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Relevant bibliographies by topics / Choreographic practice / Dissertations / Theses

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Dissertations / Theses on the topic 'Choreographic practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Fishwick, Emma. "Choreography as landscape: Landscape discourse framing choreographic practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.

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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conv

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2

Bucar, M. "Aesthetic negativity and choreographic practice." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/15320/.

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At the core of this doctoral submission is a portfolio of three of my recent choreographic works(all created between 2011-2014), complemented by a text, which attempts to formulate a theoretical approach for explicating the works, through the lens of Theodor Adorno’s theory of the inherent negativity of modernist artworks. Such an approach places Adorno’s ideas at the very centre of the analytical view presented here, albeit via the semiotic (re)articulation of these same ideas in recent work by Christoph Menke. This, in turn, draws on earlier work done within aesthetic semiotics by Viktor Shk

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Seago, Catherine. "Evolving motion : examining flux in choreographic practice." Thesis, University of Winchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698200.

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The research which is embedded in this thesis through the dances and the context statement is about my experience of dancing and dance-making. During the process of making dances there is a sense of messiness in not knowing what is emerging. In the process of writing this document I have had to shift my experience in order to perceive the messiness and to reflect on how I work with it. The reflection on dance-making has enabled me to notice that the messiness arises from the tensions between the somatic, aesthetic, interpretive and inseparable experiences in performing, creating and receiving

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Matthaei, Nerida K. "Recontextualising my choreographic self: Conceptual and processual strategies for rerouting practice." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116353/1/Nerida_Matthaei_Thesis.pdf.

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This practice-led research project defines a methodological basis for the recontextualisation and rerouting of this artist-researcher's choreographic praxis. This was achieved via experimenting and testing new contemporary strategies underpinned by embodied reflexive practices and creative case studies, which resulted in the creation of new performance works. The study provided the researcher with mechanisms to articulate, recontextualise and interrogate processual choreographic complexities. Situated in the shifting landscape of the independent choreographer-dancer-producer, it identifies tha

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Mafe-Keane, Vanessa. "Settling the score: Pre-scoring spatio-temporal processes for independent dance practice." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134479/9/Vanessa_Maf%C3%A9-Keane_Thesis.pdf.

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This research project develops Pre-scores, a generative choreographic tool that facilitates the communication and translation of movement concepts. Pre-scores are spatio-temporal dance scores depicting choreographic ideas as embodied inscriptions, using drawing, text and symbols, to transmit imaginative visualisations of movement concepts. Translucent layers of tracing paper reflect the way movement is generated and experienced within a body in motion and become a metaphor simulating the dancer's internal score. Pre-scores provide a low-fi collaborative tool, instigating the flow and transpare

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McLay, Grant A. "Movement Capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/109619/1/Grant_McLay_Thesis.pdf.

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This thesis explored ways of coding and reinterpreting physical movement data from sport to create movement responses within a choreographic practice context in the field of contemporary dance. The study consisted of the notation and analysis of the physical dynamics and sequential body patterns of the high impact sport of rugby union to inform and influence the creation of movement scores that resulted in the creation of a new contemporary dance work and contributed to furthering the knowledge, understanding and practice of choreographic approaches to dance.

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McCormack, Jessica Carla. "Dancing other people's words : an investigation of choreographic practice in the field of verbatim dance-theatre." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702272.

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This thesis explores ways to understand, articulate and engage in the process of choreographing movement as a response to verbatim spoken language. Drawing on pertinent aspects in the field of translation studies and Sakhtin's theory of 'heteroglossia' and combining this with experimental choreographic practice, the research develops ways in which to understand, articulate and practice the 'translation' of verbatim spoken language into movement in the context of 'dancetheatre'. Through analysis of ova Physical Theatre's productions To Be Straight With You (2007-9) and Can We Talk About This (2

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8

Sabisch, Petra. "Choreographing relations : practical philosophy and contemporary choreography." Thesis, University of Greenwich, 2009. http://gala.gre.ac.uk/5650/.

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This thesis undertakes the Deleuzian experiment of a conceptual site development of contemporary choreography through analysis of the works of Antonia Baehr, Juan Dominguez, Xavier Le Roy and Eszter Salamon. It examines the way these works transform choreography qualitatively by elaborating singular methods which couple the issue of movement with the creation of aesthetic regimes. As opposed to a representational outline of choreography’s ontology, my thesis investigates the participatory potential of choreography by focussing on the singular relational assemblages that each choreography creat

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9

Jackson, Jonathan David. "Crafting community--Doris Humphrey's humanist choreographic practice: a selective inquiry into the ideology of an early twentieth century choreographer's creative legacy." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327680417.

