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Relevant bibliographies by topics / Contemporary dance / Dissertations / Theses

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Dissertations / Theses on the topic 'Contemporary dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Contrino, Michelle R. "Contemporary dance praxis a philosophical and pedagogical approach to teaching contemporary dance to incoming dance majors /." Online Access "Search by author or title", 2006. http://www.oregonpdf.org.

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2

Wu, Pak-lai, and 胡百禮. "City Contemporary Dance Complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984289.

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3

Wu, Pak-lai. "City Contemporary Dance Complex." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956358.

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4

Potter, Caroline M. Parler. "Learning to Dance: Sensory Experience in British Contemporary Dance Training." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487239.

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This thesis addresses the social process of bodily learning and the cultural shaping of sensory experience. It draws on literature from the anthropology ofdance, the anthropology ofthe body, and the anthropology of the senses in order to explore the socially constituted practices by which dancing bodies are created in present-day London. Based on heavily participatory fieldwork undertaken at a nationally recognized school for professional contemporary dance, it explores issues of social access, identity, bodily transfonnation, and institutionalized bodily control as they relate to the process

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5

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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6

Sears, Linda Roseanne. "Resistant corporealities contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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7

Tucker, April Nunes. "Activating intersubjectivities in contemporary dance choreography." Thesis, Middlesex University, 2009. http://eprints.mdx.ac.uk/8042/.

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This doctoral project examines Maurice Merleau-Ponty's account of phenomenological intersubjectivity and addresses a gap between his account of intersubjectivity and intersubjectivities present in the contemporary dance event. This gap concerns a specific type of performative practice which highlights the tension between person and persona. In order to focus on this area of the gap, the methodologies of choreological studies, phenomenological intersubjectivity and original choreographic practice have been employed. There are current choreographers such as Jonathan Burrows, Atsushi Takenouchi a

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8

Nederberg, Annelie. "Corporeality in music for contemporary dance." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9879.

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music;

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Sears, Linda Roseanne. "Resistant corporalities : contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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10

Beveridge, Jane Munro. "Dance as encounter : a practical-theoretical enquiry into intimate contemporary dance." Thesis, Manchester Metropolitan University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436796.

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11

Du, Plessis Nicolette. "A critical review of contemporary dance/movement therapy." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002367.

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This critical review aims to describe and define the field of dance/movement therapy. Attention is paid to central issues in psychology and dance studies which influence the advancement of the modality. Dance/movement therapy is a young profession, developed during the second half of this century, and must be viewed within the socio-cultural context of contemporary western industrialized societies. This work therefore firstly documents the development of dance/movement therapy in the light of recent studies into the nature of bodily expression and non-verbal communication. The phenomenological

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12

Roche, Jennifer. "Moving identities : multiplicity, embodiment and the contemporary dancer." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/moving-identities(aa615983-71d0-4022-a3d3-2dbc03b8fd51).html.

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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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13

Dandekar, Sarala. "Dance carved in stone an investigation of the contemporary presentation of Odissi dance /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27342.pdf.

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14

Dempster, Elizabeth 1953. "An embodied politics : radical pedagogies of contemporary dance." Monash University, Centre for Drama and Theatre Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7578.

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15

Needham-Beck, Sarah. "Cardiorespiratory fitness in contemporary dance training and performance." Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18150/.

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This PhD thesis presents a thorough investigation of the relevance and importance of cardiorespiratory fitness in contemporary dance training and performance. Through an initial introduction and literature review, gaps in the current understanding of, and challenges presented by, dance training and performance practices are highlighted, as are five commonly presented conclusions of previous research. Firstly, it is often stated that dance activity predominantly consists of intermittent work periods of varying intensities, secondly that significant differences exist in the cardiorespiratory dem

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16

Njaradi, Dunja. "Eastern bodies that dance : difference and otherness in the economy of contemporary dance performance." Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587510.

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This thesis locates at the intersection between the practice of dance and the notion of 'cultural difference' in the discourses of contemporary globalization. Electing to focus on dancers and dance practices from South East Europe, and critically drawing on post-colonial, Balkan, and globalization studies, the thesis interrogates the multiplying and shifting meanings of the terms East and Eastern Europe in an age of globalization and transnationality. By investigating masculinities and labour in professional dance in the context of the contemporary dance scene in South East Europe, the thesis

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Bannerman, Christopher. "Chaotic conjunctions : the making and performing of a dance." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298095.

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Sen, Sabina Sweta. "When our senses dance : sensory-somatic awareness in contemporary approaches to Odissi dance in India." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24294.

