Dissertations / Theses: 'Dance in art'

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Castillo, Iris Margot. "The dance is in the dancer as the dancer is in the dance /." Online version of thesis, 1996. http://hdl.handle.net/1850/12236.

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Trotter, Cala A. "Tap Dance: The Lost Art Form Regained." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275769569.

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Isbister, Vianna. "The Art and Craft of Aerial Dance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/558.

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The Art and Craft of Aerial Dance discusses my personal experiences training and performing aerial dance, along with my study of safe practices in aerial rigging. My journey as a Theatre and Dance Honors-In-Discipline Scholar at East Tennessee State University from 2016-2020, culminated with my senior thesis capstone performance at Azure Aerial Arts on Friday, December 6th, 2019. This exploration into the world of aerial dance began in the spring of 2017 and has not ceased. If anything, the drive and motivation to continue pushing forward despite many obstacles continues to grow and manifest itself into new forms in my life. This drive, and my work as an intern with Night Owl Circus Arts (NOCA) at Azure Aerial Arts over the summer of 2019, propelled me to choose this topic as my final thesis because of all of my accomplishments at ETSU, this is one that I hold nearest and dearest to my heart.

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Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.

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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.

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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.

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Bresnahan, Aili. "Dance As Art: A Studio-Based Account." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.

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Philosophy Ph.D. This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life. Temple University--Theses

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Eslamboli, Leila. "Shall we dance? : a study of the art of dance and social responsibility." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81486.

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The discussion over whether arts education has an impact on social responsibility has been an interesting field of investigation in the educational realm. Although there still remains a dearth of information surrounding this issue, past research in the field has shed light on the importance of art and aesthetic education. Building upon prior research, this study offers a critical investigation into issues linking social responsibility and arts and aesthetic education. At the core of this study, through the use of a phenomenological framework, insight was offered into whether students' perceptions of a dance program in one British Columbia school assisted them in constructing a more advanced notion of their role in social responsibility. The overall results suggest that the participants believe that the dance program has assisted them in understanding and fulfilling their role in being socially responsible.

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Aydin, Jaynie. "Aisha Ali and the art of presenting dance on film an ethnochorelogical approach /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383469921&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Clement, Jennifer. "Reforming Dance Pedagogy: A Feminist Perspective on the Art of Performance and Dance Education." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.

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Gittinger, Anne Meredith. "Class Act: Negotiating Art and Market in the Career of Isadora Duncan." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626615.

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Kryts`ka, V. "DANCE ART IN THE PHILOSOPHICAL AND CULTURAL CONTEXT." Thesis, Національний авіаційний університет, 2014. http://er.nau.edu.ua/handle/NAU/15290.

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Kise, Laura Ann. "Performance Art as Sublimation: The Case of Dance." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/353.

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AN ABSTRACT OF THE THESIS OF LAURA A. KISE, for the Master of Arts degree in CLINICAL PSYCHOLOGY, presented on April 14, 2010, at Southern Illinois University Carbondale. TITLE: PERFORMANCE ART AS SUBLIMATION: THE CASE OF DANCE MAJOR PROFESSOR: Dr. Stephen Dollinger Creativity and sublimation have been linked throughout the theoretical literature on psychological defense, especially in relation to artistic creativity. As a performance art, dance has been included as a creative form in one of the commonly used measures of creative accomplishments. These links suggest the possibility that dance and sublimation may be related. The purpose of this study was to determine whether dancers endorsed sublimation more than did non-dancers. Participants consisted of 126 female participants recruited from two psychology courses and a university dance company. They completed a questionnaire about level of involvement in dance, Hocevar's Creative Behavior Inventory (including a number of dance items), and the Defense Styles Questionnaire with additional sublimation items (modeled after the sublimation item already in the DSQ) embedded within it. Results indicated that sublimation was a significant predictor of dance, as was SES. SES had a curvilinear relationship with dance such that those identified as well-off were most likely to dance. Four of the six individual sublimation items correlated significantly with dance. Particular motivations to dance also correlated significantly with sublimation and dance. Dance correlated with some of the other CBI creativity scales, but not all, suggesting domain specificity.

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Goff, Moira. "Art and nature join'd : Hester Santlow and the development of dancing on the London stage, 1700-1737." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342135.

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PHILLIPS, JESSICA. "THE ART OF WESTERN SQUARE DANCE CALLING: A CLOSE LOOK AT JACK PLADDYS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1004730232.