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10

Han, Chil. "The use of the principles and practice of Zen Buddhism and Korean dance to create a new choreographic style for contemporary classical ballet works." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/317.

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The aim of this research is to create a ballet choreography (Kang Kang Sulrea) informed by practices of Zen Buddhism and Korean dance. This choreography demonstrates my personal interpretation of various aspects of style and practice that have arisen through this research. Meditation was studied as a means to inspire creativity and was then shared with dancers participating in a performance piece called Kang Kang SulRea. This process led to the incorporation of meditation as a pivotal component of the performance itself. The dancers also learned Korean dance, focusing on the concept at “danci

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Alinen, Tiina. "Intercultural dance : exploring a Finnish migrant connection with indigenous cultures through dance." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61062/1/Tiina_Alinen_Thesis.pdf.

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This research is a dance-based, autoethnographic study which explores my connection with place as a Savolainen woman born on Kalkadoon country; an Australian-born Finn. Edward Relph states 'the more profoundly inside a place the person feels, the stronger will be his or her identity with that place' (1976, 49). I am interested in how a sense of "place identity" has informed my choreographic practice. Autoethnography is important because it places the research within a lived experience: my insider account of a lived experience within the White Australia Policy through my lens as a first generat

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12

Buday, Csaba Steven. "Exploring the abstract language of contemporary dance in order to create emotional states/nuances." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16420/1/Csaba_Buday_Thesis.pdf.

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This study investigates how a choreographer, through the abstract language of contemporary dance, generates emotional states/nuances which can be recognised but at the same time allow for ambiguity in the reading of the work. This investigation was addressed through a series of performance projects, culminating in the final dance work Inhabited Space. The setting for the work, triggered by Bachelard's The Poetics of Space, became the imagined spaces of a domestic urban environment, specifically the lounge and bedroom. In order to create a work reflecting emotional states and nuances, a range o

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Buday, Csaba Steven. "Exploring the abstract language of contemporary dance in order to create emotional states/nuances." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16420/.

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This study investigates how a choreographer, through the abstract language of contemporary dance, generates emotional states/nuances which can be recognised but at the same time allow for ambiguity in the reading of the work. This investigation was addressed through a series of performance projects, culminating in the final dance work Inhabited Space. The setting for the work, triggered by Bachelard's The Poetics of Space, became the imagined spaces of a domestic urban environment, specifically the lounge and bedroom. In order to create a work reflecting emotional states and nuances, a

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Roche, Jennifer. "Moving identities : multiplicity, embodiment and the contemporary dancer." Thesis, Roehampton University London, 2009. https://eprints.qut.edu.au/81761/1/JRoche%20PhD%20Thesis.pdf.

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Currently, across dance studies, choreographies are usually discussed as representational of the choreographer, with little attention focused on the dancers who also bring the work into being. As well as devaluing the contribution that the dancer makes to the choreographic process, the dancer’s elision from mainstream discourse deprives the art form of a rich source of insight into the incorporating practices of dance. This practice-based research offers a new perspective on choreographic process through the experiential viewpoint of the participating dancer. It involves encounters with contem

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O'Keeffe, Anne. "The art of presence : contemplation, communing and creativity /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.

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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.<br>The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tang

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Brown, Carol. "Inscribing the body : feminist choreographic practices." Thesis, University of Surrey, 1994. http://epubs.surrey.ac.uk/619/.

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Hildebrandt, Antje. "Expanding the object : post-conceptual dance and choreographic performance practices." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/558802.

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This project is concerned with exploring the relationship between postconceptual dance and its state as object. As a practice-led research project it aims to do so both through the written thesis and through artistic practice, which is here presented as a series of video projects that extend representations of dance. Over five chapters I trace the permutation of the ‘object’ from choreographer to spectator, participant, editor, collector and ‘reframer’, arguing for the multiplicity of roles that choreographers, and by extension dancers, take on at the beginning of the 21st century. My interdis

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Pethybridge, Ruth. "Unresolved differences : choreographing community in cross-generational dance practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13357/.