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This research investigates sensory-somatic awareness based approaches to the conditioning, training and performance of Odissi dance in India. Through a multidisciplinary and embodied methodology it analyses the practices of three contemporary Odissi dance institutes and a selection of individual dancers in India, who are moving beyond the traditional methodology. Drawing from ethnographic fieldwork in India, this research explores how sensory-somatic approaches incorporated by these dancers generate meaning-making and in what ways this enriches the dancers’ experience of dancing Odissi. As an

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Michailovskyte, Giedre. "Diversification of Contemporary Diplomacy - the Rise of Dance Diplomacy." Thesis, Linköpings universitet, Statsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-119689.

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This study investigates the diversification of contemporary diplomacy in a deeper manner by choosing the concept of dance, which has never been chosen before. Theoretical andhistorical analysis of dance diplomacy helps us to answer the main research question of thestudy how does dance diplomacy contribute to the diversification of contemporary diplomacy. This research paper utilizes a qualitative methodology with the interpretative, historical, descriptive and cultural approaches and uses qualitative methods of literature review, content analysis, comparative analysis and theory triangulation.

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Valentyn, Coralie Pearl. "Negotiating difference: exploring masculinity and disability in contemporary dance." Thesis, University of the Western Cape, 2015. http://hdl.handle.net/11394/5035.

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Magister Artium - MA<br>There is a theoretical gap in scholarship pertaining to masculinity and disability in dance. Existing scholarship on masculinity, disability and dance respectively, seldom bring these three themes into conversation with each other, missing opportunities to examine the nuances of masculinity. Through an ethnographic study, I endeavoured to capture the narratives of three professional disabled male dancers from different contexts and backgrounds. The phenomenological approach was selected in order to enhance understanding of my participants’ experiences in an attempt to i

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Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

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22

Pilipovic, Josipa. "The body and democracy : Contemporary dance, technology and democracy." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76076.

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In this essay the research question; “How is the body movement de ned in times of democracy due to technology? “will be explored. e process will include a theoretical research on the de nition of democracy in relation to digitalization. e outcome of this project will be in the form of a performance with a con- temporary dancer. e purpose of this project will be to invite the audience to question the limitations and freedoms the digitalized world imposes on our political system and our body movement.

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23

Dyson, Clare Marie. "Performing the unutterable : mapping the experiential in contemporary dance." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41750/1/Clare_Dyson_Thesis.pdf.

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This research project looks to engage audiences in a variety of experiential ways by reexamining and manipulating the traditional presentation paradigm for viewing Western contemporary dance. It considers how the audience may be situated in the creation and presentation of contemporary dance generally, and specifically in the work The Voyeur, which researched these issues in action. By situating the body of the audience member as a site of understanding and meaning making, this practice-based research considers the audience within the artists’ creative process from the inception of a creative

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24

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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Müller, Cláudia Góes. "Deslocamentos da dança contemporânea: por uma condição conceitual." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4405.

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Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro<br>Esta dissertação focaliza o diálogo entre dança contemporânea e artes visuais a partir dos anos 1990 e as novas configurações e discussões presentes nos trabalhos de criadores que transitam entre esses dois campos. Procura pensar a dança como arte contemporânea, indagando a si mesma sobre sua condição: o que a constrói e define nesses termos. As relações entre dança contemporânea e o conceitualismo são traçadas observando obras que, abandonando o formalismo e o puro exercício da estética, propõem-se a acrescentar algo em termos de co

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26

Borthwick, Stuart. "Dance, culture, television : an analysis of the politics of contemporary dance culture and its televisual representations." Thesis, Liverpool John Moores University, 1998. http://researchonline.ljmu.ac.uk/5031/.

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27

Kane, Angela. "Paul Taylor's choreography : in the public domain." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324768.

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28

Taube, Rhonda Beth. "Dancing in the Altiplano K'iche' Maya culture in motion in contemporary highland Guatemala /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3378902.

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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).

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29

Hargreaves, Martin James. "Performativity, spectrality, hysteria : the performance of masculinity in late 1990s British dance." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4272.

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30

Murphy, Lara S. "A Phenomenological Approach to an Aesthetic Theory of Western Concert Dance." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/268.

