Matching Items (66)
Description
Personal histories are deeply rooted into my way of existence, far before my brain became ready to challenge such notions. While Americans have been witnesses to the splintering effects of colonialism and patriarchy on socialization, I ask two questions: (1) Where to stand within a society that promotes the marginalization of both women and brown bodies? And (2) how to combat these harsh realities and protect those most affected?
Being both Black and woman, I decided to embark upon a quest of self-actualization in this document. “Ain’t She Sweet: A Critical Choreographic Study of Identity & Intersectionality,” tracks the creative process and concept design behind my applied project for the Master of Fine Arts in Dance. Developed in extensive rehearsals, community engagement, journaling processes, and lived experiences, the physical product, “Ain’t She Sweet,” explored concepts such as identity, socialization, oppression, decolonization, sexuality, and civil rights. The chapters within this document illustrate the depth of the research conducted to form the evening-length production and an analysis of the completed work.
Being both Black and woman, I decided to embark upon a quest of self-actualization in this document. “Ain’t She Sweet: A Critical Choreographic Study of Identity & Intersectionality,” tracks the creative process and concept design behind my applied project for the Master of Fine Arts in Dance. Developed in extensive rehearsals, community engagement, journaling processes, and lived experiences, the physical product, “Ain’t She Sweet,” explored concepts such as identity, socialization, oppression, decolonization, sexuality, and civil rights. The chapters within this document illustrate the depth of the research conducted to form the evening-length production and an analysis of the completed work.
ContributorsCarney, Laina Reese (Author) / Schupp, Karen (Thesis advisor) / Weitz, Rose (Committee member) / White, Marcus (Committee member) / Fitzgerald, Mary (Committee member) / Arizona State University (Publisher)
Created2019
Description
Places That Shape You documents the development and experience of composing and presenting Places That Shape You, an evening-length dance performance examining the relationship between culture and urban spaces, inspired by the physical parameters that cities provide for our lives. In the performance, a blend of postmodern contemporary movement vocabulary, text, projection, a mattress, 12 phonebooks and an overhead projector were used to a tell a story through the contrast of objects both obsolete and current. Musical collaborator, Austen Mack, created an original score that worked in partnership with the movement, advancing the unfolding of concepts about public and private spaces, community, memory, expectation and abstraction. In collaboration with six dancers, the choreographer conducted movement and archival research investigating personal stories, urban theory, somatic experience, place-making, and memories left in the spaces people inhabit, culminating in an evening length performance.
ContributorsWillcox, Halley (Author) / Fitzgerald, Mary (Thesis advisor) / Lerman, Liz (Committee member) / Rajko, Jessica (Committee member) / Arizona State University (Publisher)
Created2019
Description
Impermanence is constant within the world humans live in; the physical environment is ever-changing, parallel with human evolution. Although the moment of a human lifespan is fleeting in comparison to their surrounding landscapes, the evidence of movement that lapses through time and space in relation to body and place reveals a hidden dance that soars across the history of humankind. This document explores the relationship between moving bodies and various environments, specifically how an individual’s perception of place influences the way people dance. Given the author’s background as a choreographer, performer, and filmmaker, the goal and method of this document is to understand the author’s and his ensemble of dancers’ perceived senses within a given geographic environment and to merge personal dialect in an artistic product. Ultimately, what was found was translating into an evening-length, movement-centered presentation.
The author's curiosity with foreign landscapes and his exploratory spirit are the driving forces for this project. Before arriving at the thesis topic, the author knew that environmental exploration and dance would be at the forefront of the research. Similar to a museum exhibition context, this document yearns for variety, and studies the environments through an event that encapsulates it all. This document explores the author’s multiple artistic interests in photography, film, and live performance, all of which were presented in a single event.
The author's curiosity with foreign landscapes and his exploratory spirit are the driving forces for this project. Before arriving at the thesis topic, the author knew that environmental exploration and dance would be at the forefront of the research. Similar to a museum exhibition context, this document yearns for variety, and studies the environments through an event that encapsulates it all. This document explores the author’s multiple artistic interests in photography, film, and live performance, all of which were presented in a single event.