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Bonati, Gina. "Mechanism and virtuosity| The Corvino approach---virtual and actual---in the dancer's art." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10105411.

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A key in dance training is found in Maestro Alfredo Corvino’s pedagogy. This is what I intend to argue as imperative inclusion in the training of concert dancers interested in an achieved ease in technical prowess. The pedagogical tradition for producing classical ballet dancers is not limited to ballet dancers, it is valued and necessary toward the creation of the concert dance artist. The inclusion of ballet in the training of modern and contemporary dancers is within a tradition that is sensible; the dissolution of ballet’s value in contemporary concert dance, problematic. The interest of sports and yoga and the invasion of those modalities into the ballet and modern dance classroom is problematic in the pursuit of dance training. Injuries prevail due to a preponderate influence of sports and yoga into a room that is trying to accomplish physical prowess in a distinct artistic direction. In the 50 years of his pedagogical experience, Maestro Alfredo Corvino developed a way of teaching ballet through a specific method of delivering and explaining exercises that are then explored by students in in-between sequences. He established this interstitial structure enabling the dancer opportunity to comprehend both within the sequence and outside of it. Each sequence is taught with its own particular dynamic timing so that the truth of the intention of the exercise becomes physical reality. My intention is to simply pursue a corner of the world where the purity of classical ballet, before it became infiltrated by modernity and individual style, is valued. There is a pure line that is reflected in forms of nature that ballet was once interested in and I am interested in exploring and establishing the proof of that original value.

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John, Chrisilda. "Fusion of dance and painting in Kathakali." Thesis, Queensland University of Technology, 1999.

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This thesis explores how fusion of dance and painting is a creative process in the traditional Indian theatrical dance of Kathakali. The thesis argues that fusion is a powerful creative process in this art form, and identifies (in Chapters 2, 3 and 4) the goal, conditions and techniques that contribute to this process. This study was triggered in part by my own visual practice. As an Expressionist artist I attempt to fuse dance and painting. I locate the notion of fusion in the Expressionist movement and in the work of three contemporary artists, including my own. The devices used in Kathakali would illuminate the artist who is engaged in the fusion of dance and painting.

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Stejskalová, Natálie. "Street dance - battly, eventy, životní styl." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-363558.

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In my diploma thesis I would like to focus on dance battles events and on the street dance life style as it's the topic of my diploma thesis. I have been very close of the street dance world, as a dancer and an observer, since I witnessed countless dance battles, concerts, camps, workshops and so on - which gave me the knowledge to express myself on this topic and gave my perspective in both ways: from up to the stage and audience. I was always very curios and wanted to share with, such as: how does the street dance events looks like, what's happening there, what kind people attending it, what is the motivation for dancers, djs, choreographers, producers etc…? Where those events are happening and how often is them happening? My curiosity crossed the Czech Republic border, I wanted to know more from outside of my country. I believe that having the knowledge of what's going on abroad gives you power of discuss and compare things with confidence and comfortability. Mainly my research methods were observing and interviewing, then field diaries, video documentation, collecting as much information as possible from people that lives in this world nonstop, which gave me so much knowledge from inside, how they behave, how they communicate, their attitude etc. This scenario always fascinated me and after attending to many events, battles, meetings and jam sessions (as a dancer and observer), I was able to collect different point of views from another dancers, choreographers and guests and compare it with my own thoughts regarding to it, using my countless notes and hours of recording interviews, those tools combined gave me so much information.

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Aramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.

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This dissertation examines the intersection of art, dance, and queer sociality though Andy Warhol, Jack Smith, and their lesser-known contemporary, Fred Herko, a dancer and choreographer. Traversing art history, dance studies, and queer theory, this study uses analyses of movement, gestures, and embodiment as a bridge between the artistic and the social. In film, photography, and dance, these artists not only made art as queer artists, but their work stemmed from the form of sociality of their communities—the social and creative labor spent on seemingly unproductive ends, such as lounging together on a sofa, posing in performative-social studio sessions, or dancing in an improvised performance-party. Gestures and embodied experience became both the site of the art, and the site of the production of queer subjectivity in this watershed decade for art and queer histories. To unpack their cultural significance, I draw on the work of anthropologist Marcel Mauss on “techniques of the body,” and recent scholarship on embodiment and subjectivity. I propose queer gestures as dances of “inefficiency” in the Maussian sense, that is, as techniques of the body that do not confirm or sustain the social scripts of somatic norms. Given the contemporaneous debates about work, leisure, and alienation in the 1960s, inefficient techniques—as represented in the recurrent motif of the recumbent, languorous male body, for example—can also be read as a critique of industrial efficiency and heteronormative definitions of (re)productivity. Through this focus on bodily techniques, I open up a dialogue between this “underground” body of work with contemporaneous artistic milieus in which the body played an important role, including in 1960s sculpture, proto-feminist practices, postmodern dance, photography, and experimental theater. Throughout I also foreground the intertwinement of dance culture and queer culture. Drawing on Eve Kosofsky Sedgwick’s reading of the psychoanalyst Melanie Klein, this study interprets artistic practices through a reparative lens, drawing together a queer repertoire made up of inefficient moves—just as the artists’ engagements with, and making of, dance culture and queer culture were reparative: an accretive practice of assemblage for imaginative and embodied sustenance. History of Art and Architecture

