participants from other locations or even from future visits to the same location. SEA invites participatory and dialogical interaction through art-making. Using SEA as a pedagogical approach could present alternative teaching and learning methods and locations possible to art educators. Because socially engaged art is heavily focused on agency (Helguera, 2011), responsibility of the arts to impact social change and influence (Bae & Shin, 2019), embraces tools and processes not exclusive to the art studio (Helguera, 2011), and leans heavily on collaboration and dialogue (Chalmers & Desai, 2007), it is an ideal method for creating and examining potential bonds between communities and their educators. This study will also explore how the nomadic state of the research hub impacts the researcher (artist/teacher) and the participants. The pop-up camper exemplifies temporality and limited access, using mobility to evaluate spaces, borders, and communities as a state of fluctuation and fluid movement. Potential impact on the researcher and participants could occur through the experience of a common item, such as the camper, repurposed for something totally different. Moreover, as an artist and educator, engaging with communities through either of these perspectives could cause a considerable impact on the artist/educator pedagogical and artistic practices.
ContributorsGaylord III, James (Author) / Coats, Cala (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2020