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Correia, Romualdo dos Santos. "Desejo, estilo de vida e transgress?o da identidade em Dancer from the dance de Andrew Holleran e Pela noite de Caio F." Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br/handle/123456789/19638.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
A partir da investiga??o e percep??o do trabalho liter?rio, esta tese discute aspectos relacionados aos estudos sobre o homoerotismo e estilos de vida nas obras Dancer from the dance (2001) de Andrew Holleran e Pela noite (2010) do autor brasileiro Caio Fernando Abreu. Considerando que as quest?es sobre beleza, desejo e estilo de vida configuram recortes importantes para as narrativas, propomos uma discuss?o atrav?s da an?lise das obras que marcam desde os primeiros momentos de libera??o sexual nas festas de Nova Iorque com as peculiaridades de estilos pr?prios que caracterizaram as personagens de Andrew Holleran rostificadas por um ethos que comp?s durante aquele momento a abertura para a liberdade sexual de sexualidades desviantes. Em Pela noite, reiteramos uma continua??o do momento de abertura no Brasil para as personagens gays de Caio, levando em considera??o que o in?cio da d?cada de 1980 constitui para aquelas personagens as primeiras ?sombras" da aids e o conhecimento de si, no qual suas personagens convivem com o medo, anonimato e reminisc?ncias da homofobia como pano de fundo para as discuss?es pontuais que s?o desencadeadas pelo autor. Para compor um recorte te?rico que subsidie este trabalho, elencamos os trabalhos de Michel Foucault (2007, 2010a, 2010b), Eve Kosofsky Sedgwick (2008), Didier Eribon (2008), David Cartier (2004), David Eisenbach (2006) e outras contribui??es que foram, sem d?vida, imprescind?veis a este empreendimento
From the research and awareness of literary work, this thesis discusses aspects related to the study of homoeroticism and lifestyles in the works Dancer from the Dance (2001) by Andrew Holleran and Pela noite (2010) by Brazilian author Caio Fernando Abreu. Whereas issues about beauty, desire and lifestyle shape cutouts important to the narrative, I propose a discussion by examining the works that mark from the first moments of sexual release party in New York with the peculiarities of their own styles that characterized the Andrew Holleran characters rostificadas by an ethos that he composed during this time opening for freedom of sexual deviant sexualities. In Pela noite, we reiterate a continuation of opening moment in Brazil for gay characters Caio , assuming the early 1980s for those characters is the first " shadows " of AIDS and knowledge of self , in which his characters living with fear, anonymity and reminiscences of homophobia as a backdrop to the discussions that are triggered off by the author . To compose a theoretical framework to subsidize this work , we selected the works of Michel Foucault (2007 , 2010a , 2010b ) , Eve Kosofsky Sedgwick (2008 ) , Didier Eribon (2008 ) , David Cartier (2004 ) , David Eisenbach (2006 ) and other contributions that were undoubtedly essential to this endeavor
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Bollen, Jonathan James. "Queer kinaesthesia : on the dance floor at gay and lesbian dance parties Sydney, 1994-1998 /." View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.143421/index.html.
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Bollen, Jonathan James, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Queer kinaesthesia : on the dance floor at gay and lesbian dance parties Sydney, 1994-1998." THESIS_FPFAD_SD_Bollen_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/357.
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What is happening on the dance floor at the gay and lesbian dance parties? What are lesbians and gay men doing when they dance? This thesis presents a project in performance research that takes as its locus on investigation the dance parties that have been produced annually by gay and lesbian organisations in Sydney since the early 1980s. In particular, it focuses on the largest of these dance parties, Mardi Gras Party and Sleaze Ball, during a period of research from 1994 to 1998. Harnessing these resources, the thesis aims at investigating how dance parties sustain an ongoing salience for gay men and lesbians in Sydney. On the basis of ethnographic research, performance documentation, and movement analysis, the investigation pursues an analytical trajectory across the making of dance parties within a subcultural scene, to the doing of dance parties as performance events, and then onto the dance floor as a site for performative practice. Responding to a persistent debate about straights at the parties, the anlayses register the salience of dancing as an etiquette of doing dance party as it is done, as a queer kinaesthesia sustained on the dance floor, and as an occasional community danced into existence. The thesis attests to the pertinence of analysing movement. It analyses the mobility of practice, rather than its textual residue; the kinaesthesia of performative identities, rather than their morphological contours; and the choregraphy of community, rather than its substantive contents. Recognising that queer theory too has an interest in movement, in proliferating metaphors for the mobility of queer identifications and desires, the thesis argues in conclusion that such metaphors represent imaginative flights of fancy to the extent that they fail to grasp the corporeality of queer kinaesthesiaDoctor of Philosophy (PhD)
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Bollen, Jonathan. "Queer kinaesthesia on the dance floor at gay and lesbian dance parties Sydney, 1994-1998 /." Connect to this title online, 1999. http://handle.uws.edu.au:8081/1959.7/357.
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Weems, Michael Ray. "The Fierce Tribe: Crack Whores, Body Fascists, and Circuit Queens in the Spiritual Performance of Masculine Non-Violence." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180029151.
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Gay, Wayne Lee. "Short Stories." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc6144/.
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This collection of seven representative original short stories will include four short stories relating to a fictional location in Dallas, the Starry Skies gay country-and-western dance hall. Three short stories set in fabulous, sometimes absurd settings, will follow. A preface dealing with the nature of fictional place and non-fictional place in fiction will precede the collection of short stories.