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Morris, Michael J. "Material Entanglements With the Nonhuman World: Theorizing Ecosexualities in Performance." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435325456.

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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 1970s, and Relational Art of the 1990s. Such relationships suggest a more critical, politically-orientated genealogy. Cross-generational Dance is discussed through a reflexive approach to the writing which reveals how philosophies of community are divided into those associated with the idea of commonality – either through shared characteristics or common goals – and those that advocate a break with these imperatives, here examined through the philosophies of Adriana Cavarero, and Jean-Luc Nancy. Given its perceived agenda to bring people of distinct ages together into a harmonious totality, Cross-generational Dance provides a particular opportunity to discuss community, examined here through case-studies of key choreographers at the time of writing – Rosemary Lee, and Cecilia Macfarlane. The discussion of age is made explicit through an analysis of models of difference, and introduces how an ethical encounter with others can avoid the totalising impulse of community in subsuming these differences. The methodology of ‘relational choreography’ underpins the phenomenological emphasis on process and relationships in choreography over more conventional conceptions of product and form in dance and supports the hypothesis that community can be experienced as ‘being in relation through a phenomenology of uniqueness’. This conception does not rely on polarising the positions of the individual and the community, or self and other, young and old, but rather generates an experience of uniqueness, wherein differences remain unresolved, shared amongst ‘others plural’ (Nancy, 2000). This thesis therefore reconsiders what community means in the context of dance practice.

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Pierman, Eleanor L. "Dance-ability: A Mixed Methods Study of Dance and Development in PreschoolStudents with Disabilities and Adaptations for Sustainable Dance Programming." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586543857308249.

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Holmes, Douglas B. "Jn4.gesture an interactive composition for dance /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/holmes%5Fdouglas/index.htm.

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Fermor, Sharon Elizabeth. "Studies in the Depiction of the Moving Figure in Italian Renaissance Art, Art Criticism and Dance Theory." Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492194.

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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. 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 tangible themes and concepts that have emerged into consciousness. Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy. While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.

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Schwartz-Rémy, Elisabeth. "Ne rien inventer en art : paradoxes autour de la danse d'Isadora Duncan." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30053.

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Cette thèse, sous la direction de Claude Jamain, interroge l’affirmation de Duncan selon laquelle elle n’invente pas sa danse qu’elle qualifie de naturelle. Afin de répondre à ce paradoxe, l’idée est de saisir l’élaboration de sa danse comme matière en termes kinesthésiques, moteurs et qualitatifs, en interactions avec les contextes historiques et culturels auxquels elle se confronte en Amérique, en Europe et à la charnière des XIXe et XXe siècles. Après une présentation des pratiques corporelles en Amérique, la thèse aborde la façon dont l’imaginaire de la nature en Amérique et les différentes visions de l’antique aux Etats-Unis d’Amérique et en Europe participent de l’élaboration de sa danse. La conclusion,loin d’apporter une réponse radicale, tendrait à considérer sa danse à la fois comme renaissance de l’antique et naissance d’une nouvelle danse This thesis, directed by Professor Claude Jamain, questions Duncan’s assertion that she does not invent her dance, which she describes as natural, even though, it is immediately praised for its novelty. In order to deal with this paradox, this research seeks to capture the way she developed her dance as a discipline with its kinesthetic, motor and qualitative aspects,against the historical and cultural contexts she encountered in America and Europe at theturn of the 19th and 20th centuries. After a presentation of bodily-practices in the United States, the thesis shows how the imaginary view of nature in America and the differing visions of antiquity in the United States and in Europe feed the development of her dance.Our conclusion, far from offering a radical answer, would rather consider her dance as are birth of the antique, as well as a new emerging dance

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Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.

