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- Genre: Academic theses
Description
In contemporary U.S. culture, dance is often confined to the young and the trained, isolated on stages and in dance studios, and viewed as entertainment that is disconnected from "real life." Socially engaged dance practices re-connect dance to society in meaningful ways. By connecting individuals to their own bodies, to each other, to ideas, and to social, civic, and educational institutions, socially engaged dance practices use movement, the body, and the tools of participatory art, which contributes to the development of a democratic society, while catalyzing social change, and building healthy communities.
ContributorsJohnson, Elizabeth (Author) / Fitzgerald, Mary (Thesis advisor) / Standley, Eileen (Committee member) / Marshall, Alison (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
Educed Play is a performance installation that investigates spontaneity and the invisible communication that can exist in improvisation and collaborative play. The work unites the mediums of dance, drawing, music, and video through improvisational performances. The multimedia installation entitled Educed Play was presented in the fall of 2012. Inspiration came from the idea of relics created by ephemeral interactions, using improvisation as a means to performance, and working within a genuine collaboration. This document encompasses an overview of the project.
ContributorsLing, Amanda (Author) / Kaplan, Robert (Thesis advisor) / Standley, Eileen (Committee member) / Pittsley, Janice (Committee member) / Arizona State University (Publisher)
Created2013
Description
This document serves as a discussion of and reflection on the collaborative process of rehearsing and performing arrive, create: a Dance made by Many. My intention for the work was to deconstruct the traditional performance paradigm, focusing on constructing a generous performance atmosphere. During the rehearsal process the cast collectively worked to develop an ensemble dynamic for improvisational dance making. The construct of the performance encouraged the audience to engage with the work, both physically and imaginatively through sensory interaction with objects as well as verbal conversation. This document: recalls my background in dance improvisation; explores the relationship of philosophical and dance-making practices; discusses the process of making and performing the work; discusses research data collected from participants; and reflects on the project as a whole. Topics explored include: phenomenological perspectives, ethics of care, "moving identity", dancers' sense of authorship, transparency of dance work, collaboration, dance filmmaking, and dance improvisation in performance.
ContributorsWall-MacLane, Laurel (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Etheridge Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2013
Description
The integration of yoga into the music curriculum has the potential of offering many immediate and life-long benefits to musicians. Yoga can help address issues such as performance anxiety and musculoskeletal problems, and enhance focus and awareness during musical practice and performance. Although the philosophy of yoga has many similarities to the process of learning a musical instrument, the benefits of yoga for musicians is a topic that has gained attention only recently. This document explores several ways in which the practice and philosophy of yoga can be fused with saxophone pedagogy as one way to prepare students for a healthy and successful musical career. A six-week study at Arizona State University was conducted to observe the effects of regular yoga practice on collegiate saxophone students. Nine participants attended a sixty-minute "yoga for musicians" class twice a week. Measures included pre- and post- study questionnaires as well as personal journals kept throughout the duration of the study. These self-reported results showed that yoga had positive effects on saxophone playing. It significantly increased physical comfort and positive thinking, and improved awareness of habitual patterns and breath control. Student participants responded positively to the idea of integrating such a course into the music curriculum. The integration of yoga and saxophone by qualified professionals could also be a natural part of studio class and individual instruction. Carrie Koffman, professor of saxophone at The Hartt School, University of Hartford, has established one strong model for the combination of these disciplines. Her methods and philosophy, together with the basics of Western-style hatha yoga, clinical reports on performance injuries, and qualitative data from the ASU study are explored. These inquiries form the foundation of a new model for integrating yoga practice regularly into the saxophone studio.
ContributorsAdams, Allison Dromgold (Author) / Norton, Kay (Thesis advisor) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2012
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
ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all art forms: movement, voice, visual or digital, stimulate possibilities for expression and enable people to move forward in new directions. To this end, my project fused multiple avenues of engagement, innovative dance technology, and alternative or site-specific locations to create a community-based project aimed at promoting dialogue and enhancing ties between several groups in the Phoenix area. In this paper, I argue that a multi-layered approach to community-arts and the use of advanced technology builds bridges for diverse populations to come together to participate and learn from one another. I also maintain that community exists among all communities involved in a process of community arts, not just the participants and facilitator. When community engagement and awareness are prioritized, a multi-layered approach creates the possibilities of growth, honesty, and understanding for all people involved.
ContributorsBritt, Melissa (Author) / Fitzgerald, Mary (Thesis advisor) / Vissicaro, Pegge (Committee member) / Mitchell, John (Committee member) / Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2010
Description
The purpose of this project was to foster non-inhibited movement exploration such as the movement of untrained dancers in a setting of a music festival (specifically in this case the Grateful Dead community), into the more ritual performance-based ideals and perspectives that tend to occur in a dance studio setting. The external visual perceptions of what an ideal dancer ‘should look like’ lends itself to unrealistic expectations and unattainable goals as an artist. Body image and the lack of individualized self-expression is a problem in studio settings and the goal of this research was to use the perspective of untrained and trained dancers to dig deep into movement qualities that are not contrived or performed from ritual or preconceived notions of movement that tend to occur in trained dancers. Through exploratory improvisational somatic experiences helping the dancer access a more embodied and authentic self, the choreography was shaped through delving into the dancers lived experiences. This study culminated in a performance dance project that was filmed at Arcosanti, an experimental Artist community in Northern Arizona that integrates the design of architecture with a respect to the ecology. The goal is to limit the environmental footprint that is left by the community.
ContributorsFox, Tiffany Suzanne (Author) / Dyer, Becky (Thesis advisor) / Kaplan, Rob (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2021
Description
This thesis explores the creation of queer community and embodied connection through physical and digital spaces during Covid-19. The BodySleuth Project was an experiment in prototyping social somatic experiences - discovering the limitations and possibilities for technology to deepen social camaraderie and self awareness through movement. The BodySleuth Project was a transmedia dance theater game that incorporated live and pre-recorded performances and real time interactivity across a virtual world. Characters or “Guardians” acted as movement guides and story facilitators across the Gather.Town landscape of Rolyrbee Island. Players worked together across time zones and geographical space in their own homes to uncover tactile and digital clues and explore their own bodies. Participants occupied a completely queer universe that has been designed for and by an LGBTQIA+ community.
ContributorsLindegren, Ri (Author) / Standley, Eileen (Thesis advisor) / Rajko, Jessica (Thesis advisor) / Coleman, Grisha (Committee member) / Hayes, Lauren (Committee member) / Pinholster, Jake (Committee member) / Arizona State University (Publisher)
Created2021
Description
“Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth.
ContributorsKlitzke, Jordan (Author) / Standley, Eileen (Thesis advisor) / Conder, Carley (Committee member) / Eckard, Bonnie (Committee member) / Arizona State University (Publisher)
Created2018