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The goal of the paper is to develop a framework in which to ground the analysis of the aesthetics of Western concert dance, particularly contemporary concert dance, in order to help dancers, choreographers, critics, and the general dance audience understand and discuss dance from the perspective of a common intellectual ground. Examined are the relationship between epochs in concert dance and the corresponding aesthetic theories and the elements that differentiate and unify contemporary concert dance from other Western concert dance, including the unique spatiotemporal nature of dance and the

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31

Labelle, Morgan. "Wave: A Dance Composition and Performance." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/508.

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Wave: A Dance Composition and Performance is a choreographic work and performance that tells a personal narrative in comparison to a wave. I performed the modern/lyrical dance with two other dancers, Rachel Crabtree and Kate Trabalka, on the evening of November 16th, 2018 in room 205 of the ETSU Campus Center building. My previous technical dance training, and training as a dance minor at East Tennessee State University from 2015-2018 prepared me to proudly present a piece that was entirely choreographed by me. The following research of modern and lyrical dance shaped my choreography, as wel

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Redding, Emma. "Testing and Training for Physical Fitness in Contemporary Dance : Investigations." Thesis, City University London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522895.

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Santos, João Francisco Silva Caeiro dos. "Relational navigation and archiving of multimedia information for contemporary dance." Master's thesis, Faculdade de Ciências e Tecnologia, 2012. http://hdl.handle.net/10362/8449.

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Dissertação para obtenção do Grau de Mestre em Engenharia Informática<br>Technology continues to evolve at an incredible rate and with it, the number of people adhering to new digital trends. As the production of multimedia content such as photographs and videos becomes accessible to more people every year, so does the amount of digital content increase exponentially. Consequently, it becomes a hard task to create systems in order to provide efficient storing and browsing of multimedia content. Multimedia Web archives are one of the most popular solutions found for these issues. By providi

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Chaffey, Sarah. "Voice in Motion: Connecting voice, acting and movement in contemporary dance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2399.

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This Masters by Research (Performing Arts) explores the integration of voice and acting fundamentals into contemporary dance practice to prepare the dancer to deliver spoken text and convey character in performance. The inquiry was motivated by the increasing demand of the interdisciplinary dance practitioner, or more specifically, the contemporary dancer-actor. The research has involved engaging with industry, performance, ongoing studio practice and experimental workshops. The research asked how might voice and acting fundamentals be integrated into contemporary dance practice and how will t

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35

Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.

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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond

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36

Dellecave, Jessica Spring. "The Againness of Vietnam in Contemporary United States Antiwar Choreography." Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731833.

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<p> <i>The Againness of Vietnam in Contemporary United States Antiwar Choreography</i> examines eight twentieth- and twenty-first century postmodern antiwar choreographies in order to uncover the reverberations of Vietnam antiwar protests in these dances. The choreographies I examine in this study are Yvonne Rainer’s 1970 <i>M-Walk</i> and 1970 (and 1999) <i>Trio A with Flags</i>, Wendy Rogers’ 1970 <i> Black Maypole</i>, Ann Carlson’s 1990 <i>Flag</i> and 2006 <i>Too Beautiful A Day</i>, Miguel Gutierrez’s 2001, 2008, and 2009 <i>Freedom of Information</i> (<i>FOI</i>)

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37

Yoo, Si-Hyun. "Contemporary interpretations of the practice of a traditional Korean dance Han Young-Sook's Salpúri Chúm /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158826464.

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38

Bond, Renee. "Reflections on the collaborative process in five contemporary works for flute and dance." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279908.

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This lecture-recital document evaluates the collaborative process in five American works written for flute and dance. My perspective is that of a musician interpreting and performing music for choreography and dance. This project aims to elevate the significance of collaborative works in general, and in the flutist's repertoire specifically. The second and broader purpose of this study is to identify fundamental elements of the collaborative process. Using five works as a model, I have developed collaborative guidelines that assist musicians, dancers, and choreographers in the performance of t

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39

Andersen, Hannah. "Dance Science and Somatics in Training and Performance." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22666.

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This mixed methods investigation analyzes the effect of a novel somatics training program on dance skills. Fourteen dancers were divided into treatment and control groups. The treatment group participated in an eight-week workshop on the use of the spine utilizing sensory experiences, mini-lectures, and dance exercises. During entry and exit, all dancers learned two phrases by video containing the same motor-patterns with contrasting choreographic intents; Phrase A fluid, sustained and slow, Phrase B, dynamically enhanced. Participants performed each phrase for the camera, to be scored by a ju

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40

Farrelly, Jane. "Dance and healing." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/804.

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Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health

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Bozic, Yams Nina. "Dancing innovation : How can we use knowledge from contemporary dance to enable innovation in organisations?" Licentiate thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-24532.

