Matching Items (23)
Description
This paper outlines the three research projects that I performed between 2009-present: Slow Movement Training (SMT) lab, Self-education Through Embodied Movement (STEM), and the Athletic Movement Program (AMP). It first evaluates the major issues that spawned each research project, and then provides a framework for understanding the shift in the student-centered physical and mental movement practices that I developed in response to the need for reform. The content will address the personal and professional paradigmatic shift that I experienced through the lens of a practitioner and educator. It will focus heavily on the transitions between each of the projects and finally the emergence of the Athletic Movement Program. The focal point becomes one of community needs, alternate resources and hybrid-online classroom support. The paper concludes with an overview and content comparison between the one-size-fits-all model used within public movement education and Athletic Movement Programs' strengths and challenges.
ContributorsCroitoru, Michael (Author) / Mitchell, John D. (Thesis advisor) / Fitzgerald, Mary (Committee member) / Coleman, Grisha (Committee member) / Arizona State University (Publisher)
Created2011
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
As an artist, I set out to creatively answer three important questions that were discovered in a variety of ways over the course of my academic career. They all had one thing in common, the awareness and wonder around how impactful presence is. But what is presence? Merriam-Webster Dictionary defined presence as, “The state or fact of existing, occurring, or being present in a place or thing.” And, “A person or thing that exists or is present in a place but is not seen. (Presence) After a tangible experience with loss, grief, disappointment, and extenuating life circumstances for many cast members involved in this seven-month movement research project, the internal battle for physical, mental, and emotional presence began to be a daily pursuit. The originally produced work, Presence-The Walk, takes a look into the unpopular practice of being still in an ever-moving society, as well as what the process of healing can look like for an individual. Videographer and MFA candidate Lawrence Fung was a large collaborator on the final product of this work. After having to adapt several different versions of the final product due to cast changes, opportunities for public performance, and the COVID-19 pandemic, dancer, mover, and artist Victoria Ward shares her experience and research exploring the constant pursuit of presence and what it looked like to present professional work given an even shorter timeline. Interdisciplinary collaboration with photographers, artists, and spoken word was also a key aspect of this work alongside the research completed by her cast of seven dancers.
ContributorsWard, Victoria Marie (Author) / Conder, Carley (Thesis director) / Meredith, Shauna (Committee member) / Rosenkrans, Angela (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This paper researches and studies the experiences of queer and transgender ballet dancers in classical ballet. While men in classical ballet are typically considered to be gay due to gendered stereotypes, women in classical ballet are assumed to be heterosexual. This causes a lack of visibility of queer women in classical ballet. Furthermore, strict gender roles in traditional classical ballet affect nonbinary and transgender ballet dancers, impacting their experiences. Misogyny and body shaming play a role in the experiences of female ballet dancers, and these issues combine with homophobia and transphobia for queer and transgender dancers. This paper considers the intersection of gender and sexuality and researches how that impacts the experiences and mental well-being of classical ballet students. It compares the experiences of classical ballet dancers of all backgrounds, genders, and sexualities to determine how their experiences relate and differ.
ContributorsReynolds, Ry (Author) / Conder, Carley (Thesis director) / Flower, Lauren (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05
Description
“Untangled Roots: Through us all” explores the transformative power of a dance-based intervention aimed at breaking the cycles of generational trauma to safeguard the well-being of future generations. Grounded in the understanding of generational trauma as the transmission of emotional wounds through familial lines, the choreography and production within the show examines how dance serves as a medium for raising awareness and facilitating healing. Through movement, storytelling, and embodied expression, both audience members and dancers are able to engage in a process of reconnecting with suppressed emotions, releasing tension, and reclaiming agency over their narratives. By fostering empathy, connection, and solidarity, the dance intervention not only addresses individual traumas but also works towards preventing their continuation into the future, thereby promoting resilience and well-being across generations.
ContributorsKabat, Kyla (Author) / Bradley Browning, Nicole (Thesis director) / Conder, Carley (Committee member) / Barrett, The Honors College (Contributor) / Dean, W.P. Carey School of Business (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05
Description
For my MFA project, I aimed to explore the differences between Chinese and Western dance cultures and investigate strategies for integrating them. This thesis reflects on the process of creating my original dance work, "Water, Disappearing in Water," and how it informed my understanding of choreography and creation. Through a combination of theoretical knowledge and practical experimentation, I have gained new insights and techniques for choreography. My work, which draws on Tai Chi, calligraphy, somatics, and modern dance, exemplifies the potential of cross-cultural collaborations to inspire new forms of artistic expression. Under the umbrella of integrating Eastern and Western cultures, my goal was to extract elements of Chinese traditional culture to make modern dance more open and inclusive, while also exploring new possibilities for incorporating traditional culture. The first chapter investigates the construction of the narrative text of dance works by examining the pre-choreography and creation stages. It also examines the transition from narrative text to feasible dance work structure, which poses a significant challenge in the practice process. The second chapter delves into the possibility of integrating Eastern and Western cultures in dance from a theoretical and practical perspective. Using the first and second parts of the work as examples, I analyze the "force" of modern dance, the "shape" of Tai Chi movements, and the relationship between emotion and the lines of Chinese calligraphy. The third chapter centers on exploring the significance of imagery expression in somatic choreography. The fourth and final chapter of this thesis sets a new goal of combining dance and multimedia technology to challenge the limitations of traditional dance performance. Overall, this thesis showcases how my original dance work combines theory and practice to explore new possibilities in future dance works.