ContributorsFung, Lawrence (Author) / White, Marcus (Thesis advisor) / Standley, Eileen (Committee member) / Amazeen, Eric (Committee member) / Arizona State University (Publisher)
Created2020
Description
“In Spirit - An Archetypal Journey of the Soul” is a document illustrating the process of creating an evening length autobiographical aerial dance theater performance, In Spirit, through the investigation of theoretical, kinesthetic and choreographic research of archetypal symbolism, as well as aesthetic, choreographic and pedagogical aspects of aerial dance. The Jungian research specifically informed the identification of symbolism and the roles that archetypes play in creating a clear storyline within aerial dance theatre. In addition, research of aesthetic voice and current aerial dance practitioners became important and gave perspectives on creative pedagogical engagement in contemporary dance and aerial dance-making. For the duration of the process of creating In Spirit image-based creative tools, tarot symbolism, Jungian archetypes, aerial dance training and collaboration were explored with the cast of ten dancers. Through this research and embodying the spirit of collaboration, the choreographer and dancers worked diligently to train dancers with no previous experience in aerial dance to perform in aerial roles. The evening-length performance of In Spirit synthesized contemporary dance, aerial dance, theatre and symbolism regarding rebirth.
ContributorsReed, Elisa M (Author) / Fitzgerald, Mary (Thesis advisor) / Schupp, Karen (Committee member) / Winnemann, Christopher (Committee member) / Arizona State University (Publisher)
Created2020
Description
“Mix Mix Tayo: The Many Pieces in Our Stories'' is a written reflection, exploring the creation of the dance documentary, Carried Across the Water as well as the community event, Mix Mix Tayo. The ideas behind these works are centered in storytelling, filipino american identity and community. This research explores the use of film, dance, event production and the mixing of elements to create new wholes in order to communicate these ideas. These works were imagined in response to a call that was felt from people actively searching for healing, community and ancestral knowledge.
ContributorsCurry, Nicole (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Nascimento, Eliciana (Committee member) / Arizona State University (Publisher)
Created2020
Description
Manopoly: The Documentary details the process of creating a 30 minute documentary-style dance film that highlights the diverse experiences of postsecondary education male dance students. The film provides a glimpse into the rehearsal process of Manopoly. This is the third iteration of this creative work and is the emphasis for this document. Several arts-based research methodologies, including narrative inquiry, choreography, and filmmaking are used in the process of creating Manopoly: The Documentary. Personal and communal interviews are used to provide insight into the experiences of the dance cast. The choreography seeks to embody, and reflect upon, the lived narratives, perspectives, and experiences of young men participating in postsecondary education dance. The written document serves to also articulate what is witnessed in the culminating dance film, expressed in interviews with the cast, and offer an opportunity to re-think, interrogate, question, and enhance preconceived understandings and values towards gender in dance as well as society.
ContributorsHerring-Harman, Michael Nicholas (Author) / Fitzgerald, Mary (Thesis advisor) / Schupp, Karen (Committee member) / Bailey, Marlon (Committee member) / Arizona State University (Publisher)
Created2021
Description
ABSTRACT
Learning a novel motor pattern through imitation of the skilled performance of an expert has been shown to result in better learning outcomes relative to observational or physical practice. The aim of the present project was to examine if the advantages of imitational practice could be further augmented through a supplementary technique derived from my previous research. This research has provided converging behavioral evidence that dyads engaged in joint action in a familiar task requiring spatial and temporal synchrony end up developing an extended overlap in their body representations, termed a joint body schema (JBS). The present research examined if inducing a JBS between a trainer and a novice trainee, prior to having the dyad engage in imitation practice on a novel motor pattern would enhance both of the training process and its outcomes.
Participants either worked with their trainer on a familiar joint task to develop the JBS (Joint condition) or performed a solo equivalent of the task while being watched by their trainer (Solo condition). Participants In both groups then engaged in blocks of alternating imitation practice and free production of a novel manual motor pattern, while their motor output was recorded. Analyses indicated that the Joint participants outperformed the Solo participants in the ability to synchronize the spatial and temporal components of their imitation movements with the trainer’s pattern-modeling movements. The same group showed superior performance when attempting to freely produce the pattern. These results carry significant theoretical and translational potentials for the fields of motor learning and rehabilitation.