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In today´s fast changing global environment, organizations from both private and public sectors are under an increased pressure to continuously change and adapt in order to survive and provide meaningful services and products to their users. Innovation has therefore become an on-going effort that is not only a matter of R&D and product development departments, but rather a responsibility of all employees. To think how products, services, processes, methods and business models can be constantly improved or replaced by new ones is becoming a core competence needed across organization. While

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Franco, Erika Karnauchovas. "Um processo criativo em dança contemporânea : a simbiose pedra/osso na conexão entre os princípios da Eutonia e os fatores do movimento /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/89584.

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Orientador: Kathya Maria Ayres de Godoy<br>Banca : Karen Astrid Müller Pinto<br>Banca : Milton Terumitsu Sogabe<br>Resumo: O objetivo desta pesquisa é fundamentar como os Princípios da Eutonia e os Fatores do Movimento de Laban se conectam em um processo criativo da dança contemporânea, não visando a conclusão de uma obra artística, mas proporcionando uma reflexão a respeito do processo criativo e da articulação de duas teorias. A pesquisadora/dançarina investiga os Princípios da Eutonia (pele- tato consciente, espaço interno e volume corporal, ossos - transporte, contato consciente e moviment

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Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre." Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.

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This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.

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Campbell, Corinna Siobhan. "Personalizing Tradition: Surinamese Maroon Music and Dance in Contemporary Urban Practice." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10490.

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Through comparing the repertoires, presentational characteristics, and rehearsal procedures of Surinamese Maroon culture-based performance groups within Paramaribo, I outline the concept of personalizing tradition. This is based on the premise that differing social and performative practices lead to different understandings of the same performance genre, and that culture-based collectives, like those discussed here, mobilize tradition in order to fulfill a variety of social needs and aspirations. Their personalizing practices lead to embodied understandings of a variety of concepts, among them

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Evelyn, Mary. "A framework for the studio teaching of professional contemporary dance students." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298102.

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46

FERNANDES, MARIANA PATRICIO. "SENSES IN SCAPE: THE ESPECTATOR AND THE DANCE: A CONTEMPORARY EXPERIENCE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30160@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>COMITÊ FRANCÊS DE AVALIAÇÃO DA COOPERAÇÃO UNIVERSITÁRIA COM O BRASIL<br>Essa tese investiga a relação entre o espectador e a cena a partir de algumas experiências de dança contemporânea. Procura-se entender como os artistas trabalhados criam, cenicamente, novos modos de fazer circular afetos e sentidos convidando o espectador a se despir das posições a que tradicionalmente está atrelado, seja como alienado, s

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Curtis, Jess Alan. "Knowing Bodies / Bodies of Knowledge| Eight Experimental Practitioners of Contemporary Dance." Thesis, University of California, Davis, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10036148.

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<p> This dissertation addresses the concept of the <i> experimental</i> in contemporary dance and performance. In it I argue that, although the word is used in very different ways in traditional artistic and scientific practices, a number of contemporary dance artists utilize experimental practices in their work that produce useful knowledge that is recognizable and transmittable beyond the walls of the theater or gallery. I have written about artists whose embodied work has been described as experimental, whose innovations and explorations have produced paradigmatic shifts in dance practice a

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48

Huddy, Avril. "A contemporary model for dance artists in residence in secondary schools." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102338/4/Avril_Huddy_Thesis.pdf.

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This practice-based research inquiry investigated Artist in Residence projects being delivered in Australian Secondary Schools. Through an analysis of Artist in Residence programs and models of practice, dance creativity and creative processes, and two case studies from my own professional practice, I have created a contemporary model of practice for dance artists in residence in Secondary Schools and communities. It is anticipated that the findings from this research will provide insights into how best to promote rich creative experiences and sustainable arts practice within schools and their

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Bassett, Ashley. "Tracing. imprinting. being." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6050.

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Pakes, Anna. "Dance interpretation and the cultural institution : exploring the condition(s) of British and French contemporary dance in the 1990s." Thesis, City University London, 2001. http://openaccess.city.ac.uk/11878/.

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Abstract:

This study examines what is intended and understood as the meaning of contemporary dance in its sociocultural context, in which the role of the state is a significant factor. It investigates the extent to which the structures and practices of public arts funding influence the production and reception of contemporary dance, focusing on British and French dance in the 1990s. By focusing on specific works in critically reflexive terms, it seeks to offer a basis for future ethnographic study of dance practices and dance audiences. The thesis employs a critical hermeneutic method, offering a philos

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