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Dance Ph.D. For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service. Temple University--Theses

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FELLER, ABBIE ALYSE. "PRESERVING DANCE: THE IMPORTANCE OF FUTURE COLLABORATION FOR AN ART FORM’S PAST." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/612897.

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Since the very beginning of dance, finding ways to recording it for future generations has been an issue as dance is something physical and fleeting but confluent with that, many people have come up with different dance notation systems in order to try and find a way to record dance on paper. While the advent of new recording technologies as well as the creation of institutions such as choreographic trusts, the way dance is preserved has become more technologically advanced but it has not necessarily diminished the number of issues that can come from trying to preserve a dance long term. However, with a partnership amongst trusts and other preservation techniques as well as the dance artists themselves, dance will be able to be preserved for years to come as well as thrive in such an environment that will not only maintain artistic integrity within the avoidable issue of dance choreography changing over time but also keep the art form as a whole growing.

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Martin, Margot. "Essential agréments : art, dance and civility in seventeenth-century French harpsichord music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103563h.

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Ducreux, Jessy. "La danse contemporaine à l'épreuve du cinéma et de la vidéo : quels regards pour quelles expériences ?" Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H307.

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Ce travail de recherche a pour objectif de mettre en avant la rencontre cinéma-danse à partir d'une libération des soubassements métaphysiques de l'art, ce faisant un instrument de médiation d'un ordre supérieur à l'artiste dont l'activité se réglait à la lumière d'un idéal éthico-politique, source d'inspiration du thème de l'ailleurs. Le cinéma est ce nouvel espace où la danse s'invente un autre corps en dehors d'une réglementation des pratiques et des usages, d'une pédagogie par le biais de laquelle les affections du corps étaient corrigées en miroir des œuvres de l'esprit. Le fait que le cinéma soit apparu à un moment de réhabilitation de la valeur philosophique du sensible le rend complice d'une danse cherchant à accroître son expérience du mouvement et à s'affranchir des limites de la représentation classique. C'est cette complicité à l'égard d'une attitude en commun qui ressort des divers aspects que soulève la problématique de la danse contemporaine à l'épreuve du cinéma et de la vidéo This research work bas for objective to put forward the meeting cinema-dance from a liberation of the metaphysical bases of the art, making it an instrument of mediation of an order upper to the artist whose activity adjusted in the light of an ethical and political ideal, a source of inspiration of the theme of somewhere else. The cinema is this new space where the dance in vents another body except a regulations of the practices and the uses, the pedagogy by means of which the affections of the body were corrected in mirror of the works of the spirit. The fact that the cinema appeared at a moment of rehabilitation of the philosophic value of the sensitive makes it collusive in a dance trying to increase its experience of the movement and to free itself from limits of the classic representation. It is this complicity towards an attitude in common that takes out a gain diverse aspects which lifts the problem of the contemporary dance in the event of the cinema and the video

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Merrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.

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Nora, Helena Maria da Luz Jalles. "O fandango-estudo das evoluções ao nível semântico e técnico do fandango dançado no Ribatejo." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1999. http://dited.bn.pt:80/29152.

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Silva, Abílio de Matos Salgado e. "Observação e análise da performance rítmica-comparação das competências do ritmo motor entre jovens com experiência e sem experiência em dança, na perspectiva de definir objectivos de performance." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 2003. http://dited.bn.pt:80/29946.

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Rosado, Maria da Conceição da Silva. "As danças sociais no contexto escolar e não escolar-detecção de erros na fase de aprendizagem." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1998. http://dited.bn.pt:80/29976.

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Olivieri, Jessica Ann. "A Conversational Assemblage: New Ways of Framing Contemporary Art." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18615.

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The creation of artwork that has multiple outcomes is not a new phenomenon. This mode of presenting projects or bodies of work that include live, photographic, installation and film/video can be traced back at least as far as the Happenings of the 1960s. This thesis proposes that it is timely to address the frameworks that scaffold artwork in order to understand if they support or hinder such practice. In this thesis I propose that the building blocks of these scaffolds are the language of the original and the document. This dichotomy then informs institutional thinking that translates into the way artist and their practice are framed. This thesis proposes that a shift in the paradigm used to discuss these bodies of work is required, towards an embrace of non-hierarchical language that allows contemporary art practice to sit within a conversational assemblage.