ContributorsMa, Ying (Author) / Dyer, Becky (Thesis advisor) / Conder, Carley (Thesis advisor) / Kim, Marianne (Committee member) / Arizona State University (Publisher)
Created2023
Description
First, this study is intended to comprehend what is perceived to be “good” dancing from two perspectives: the dancers and the dance choreographer/teacher. Second, the goal of this research is to achieve their perceived idea of “good” dancing using the categories of dance aesthetics, movement efficiency, and performance quality as a direction. A phenomenological research approach was applied to understand the terminologies: movement aesthetics, movement efficiency, and performance quality and whether they are essential and contribute to defining what is considered to be “good” dancing. The research was conducted over the course of ten weeks, which included workshops/rehearsals, discussions, and journals and concluded with the showcase of the choreographies in the dance concert performance. This study revealed that there were many similarities in the participants and the researcher’s perception of what “good” dancing is. Through the application of the various somatic methodologies and frameworks, they learned how to perform in their own best way in the different movement styles so that it is beautiful to look at, easy on their bodies, and safe for their bodies. All of the participants were able to achieve a better understanding of their own bodies. Besides gaining individual heightened awareness and understanding of their bodies, they also gained a better understanding on how to work as a collective to achieve the aesthetics of the group from the perspective of the entire dance piece.
ContributorsChoong, Jemima (Author) / Fitzgerald, Mary (Thesis advisor) / Conder, Carley (Committee member) / Bowditch, Rachel (Committee member) / Arizona State University (Publisher)
Created2023
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
Description
You Are Here: A choreographic memoir exploring anxiety in the YouTube generation is an evening-length performance which began as an interdisciplinary exploration of the therapeutic properties of creative writing and creative movement. Throughout the creation of this performance, the choreographer engaged in self-reflection from which arose the themes of anxiety, the Internet, and identity. As a result of this experience, she reached conclusions regarding her personal voice and agency, interdisciplinary art as therapy, the importance of dance as a coping mechanism in digital cultures, and a definition of the therapeutic process of choreographic memoir.
ContributorsDorn, Katherine (Author) / Dyer, Becky (Thesis advisor) / Mitchell, John D. (Committee member) / Reyes, Guillermo (Committee member) / Arizona State University (Publisher)
Created2017
Description
The ASU School of Dance presents Undergraduate Projects Showing, October 25-26, with works by undergraduate dance students, performed at Margaret Gisolo Dance Studio.
ContributorsPinholster, Jacob (Director, Artistic director) / Koch, Carolyn (Production manager) / Rex, Melissa S. (Technical director, Lighting designer) / Swayze, William (Musician) / Benard, Jacqueline (Costume designer) / Mihaleva, Galina (Costume designer) / Dodt, Alli (Artistic director) / Edwards, Allison (Artistic director, Performer) / Levin, Felicia (Performer) / Hughes, Haylee (Performer) / Groom, Léla (Performer) / Gastelo, Jr., Gabriel (Lighting designer) / Singleton, Kiah (Choreographer, Lighting designer, Costume designer, Performer) / DeSantis, Kimberly (Performer) / Freirich, Gordon (Performer) / Harkey, Noah (Performer) / Nguyen, Dana (Performer) / Bartholomew, Jessica (Choreographer, Musician, Costume designer) / Dorrel, Kayla (Performer) / Johnson, Sarah (Performer) / LeBlanc, Casey (Performer) / Norris, Sarah (Performer) / Rivera, Paola (Performer) / Sammons, Rylee (Performer) / Soto, Jose (Performer) / Wardarski, Jessie (Performer) / Witzke, Nikki (Performer, Choreographer, Costume designer) / Moraco, Steve (Videographer, Videographer) / Jackson, Sydney (Choreographer, Costume designer) / Castronova, Naomi (Performer) / Garcia, Lacee (Performer) / Keefe, Shelby (Performer) / Kerr, Elena (Performer) / Waitz, Jessica (Performer) / Riojas, David (Choreographer, Costume designer) / Calvano, Jourdan (Performer) / Locker, Rain (Performer) / Pullman, Gracie (Performer) / Reis, Ashley (Performer) / Nunn, Jasmine (Choreographer, Costume designer) / Koji, Saito (Musician) / Avery, Vickie (Musician) / Salcido, Alejandro (Lighting designer) / Baker, Ashley (Performer) / Siegfried, Jordyn (Performer) / Yoder, Allyson (Performer) / Gallagher, Grace (Choreographer, Costume designer, Videographer, Performer) / Dix, Geoffrey (Musician) / Stephens, Alexis (Choreographer, Costume designer, Performer) / Keating, Zoe (Musician) / Hernandez, Martha "Patty" (Choreographer, Costume designer, Performer) / Yuen, Priscilla (Performer) / Herberger Institute School of Dance (Musician)
Created2012