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This practice-led research enquires into how ideologies of community as commonality have informed the dominant rhetoric in the Community Dance sector since the 1970s, and formed the conditions of possibility for Cross-generational Dance, a reciprocal relationship between discourse and practice that has arguably been overlooked in the historiography of Community Dance. Framed by Michel Foucault’s (1972) concept of the episteme – an umbrella mode of knowing that permeates historical taxonomies – Community Dance history is linked here with experimental choreographic processes during the 1960s and

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Sloan, Robin J. S. "Emotional avatars : choreographing emotional facial expression animation." Thesis, Abertay University, 2011. https://rke.abertay.ac.uk/en/studentTheses/2363eb4a-2eba-4f94-979f-77b0d6586e94.

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As a universal element of human nature, the experience, expression, and perception of emotions permeate our daily lives. Many emotions are thought to be basic and common to all humanity, irrespective of social or cultural background. Of these emotions, the corresponding facial expressions of a select few are known to be truly universal, in that they can be identified by most observers without the need for training. Facial expressions of emotion are subsequently used as a method of communication, whether through close face-to-face contact, or the use of emoticons online and in mobile texting. F

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Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.

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Bibliography: pages 118-123.<br>In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The

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Cho, Kisook. "A theory and practice of choreography towards overcoming Eurocentrism the case of South Korean dance /." Thesis, Online version, 2003. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.396642.

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Ciolfi, Felice Marianela. "Supporting expert creative practice." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLS544/document.

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Cette thèse porte sur la conception d'outils numériques interactifs pour les professionnels du design graphique et de la chorégraphie contemporaine. Ces praticiens utilisent des principes et des méthodes personnels qui contraignent et guident leur processus créatif. Je soutiens que, pour construire des logiciels puissants permettant d’étayer leurs pratiques, nous devons les laisser définir et manipuler leur propre ensemble de contraintes créatives. Je présente deux outils qui illustrent cette approche. StickyLines offre des représentations visuelles des contraintes d’alignement et de distribut

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Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project, Ada." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15820/1/Sarah_Neville_Thesis.pdf.

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As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia

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Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project,Ada." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15820/.

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As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia choreog

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Burridge, Stephanie A. "The impact of Aboriginal dance on twentieth century Australian choreography with a practical and creative study." Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244339.

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Reppen, Camilla. "Ledarskapspraktik i koreografiska processer." Thesis, Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403269.

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Leadership in choreographic processes have not received enough academic attention. An unwillingness and unfamiliarity to use the concept of leadership can be discerned in artistic contexts, despite the impact leadership has on, for example, learning and socialization into the roles of dancers, students, choreographers and teachers. The purpose of this study was therefore to contribute with knowledge about leadership practice in choreographic processes. The study was based on a process-ontological perspective on leadership practice. Such a perspective can encompass many of the desires of decent

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Murphy, Siobhan. "Practices of tactility remembering and performance." Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4379.

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‘Practices of tactility, remembering and performance’ is a practice-led inquiry in which performance-making and writing are equal partners. The thesis comprises a performance folio and a dissertation. The folio comprises two performance works.<br>the backs of things: This 35-minute work for two dancers had a public season mid-way through the candidature (September 8th – 11th 2005). A DVD documentation is submitted with the dissertation.<br>here, now: This 50-minute multi-modal performance was presented for assessment during a public season of six performances (March 22nd – 25th 2007). It is a

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Coleman, Lucinda. "Sites of justice: Face-to-face encounters through dance-making in Meeting Places." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1964.

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The Australian performing arts collective, Remnant Dance, has a partnership with the charity organisation, MyKids Incorporated, which supports a community of orphaned and abandoned youth at the Andrew Youth Development Centre (AYDC) in Yangon, Myanmar. During 2013-2014, young people from the AYDC were invited to make a contemporary dance film together with Remnant Dance artists. The film, called Meeting Places, evolved as part of a developing body of visual and performance art works that sought to explore collaboration in a dance collective. The dance film was set at the AYDC and in the disuse

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Sjöholm, Sigrid. "practical, efficient, necessary." Thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-915.

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This essay is one part of my Bachelor's degree project, the other part being a dance performance with the title practical, efficient, necessary that was premiered in January of 2021. The essay discusses the main problem of the project (which was necessary movements and the lack thereof in dance) as for thoughts and methods that was used in the project in working with the theme of necessity. The essay begins by looking into movements of necessity from the perspective of a necessary movement being a practical movement that is in relation to survival and sprung out of urgency. It further explores

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Grogan, Jayden. "Embodied sampling as a process of developing an individual moving identity for male dance professionals." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205869/1/Jayden_Grogan_Thesis.pdf.

