Matching Items (30)
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
It’s Not That Simple: A Complex Journey of an MFA Applied Project discusses the experience of graduate student, Molly W. Schenck. Schenck’s applied project, It’s Not That Simple, was an interdisciplinary dance theatre performance piece that challenges rape culture on college campuses. While the focus of the applied project was this performance, it was the obstacles and highlights that were related to the project that made the journey memorable. This paper will discuss the history and evolution of It’s Not That Simple, the creative process, the research, the trajectory of the project, and reflections on the journey.
ContributorsSchenck, Molly W (Author) / Schupp, Karen (Thesis advisor) / Kaplan, Robert (Committee member) / Sterling, Pamela (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document analyzes the use of the Principles of Design within the applied project It’s My Party, a multimedia dance theatre production, as a means to address and overcome the stigmatization of the Human Immunodeficiency Virus (HIV). Through the orchestration of dance, music, props, acting, video, and spoken word, this interdisciplinary work investigates how these production elements synthesize into a transformative theatrical experience for audiences. Outlined in this document is the eight month design process. The process included concept design, assessing, processing, customizing the message, script development, rehearsals, and video production, and concluded with an evening length production. Analyzed through the structural narrative of The Hero’s Journey, this autobiographic work details the author’s HIV-positive (HIV+) coming out story from a restorative narrative perspective. By addressing the subject of HIV from a contemporary point-of-view, this project strives to reencode the troubling associations affiliated with HIV with an empowered and hopeful understanding.
ContributorsAlvarez, Ricardo (Author) / Schupp, Karen (Thesis advisor) / Magenta, Muriel (Committee member) / Rajko, Jessica (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document outlines the formation and development of Worth the Weight, or WTW, a platform that seeks to sustain the Breaking community in Phoenix, Arizona and connect the generations by bringing them together in a newly and never before seen event in Breaking, an all weight class and division competition. In the last five to ten years there has been a noticeable decline in the local Breaking community, in part due to the introduction of new dance categories, economic and social changes, the cross over of academia and traditional studios in Phoenix; all combining to create a lack of longevity in veterans of the culture to pass on the tools of the trade to the next generation.
WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
ContributorsMagaña, Jorge Edson (Author) / Vissicaro, Pegge (Thesis advisor) / Schupp, Karen (Committee member) / Gabbert, Kenneth (Committee member) / Arizona State University (Publisher)
Created2015
Description
This study intended to identify what children's perceptions and experiences are with contact improvisation and how these experiences relate to their education; their understanding of being an individual within a community; and their physical, social, and intellectual development. An interpretive phenomenological research model was used, because this study aimed to understand and interpret the children's experience with contact improvisation in order to find meaning relating to the form's possible benefits. The research was conducted over the course of ten weeks, which included classes, interviews, discussions, questionnaires, and journals. This study showed that contact improvisation empowered the children, opened the children's awareness, developed critical thinking, and created a deeper understanding and trust of the self and relationships formed within the class. The experiences found through teaching contact improvisation to these children showed that there are benefits to teaching children the form.
ContributorsCrissman, Angel (Author) / Schupp, Karen (Thesis advisor) / Dyer, Becky (Committee member) / O'Donnell, Timothy (Committee member) / Arizona State University (Publisher)
Created2014
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
Description
The purpose of this qualitative study was to design and assess a dance pedagogy curriculum intended to cultivate private sector dance educators’ somatic perception. Research questions were framed to understand the nature of knowledge encouraged by the curriculum and each educator's experience of knowledge formation and application to each participant's pedagogical context. The study was conducted in four overlapping stages: 1) Philosophical inquiry, 2) Curricular design, 3) Limited case-study, and 4) Data analysis. The stages employed mix methodologies that included: action research, autobiographical reflection, ethnographic and phenomenological approaches. The limited case-study explored two private-sector dance educators’ experiences of the curriculum. Data collected during the limited case-study conducted with the dance educators revealed thematic clusters about the nature, cultivation, expression, and experience of somatic perception. The themes suggest that the nature of somatic perception reflects an individual educators’ lived experiences that shape values, movement patterns, and phrasing. The expression of somatic perception aligns with the individual educator’s narrative and was evident in patterns and phrasing of movement and learning. The cultivation of somatic perception is an ongoing process that requires active engagement to acquire, assimilate, and integrate the knowledge of content, context, self, and student. Finally, somatic perception manifested itself in each educator’s unique expression of confidence, empathy, creativity, and spontaneity resulting in skillful enactment of knowledge within an immediate pedagogical context.
ContributorsWisniewski, Stacy (Author) / Dyer, Becky (Thesis advisor) / Schupp, Karen (Committee member) / Hannah, Christina (Committee member) / Arizona State University (Publisher)
Created2020
ContributorsLandes, Heather (Performer) / Schupp, Karen (Performer) / Creviston, Hannah (Performer) / Micklich, Albie (Performer) / Aspnes, Lynne (Performer) / Schuring, Martin (Performer) / Gardner, Joshua (Performer) / Kocour, Mike (Performer) / Hedquist, Ben (Performer) / Moio, Dom (Performer) / Landschoot, Thomas (Performer) / Kuo, Yi-Chun (Performer) / ASU Library. Music Library (Publisher)
Created2018-02-18
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
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