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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

Born in Pittsburgh, PA and raised in a small town in Indiana (Seymour, IN), Harold Fearon received his BA in Management and his MBA from Indiana University where he became interested in teaching as a career. After his military service, he went to Michigan State University where he received his

Born in Pittsburgh, PA and raised in a small town in Indiana (Seymour, IN), Harold Fearon received his BA in Management and his MBA from Indiana University where he became interested in teaching as a career. After his military service, he went to Michigan State University where he received his PhD in Management with a dissertation titled “Purchasing Research in American Business”. His specialty was industrial purchasing.

Harold was invited to come to ASU to be part of the College of Business by a former professor from IU who had moved to ASU. He talks about how he promised to only stay 2 years and has been here close to 30! During his time at ASU he was chair of the Department of Management in the College of Business. He became chair of the Department of Purchasing, Transportation and Operation which he founded to support the increase in interest in the purchasing field. After his retirement, he established a research institute (the first institute located at the ASU Research Park) that was nationally supported called The Center for Advanced Purchasing Studies (CAPS). He also was the founder and first editor of the “Journal of Purchasing and Materials Management” which is still in publication today. In his spare time, he was co-founder of the Rio Salado Bank, a community bank in Tempe, about which he relates many funny events!

ContributorsStevenson, Pam (Interviewer) / Agave Productions (Contributor)
Created2007-01-12
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Born in Arizona, the son of educators, Lattie F. Coor was the 15th President of ASU. He attended NAU for his undergraduate degree and went on to receive his masters and PhD from Washington University in St. Louis, Missouri. He remained at Washington University as a faculty member, eventually becoming

Born in Arizona, the son of educators, Lattie F. Coor was the 15th President of ASU. He attended NAU for his undergraduate degree and went on to receive his masters and PhD from Washington University in St. Louis, Missouri. He remained at Washington University as a faculty member, eventually becoming its Vice Chancellor. In 1976, Lattie left to become the 21st President of the University of Vermont. In January of 1990, Lattie returned to Arizona to become the 15th President of ASU, remaining as President until 2002. After his retirement as President of ASU, Lattie stayed as a Professor and Ernest W. McFarland Chair in Leadership and Public Policy in the University's School of Public Affairs. He also co-founded the Center for the Future of Arizona where he continues to serve on the Board of Directors.

In his interview, Lattie recaps his life growing up in Arizona during the war years, providing many stories of his experiences with the various prisoner of war camps located in Arizona. He indicates that originally he thought he would become a lawyer and perhaps enter a political career, but then early on in his post-secondary work, he was greatly influenced by one of his professors at NAU and turned to pursuing a career in academics. From there he unfolds the story of his life as a professor and an academic administrator.

ContributorsStevenson, Pam (Interviewer) / Agave Productions (Producer)
Created2006-01-24
Description

James W. Elmore will always be remembered as the founding dean of the College of Architecture at Arizona State University. Jim’s original intent in coming to Phoenix in 1948 was to work as an architect for Guirey & Jones. Jim came to ASU in 1949 to a non-existent department at

James W. Elmore will always be remembered as the founding dean of the College of Architecture at Arizona State University. Jim’s original intent in coming to Phoenix in 1948 was to work as an architect for Guirey & Jones. Jim came to ASU in 1949 to a non-existent department at then Arizona State College. He nurtured the department into a nationally prominent design school in less than 20 years. Jim was also instrumental in the design and development of the Rio Salado Project. After retirement from ASU, he continued to promote his design for aerial (elevated) transit and a city for Phoenix and greater Phoenix area.

Jim is a native of Nebraska receiving his BA degree in architecture in 1938 from the University of Nebraska. After spending six years with the US Army Corp of Engineers, he went back to school on the GI Bill and received his Masters in Architecture from Columbia University. This interview has Jim telling us about his road to becoming an architect, to becoming a teacher, developing the College of Architecture and his continued community involvement after retirement.

ContributorsStevenson, Pam (Interviewer) / Agave Productions (Producer)
Created2003-11-24
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