Learning a novel motor pattern through imitation of the skilled performance of an expert has been shown to result in better learning outcomes relative to observational or physical practice. The aim of the present project was to examine if the advantages of imitational practice could be further augmented through a supplementary technique derived from my previous research. This research has provided converging behavioral evidence that dyads engaged in joint action in a familiar task requiring spatial and temporal synchrony end up developing an extended overlap in their body representations, termed a joint body schema (JBS). The present research examined if inducing a JBS between a trainer and a novice trainee, prior to having the dyad engage in imitation practice on a novel motor pattern would enhance both of the training process and its outcomes.
Participants either worked with their trainer on a familiar joint task to develop the JBS (Joint condition) or performed a solo equivalent of the task while being watched by their trainer (Solo condition). Participants In both groups then engaged in blocks of alternating imitation practice and free production of a novel manual motor pattern, while their motor output was recorded. Analyses indicated that the Joint participants outperformed the Solo participants in the ability to synchronize the spatial and temporal components of their imitation movements with the trainer’s pattern-modeling movements. The same group showed superior performance when attempting to freely produce the pattern. These results carry significant theoretical and translational potentials for the fields of motor learning and rehabilitation.
ContributorsSoliman, Tamer (Author) / Glenberg, Arthur (Thesis advisor) / Helms Tillery, Stephen (Committee member) / McBeath, Michael (Committee member) / Amazeen, Eric (Committee member) / Arizona State University (Publisher)
Created2015
Description
Previous research has shown that there is a significant relation between one’s attentional abilities and one’s motor coordination. However, little research has been done that compares attention’s effects on the two major motor skills and what that could mean for one with significant attention problems. Additionally, there has not been much research done on this topic among a population of preschool-aged children. The current study sought to explore the relation between attention and motor coordination among a sample of preschoolers. A comparison of gross motor skills and fine motor skills was also assessed in order to address any potential differing effects. A sample of twenty-six preschool children participated in an experiment consisting of completing fine motor tasks, gross motor tasks, and an attention task. Additionally, parent and teacher surveys were collected that asked both parents and teachers to report their child’s behaviors at home. It was hypothesized that attention would have a significant relation with fine motor skills because past research has found that the variable of inattention is highly correlated with weaker fine motor skills. However, the current study found that attention had a more significant relation with gross motor skills. This finding was reflected across the experiments that the children completed and across the parent/teacher surveys.
ContributorsGoldentyer, Gabriela (Author) / Amazeen, Eric (Thesis director) / Kupfer, Anne (Committee member) / Presson, Clark (Committee member) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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 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.
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
Description
Humans achieve coordination within and across themselves through the use of coupling. Coupling is the term for an informational linkage that allows two independent processes to eventually coordinate together. Coupling between the motor and respiratory system is evident within people through the signaling of the nervous system. However, little has been known about the degree of coordination that can be attained across two people regarding their respiratory patterns. The current study tested whether unintentional coordination of respiration across two people could be achieved when both people were intentionally coordinating their motor movements. Participants were assigned the position of leader or follower, where the leader followed the rhythm of a metronome to lift their leg to and the follower coordinated their leg-lift with the leader’s using their vision, as instructed. During the experiment the movements of each participant’s knee and their respiration were recorded. Relative phase was used as a measure of coordination. Results show that motor coordination was achieved, consistent with past studies, but that there was no coordination of respiration across the participants. This is most likely due to individual differences in physiology and the lack of coupling between the two separate respiratory systems. Although internal motor-respiratory patterns may have coordinated in a multi-frequency manner within each participant, the outward phasing of their respiration showed no such relationship. This study highlights the importance of a multi-frequency approach when observing coordination within and across physiological systems.
ContributorsHunteman, Zebediah Monroe (Author) / Amazeen, Polemnia (Thesis director) / Amazeen, Eric (Committee member) / Anderson, Samantha (Committee member) / Department of Psychology (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12