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This research project investigated individual Australian professional male contemporary dancers’ creative practice, to consider how the concept of ‘moving identity’ develops over a professional dance career. The results from the research study demonstrated that each ‘moving identity’ of the three independent Australian professional male dancers interviewed developed in multivariate ways over their careers as dance practitioners. Established inside the researcher’s practice-led research were a publicly archived series of choreographic scores and improvised online videos entitled 'The Museum of

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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/17527/1/Cheryl_Frances_Stock_Thesis.pdf.

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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance pr

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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999". Queensland University of Technology, 1999. http://eprints.qut.edu.au/17527/.

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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance pr

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Cogne, Ingrid. "Displacement(s) as method(s)." Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30034/document.

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Déplacement est un paradigme qui permet de décrire les procédés que j’utilise pour m’organiser en tant qu’individu, artiste et chercheur. Mon processus se fait en mouvement constant que ce soit dans un contexte particulier ou entre différents contextes, aussi en perpétuel mouvements. Bouger et être bougé, déplacer et être déplacé sont des procédés qui impliquent une lecture ininterrompue des contextes, la création de situations appropriées, et/ ou une utilisation réfléchie de situations existantes. Cela appelle des attitudes de présence, de distanciation et de (re-)positionnement. Cinq méthode

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sarkar, Kaustavi. "Mahari Out: Deconstructing Odissi." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499694454160469.

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Fylla, Iliana. "Mises en présence des corps : la scène chorégraphique française (2000-2013) et ses antécédents historiques." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100195.

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Au début des années 2000 un phénomène de transgression des représentations corporelles conventionnelles envahit les scènes chorégraphiques. Autonomie, indiscipline, réflexivité, expérimentation, tendance protéiforme, performativité, intégration sociale et attitude participative, ne sont que quelques dimensions que le corps dansant favorise. D’où provient-il ce phénomène ?Cette thèse, en mettant la question en perspective historique, examine comment les revendications chorégraphiques à orientation politico-artistique du milieu des années 1990, qui visaient à défier les limites propres de la dan

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Messina, Virginie. "Une approche didactique de la danse et de la création chorégraphique : de l’action conjointe chorégraphe/danseurs, à l’action conjointe professeur/élèves à l’école élémentaire." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20061.

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La recherche se centre sur trois études de cas pour caractériser la manière dont les savoirs de la danse et de la création chorégraphique sont mobilisés dans différentes institutions : séances de travail entre un chorégraphe et des danseurs en contexte de création, interventions d’un artiste chorégraphique en milieu scolaire, pratique scolaire de la danse menée par une enseignante à l’école élémentaire. Notre approche relève d’une anthropologie didactique, en s’appuyant sur la théorie de l’action conjointe en didactique (TACD), qui amène à analyser les transactions des différents acteurs obser

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Montaud, Dominique. "Le rapport aux œuvres dans l'enseignement de la danse au collège : analyse didactique de l'évolution de l'épistémologie pratique d'un professeur d'éducation physique et sportive." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20002/document.

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Cette thèse étudie, dans le cadre de la théorie de l’action conjointe, l’évolution de l’épistémologie pratique d’un enseignant d’EPS non spécialiste en danse, en lien avec des stages de formation continue qu’il a suivis pendant trois ans. L’analyse longitudinale effectuée sur une durée de six ans a été menée selon une approche multidimensionnelle de données d’observation de séances. Un premier niveau s’intéresse au système de didactique-formation mis en œuvre dans chacun des trois stages. Un deuxième étudie les pratiques d’enseignement de la danse en classes de sixième selon deux échelles d’an

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Haskins, Nicola. "Embodied narratives : mapping a choreographic signature through physical theatre practice." Diss., 2015. http://hdl.handle.net/2263/50915.

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This study attempts to document my emerging choreographic signature through a qualitative, practice-based autoethnographic approach. It describes and examines three of my choreographic works One-way (2010), As night falls (2011) and Chasing (2012) to highlight traces, core images, themes and commonalities in my choreographic processes that provide markers for identifying signature trends in my choreography. As such, this is not a study in choreography per se. The study draws on the theoretical premises of embodied narratives to frame my signature. The study is located in the domain of ph

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Oliveira, Raquel Gonçalves Alberto de. "Processo coreográfico e performativo da bailarina-coreógrafa na obra coreo(autoetno)gráfica solista “Inspiração”: um estudo prático." Doctoral thesis, 2017. http://hdl.handle.net/10400.5/15031.