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Capps, Jonathan Michael. "Transcending Traditions with Glass Orbs in Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469127095.

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Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.

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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration. Professional Integration Project

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O'Sullivan, Paul Thomas. "Lost in translation making sense of dance through words /." Connect to thesis, 2007. http://portal.ecu.edu.au/adt-public/adt-ECU2007.0044.html.

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Talley, Megan. "Exploring the Collaborative Process of Performance Art for Resistance and Transformation Regarding the Industrial Food." Thesis, Alaska Pacific University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10681288.

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This paper analyzes the process of the developing collaborative creation in dance to adress issues in the modern food system. It begins with the examination of this history of Modern dance and collective theater and frames that history within the context of food system inequities.

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Yoo, Si-Hyun. "Contemporary Interpretations of the Practice of a Traditional Korean Dance Han Young-Sook's Salp'uri Ch'um." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394810091.

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Gross, Mara Judson. "Time, Space, And Energy For Dance In Education." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218206523.

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Curci, Paola <1996&gt. "Practicing wellbeing through dance. Creative communities, empathetic relationships and healing processes." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21177.

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Good health and wellbeing are among the objectives of the 2030 Agenda for Sustainable Development Goals. However, the last two years have seen a reduction in the wellbeing of numerous individuals and communities. Deepening terms such as wellbeing, social capital and cultural welfare, this thesis thus aims at examining the crucial role of the performing arts (and especially of dance) in stimulating physical, cognitive and creative processes to promote individuals and groups wellbeing. Three case studies are analyzed. The first concerns the city of Bassano del Grappa, considered a "system" where the constant dialogue between artists, institutions and local citizens fosters social capital and promotes a diffused wellbeing. The second case is about the research project "Practicing Empathy" by the Israeli choreographer Yasmeen Godder who questions empathy to understand and communicate the other's moods, emotions, and feelings. The third case concerns the therapeutic project by the dance/movement therapist Maralia Reca with people who survived torture during the military dictatorship in Argentina between 1976 and 1983. In this case, dance/movement therapy has been used as a healing ritual to promote the recovery of people exposed to traumatic experiences.

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Rosh, Allison Heather. "Embodied response." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3177.

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The work explores the body and its limitations through the lens of printmaking.The surface of the body acts as a barrier between our internal and external selves exposing the vulnerabilities between mind and body. As fragile and receptive beings, the past builds up and manifests itself through our daily actions and repetitive tendencies. There is a strong desire to control our appearance and physical signs of well-being.

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Pateraki, Andriana Christina. "Dance as a Tool for Sustainability: Possibilities and Limits." Thesis, Uppsala universitet, Institutionen för geovetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254986.

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This study argues that the art of dance can be used as a tool for sustainability, including matters of human rights, political oppression, awareness in environmental and ecological destruction.This thesis explores possible ways for dance to contribute to sustainable development and whether these ways are effective. It also seeks to locate the possibilities and limits of dance in comparison with other forms of art that can also be used to promote sustainability. The research was conducted by gathering data from a variety of sources including interviews, videos, a literature review and personal observation.Dance was found in many instances to be a successful way of addressing sustainability issues. The advantages of dance over other forms of art include its familiarity for most people; its capacity to uplift people’s feelings; the ease of combination with other forms of art; and the variety of choices in moves, styles and ways of addressing pressing issues. The drawbacks of dance, include the fact that dance is nonverbal and not easy to preserve or describe; as well as practical limitations facing the people involved with dance and not the art form as such.The findings from this research offer insight into the current and potential future impact of dance on sustainability issues. Dance can contribute to diverse dimensions of sustainable development, though this impact is somewhat constrained by the low status of dance in many educational systems.andriana.christina@gmail.com

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Nesbit, Marissa Beth. "Dance Curriculum Through Lived Experience: A Semiotic Analysis." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373892460.

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Conyers, Liana, and Liana Conyers. "Shedding Skin in Art-Making: Choreographing Identity of the Black Female Self Through Explorations of Cultural Autobiographies." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12380.

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This artistic inquiry was conducted to explore specific processes in dance making and expand upon how I use my own history in the choreographic process. For my Movement Project Shedding Skin: Expose, Educate, and Evolve, I address my phenomenological experience as an African-American choreographer residing in Oregon. I expanded my choreographic processes after conducting a personal interview with choreographer Gesel Mason based on the Oral Historian Association's interview techniques and analyzed the creative process used by Mason in creating No Boundaries: Dancing the Visions of Contemporary Black Choreographers. This information and that gathered from utilizing the Liz Lerman Critical Response Process in choreographic feedback sessions led to the culmination of three solos, which I choreographed on my dancing body. These works address my identity through exploring African-American culture, identity in new environments, and experiences with racism, bias, and stereotypes. My Movement Project video footage is included as a Supplemental File.

