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Description
MOVE was a choreographic project that investigated content in conjunction with the creative process. The yearlong collaborative creative process utilized improvisational and compositional experiments to research the movement potential of the human body, as well as movement's ability to be an emotional catalyst. Multiple showings were held to receive feedback

MOVE was a choreographic project that investigated content in conjunction with the creative process. The yearlong collaborative creative process utilized improvisational and compositional experiments to research the movement potential of the human body, as well as movement's ability to be an emotional catalyst. Multiple showings were held to receive feedback from a variety of viewers. Production elements were designed in conjunction with the development of the evening-length dance work. As a result of discussion and research, several process-revealing sections were created to provide clear relationships between pedestrian/daily functional movement and technical movement. Each section within MOVE addressed movement as an emotional catalyst, resulting in a variety of emotional textures. The sections were placed in a non-linear structure in order for the audience to have the space to create their own connections between concepts. Community was developed in rehearsal via touch/weight sharing, and translated to the performance of MOVE via a communal, instinctive approach to the performance of the work. Community was also created between the movers and the audience via the design of the performance space. The production elements all revolved around the human body, and offered different viewpoints into various body parts. The choreographer, designers, and movers all participated in the creation of the production elements, resulting in a clear understanding of MOVE by the entire community involved. The overall creation, presentation, and reflection of MOVE was a view into the choreographer's growth as a dance artist, and her values of people and movement.
ContributorsPeterson, Britta Joy (Author) / Fitzgerald, Mary (Thesis advisor) / Schupp, Karen (Committee member) / Mcneal Hunt, Diane (Committee member) / Arizona State University (Publisher)
Created2013
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

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.
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
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Description
This document explores a community dance project at an orphanage in Mexico and the investigations following. This project researched how dance can be used to create a transformative and empowering experience for the participant and what discoveries of identity are made through dance. The research took place at an orphanage

This document explores a community dance project at an orphanage in Mexico and the investigations following. This project researched how dance can be used to create a transformative and empowering experience for the participant and what discoveries of identity are made through dance. The research took place at an orphanage in Texcoco, Mexico and at Arizona State University. The participants in this research include three dance artists from Arizona State University and 10 ten-year-old children from Mexico. The portion that took place in Mexico was conducted in daily three-hour classes over the span of two weeks. For five months following the two weeks in Mexico, weekly rehearsals were held and a culminating concert was performed on November 20th–22nd of 2015.
ContributorsMay, Emily Ann (Author) / Fitzgerald, Mary (Thesis advisor) / McMahon, Jeff (Committee member) / Rex-Flint, Melissa (Committee member) / Arizona State University (Publisher)
Created2016
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Description

Dr. Larry E. Penley was the dean of the W. P. Carey School of Business for 12 years. Dr. Penley came to ASU in 1985 and served for one year as the Chair of the Management Department within the College of Business. He was born in Virginia but grew u

Dr. Larry E. Penley was the dean of the W. P. Carey School of Business for 12 years. Dr. Penley came to ASU in 1985 and served for one year as the Chair of the Management Department within the College of Business. He was born in Virginia but grew up in eastern Tennessee. He received his bachelor’s degree in psychology from Lake Forest University and then went on to receive his PhD in management from the University of Georgia.

As mentioned, Dr. Penley came to ASU in 1985 as the Chair of the Management Department. He assumed the role of interim Dean for the College of Business when then Dean, John Kraft left ASU. In this interview he describes the College of Business as it developed a top ranked graduate program as well as a top ranked undergraduate program. He also touches on how the College would later become known as the W. P. Carey School of Business.

ContributorsMcPheters, Lee (Interviewer) / Arizona State University Retirees Association (Producer)
Created2010-12-10
Description

A native of Akron, Ohio, Jack Kingsinger started his career fresh out of high school as a navigator in the Air Force toward the end of World War II. When the war ended, he pursued a double major Bachelors degree in Chemistry and Mathematics at Hiram College in Hiram, Ohio.

A native of Akron, Ohio, Jack Kingsinger started his career fresh out of high school as a navigator in the Air Force toward the end of World War II. When the war ended, he pursued a double major Bachelors degree in Chemistry and Mathematics at Hiram College in Hiram, Ohio. He then went on to get a Masters degree in Chemistry from Cornell University. While working in private industry, he took advantage of the education benefits offered by the company he was working at and worked at getting his PhD in Chemistry from Penn. Academia was calling him, so he joined the faculty in the Chemistry Department at Michigan State. He later became the Chair of the department before leaving to become the Director of Chemistry at the National Science Foundation. He returned to Michigan State as the Assistant VP of Research which led to becoming the Associate Provost.

His journey to Arizona State University was actually initiated on a trip he made to visit the Chemistry Department as part of his role with the NSF. He was very impressed with the campus and when the position of Vice President of Academic Affairs opened up, he was quick to pursue it. He was hired by then President J. Russell Nelson and worked on many initiatives until his retirement.

ContributorsHumphrey, Ted (Interviewer) / Arizona State University Retirees Association (Producer)
Created2009-12-04
Description

Dr. Milton Glick grew up wanting to follow in his father’s footsteps and become a jeweler. However, his father had other plans for him and insisted that he attend college. Milt received his undergraduate degree in Chemistry from Augustana College in his hometown of Rock Island, IL. He went on

Dr. Milton Glick grew up wanting to follow in his father’s footsteps and become a jeweler. However, his father had other plans for him and insisted that he attend college. Milt received his undergraduate degree in Chemistry from Augustana College in his hometown of Rock Island, IL. He went on to receive his PhD in Chemistry from the University of Wisconsin-Madison. He spent 2 years as a Post-Doctoral student at Cornell University before joining the faculty of Wayne State University. From there, he went to serve as Dean at the University of Missouri and then Provost at Iowa State University, serving as interim President in his final year. In 1991 he joined the administration of ASU as Provost and remained here for 15 years. He spent almost 5 years as President of the University of Nevada, Reno before unexpectedly passing away of a stroke in April 2011.

In this interview, Milt talks about his goals of improving the quality of the faculty at ASU from being the “ordinary” that he found when he arrived to becoming the “extraordinary”. He attributes his success in improving faculty salaries as one aspect of achieving this goal. He talks about the challenges ASU had living in the shadows of the greatness of the University of Arizona and overcoming those to where the UofA now looks up to ASU! Milt also talks about his role as the “Zen master of managing limited budgets” during his years at ASU. And he speaks of the special relationship he had with now President Michael Crow, from his years at Iowa State, to using Michael as a consultant and mentor to him in his role as Provost at ASU and finally to having Dr. Crow as his “boss”. Throughout the interview, Milt stressed his love for ASU and mentioned that ASU was “more than just a destination for sunlight.”

ContributorsJones, Ruth (Interviewer) / Arizona State University Retirees Association (Producer)
Created2010-03-06