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Com o intuito de conhecer, compreender e documentar o processo de criação coreográfica solista composta e interpretada pela própria bailarina-coreógrafa, propus-me criar, observar, refletir sobre e descrever o processo de criação coreográfica da obra ‘Inspiração’, assumidamente tornando conscientes e documentando todas as fases, desde a conceção, composição e ensaios, até à apresentação final ao público. ‘Inspiração’, a obra solista de 45 minutos, conjuga as linguagens da Dança e do Yoga, numa aproximação à Dança Extemporânea, tendo como ponto de partida a descoberta do movimento natural do co

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"Listening to Gesture: Choreographing Connections Through Socially Engaged Dance Practices." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.20902.

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abstract: In contemporary U.S. culture, dance is often confined to the young and the trained, isolated on stages and in dance studios, and viewed as entertainment that is disconnected from "real life." Socially engaged dance practices re-connect dance to society in meaningful ways. By connecting individuals to their own bodies, to each other, to ideas, and to social, civic, and educational institutions, socially engaged dance practices use movement, the body, and the tools of participatory art, which contributes to the development of a democratic society, while catalyzing social change, and bu

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Bryant, Fiona. "Dialogical dancing: illuminating dimensionality in solo dance practice." 2009. http://repository.unimelb.edu.au/10187/8504.

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This research manuscript directly pertains to and partially documents my practice-led solo investigation Dialogical Dancing as undertaken toward the Masters of Choreography (by Research). It has been composed to support and co-exist with the two live performance works presented in a season at The Victorian College of the Arts and Music toward the end of these investigations.

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"The Accidental Curricularist: The Building of a Dance Curriculum through Artistic and Improvisational Practice." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8612.

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abstract: ABSTRACT This narrative study traces the development of a dance curriculum as it unfolded in an inner city public school. It examines the curriculum emergence through intersecting worlds of artistic practice, improvisation, lived experience and context. These worlds were organized and explored through themes of gender, emotion, longing and intersections and examined through lenses of critical theory, aesthetics and currere. It examines the interior dialogue within one individual educator who is both a dance artist and a teacher and reflects the differing and at times conflicting pers

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Romano, Paul Dominic. "History of a particular it: a fictional narrative of practice." Thesis, 2012. https://vuir.vu.edu.au/19423/.

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Throughout the duration of the research I have been concerned with finding ways to present, interrogate and speak about practice – through, in and as practice. Encompassing the practices of dancing and writing, the inquiry seeks to resist the codification, definition and traditions of formal discourse, and to unsettle the hold of the conceptual. The research concerns the ontology and genealogy of performance - what is a work, where does it begin and where does it end? History of a particular it isn’t a search for or about something; it is something, something the project repeatedly atte

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"Theoretical and Methodological Foundations of Art Education in the Context of European Integration." 2017. http://repository.sspu.sumy.ua/handle/123456789/4178.

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The collection contains proceedings of the International scientific-practical conference “Theoretical and methodological foundations of art education in the context of European integration”. In the proceedings of the conference theoretical and methodological bases of modern art education, national and international contexts of education quality management, theory and methods of choreographic-pedagogical education, polyparadigmality of formation of lingo-communicative and intercultural competences of students, psychological-pedagogical aspects of modern school education, innovative technologie

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Santos, Maria Manuela Barata dos. "Canto em coro e movimento: uma prática de Educação Musical no 2º Ciclo." Master's thesis, 2018. http://hdl.handle.net/10362/59481.

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O presente relatório é realizado no âmbito da Prática de Ensino Supervisionada, componente constituinte do Mestrado em Ensino de Educação Musical do Ensino Básico. Nele procuro fazer a descrição reflexiva e crítica das atividades desenvolvidas ao longo do estágio realizado no ano 2017/2018. Muitas vezes “as práticas verificadas na área de composição situam-se especialmente no domínio rítmico e muito pouco no melódico; pratica-se o canto em grupo, mas não com a frequência que se esperava” (Figueiredo, 2015) e sem aumentar o nível de exigência - Cantar Bem. Com este relatório, pretendo of

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