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Oliver, Sue. "Community-based creative dance for adolescents and their feelings of social wellbeing." Thesis, Queen Margaret University, 2009. https://eresearch.qmu.ac.uk/handle/20.500.12289/7399.

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The thesis contextualises creative dance as art in a community setting. The participants were teenage members of a community-run creative dance company. The aim was to explore any links young people make between their creative dance experience in a community class and their feelings of social well-being. The literature gives a brief historical overview of dance as a performing art and of the nature of aesthetics and creativity. It considers the art of dance as a form of communication, and the conditions for creativity to flourish. It looks at Bourdieu‘s (2005) theory of ‗habitus‘ and ‗field‘ in understanding the social experience which the dancers derived through creative dance. Consideration is given to theories and accounts of adolescent development and how community interaction can affect the dancers‘ feelings of social wellbeing. The methodological approach is hermeneutic phenomenology, with influences from ethnomethodology and social constructionism. The ontological principle is that personal meaning is socially constructed. Epistemologically the study is informed by the belief that knowledge is generated through the creative dance experience. The main data collection method was semi-structured interviews with the dancers (n=10), supported by observation of dance classes (n=7; filmed: n=4), group discussions (n=3) and graffiti walls (n=8, completed by the dancers). The data were organised and analysed thematically using a method of presentation inspired by Bourdieu‘s concept of a ‗social trajectory‘ - a lifetime journey of social encounters – offering headings under which the data were loosely organised. Selected observations are presented on DVD. The responses suggested a dance ‗journey‘ from preparation to performance, which allowed further organisation of data. The emergent themes included the dancers‘ motivation for dancing, their feelings about the creative process, experiences of social interaction and of taking control of one‘s own identity, through all the stages of experimenting with movement, refining the dances and performing. The main findings are: the dancers attached importance to company membership because it offered a means to clarifying self-identity through physical and artistic endeavour; the creative dance context gave them freedom to explore their movement capabilities and to interact socially, and thus gave them a means of negotiating their ‗habitus‘, i.e. adopting and adjusting social norms and values on their own terms. Performing was a celebration of achievement and confirmation of identity as a dancer. The study contributes to the understanding of how adolescents make sense of their identity in their social context through their creative dance experience and how that influences their feelings of social wellbeing.

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Cost, Julia Allisson. "Dancescape: A Work in theTranslation of Bodies and Movement." Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/scripps_theses/7.

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Translation is inevitably challenging work. When the human body and its movement are the subjects translated, the work may be particularly difficult, as questions both technical and ethical may arise about the representation in the second medium. Yet the exercise can also be very illuminating, creating space for insights that may not have been possible without the translation. For my Scripps College art thesis, I have created a series of paintings of Western dancers and researched four artists whose work involves bodies, movement, or dance and whose approaches differ tremendously. These artists are Edgar Degas (1834-1917), an impressionist painter known for his images of ballet, Julie Mehretu (born 1970), an abstract painter whose work implies dynamic movement, David Michalek (born 1967), a video artist and photographer who recently created a video exhibition called Slow Dancing, and Yvonne Rainer (born 1934), a choreographer and filmmaker whose work analyzes the audience-performer relationship and the politics of the body being watched. The work of these artists exemplifies four unique approaches in rendering the ephemeral and handling the politically charged territory of bodies as the subjects of artwork. With analyses of Degas, Mehretu, Michalek, and Rainer laying a comprehensive backdrop, I will then examine the technical and ethical implications of my own attempt to translate the body and movement to canvas.

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Hanstein, Penelope. "On the nature of art making in dance : an artistic process skills model for the teaching of choreography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314593.

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Spalink, Angenette M. "Loie Fuller and Modern Movement." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.

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Jewett, James W. "Dancing in the play of the senses: An exploration of dance and technology." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318389.

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Thesis (Ph.D.)--Brown University, 2008. Title on DVD: MELT. Vita. Advisor : Todd Winkler. Rock copy 2 : includes supplementary digital materials. Includes bibliographical references (leaves 147-162).

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Dissertations / Theses on the topic 'Dance in art'

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