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Grapin, Scott. "Grind the ink, wet the brush, dance the pine tree reading and writing nature with Gary Snyder's Riprap and Mountains and rivers without end /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564017691&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Eckardt, Allison. "Kpatsa an examination of a Ghanaian dance in the United States /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1214242024.
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Heald, Lorie Elizabeth. "Bridging the gap between dance and theatre: A physical approach to teaching theatre at a secondary level." Thesis, The University of Arizona, 1999. http://hdl.handle.net/10150/278689.
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The body has within it an intelligent force, a cognitive power, which deserves recognition. This cognitive power is defined in this thesis as physical cognition, a way of knowing, learning, and responding that occurs within the body and comes from the body. There is currently an imbalance in the relationship between mental and physical cognition in secondary education. This imbalance has permeated Western thought since Descartes claimed that the thinking being is separate from the bodily being. With requirements for physical education and fine arts at the bare minimum, there is a need for physical engagement in learning in secondary education. Offering a teaching model that includes movement, acting, and Anne Bogart's Viewpoints, this model provides a step by step plan for both teaching theatre from a physical perspective and developing physical cognition. It is through this integration of mind and body that education of the whole person begins.
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Finestone, Juanita. "The politics and poetics of choreography the dancing body in South African dance." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002370.
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This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.
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Charbonneau, Emiko. "Bridging the Gap Between Fun and Fitness: Instructional Techniques and Real-World Applications for Full-Body Dance Games." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5780.
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Full-body controlled games offer the opportunity for not only entertainment, but education and exercise as well. Refined gameplay mechanics and content can boost intrinsic motivation and keep people playing over a long period of time, which is desirable for individuals who struggle with maintaining a regular exercise program. Within this gameplay genre, dance rhythm games have proven to be popular with game console owners. Yet, while other types of games utilize story mechanics that keep players engaged for dozens of hours, motion-controlled dance games are just beginning to incorporate these elements. In addition, this control scheme is still young, only becoming commercially available in the last few years. Instructional displays and clear real-time feedback remain difficult challenges. This thesis investigates the potential for full-body dance games to be used as tools for entertainment, education, and fitness. We built several game prototypes to investigate visual, aural, and tactile methods for instruction and feedback. We also evaluated the fitness potential of the game Dance Central 2 both by itself and with extra game content which unlocked based on performance. Significant contributions include a framework for running a longitudinal video game study, results indicating high engagement with some fitness potential, and informed discussion of how dance games could make exertion a more enjoyable experience.Ph.D.
Doctorate
Computer Science
Engineering and Computer Science
Computer Science
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Benn, Sophie Luhman. "La Methode graphique: Dance, Notation, and Media, 1852-1912." Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1623408754116016.
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Gray, Sally Suzette Clelland School of Art History & Theory UNSW. "There's always more: the art of David McDiarmid." Awarded by:University of New South Wales. School of Art History and Theory, 2006. http://handle.unsw.edu.au/1959.4/32495.
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This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.
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Partow, Tara. "Choreographing Diaspora: The Queer Gesture and Racialized Excess of Mohammad Khordadian." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/988.
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Mohammad Khordadian is a gay, Iranian American dancer and entertainer who immigrated to the United States from Iran shortly after the 1979 revolution. Since his arrival to the United States, Khordadian has produced countless instructional and presentational dance videos which garnered enormous popularity among diasporic Iranians and Iranians in Iran alike. I locate a tension between his adoration by the public and the immense anxiety that male Iranian dancers can induce in other Iranians. Khordadian invokes the historical evolution of the archetypal Iranian male dancer/entertainers written about in Persian literature and poetry --the 12 to 16-year-old, handsome boys with older lovers. As Orientalists linked these sinful relationships to male homosociality and sexual repression in Islam, the memory of the male dancer has been repressed out of an Iranian desire to fold into the pale of Western modernity. Khordadian, with his over-the-top gestures (what I will call “queer gestures”), the transnational circulation of these gestures through instructional videos, and his lived experience as a gay Iranian man, transgresses the boundaries set by heteronormativity and Orientalism. However, this is not without a myriad of complications.
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Habig, Claire. "Mouvement et musique, partance et partition dans les oeuvres de Jacques Réda, Guy Goffette et Jean-Michel Maulpoix." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC012/document.
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Cette étude vise à montrer le lien entre mouvement et musique dans les œuvres de Jacques Réda, Guy Goffette et Jean-Michel Maulpoix. Leurs textes sont traversés par toutes sortes de déplacements, aussi insatisfaisants que complexes puisque départ et retour se mêlent au point dedevenir interchangeables. Entravés ou contraints d’avancer, les poètes rêvent de s’établir dans un entre-deux : entre mobilité et immobilité, entre départ et retour, entre ici et ailleurs. La partance est le moyen qu’ils trouvent pour concilier les opposés et partir tout en restant. C’est grâce à la musique et à la transposition d’éléments propres à cet art qu’ils parviennent à mener à bien ce paradoxal mouvement de surplace. En effet, par la mise en œuvre d’une partition ils déclenchent une efficace partance. La langue musicale se fait alors pleinement un moyen de transport. Véhicule et émotion, elle débouche sur des épisodes de danse où se réalise l’alliance du mouvement et de la musiqueThis study tries to show the connection between movement and music in the works of Jacques Réda, Guy Goffette and Jean-Michel Maulpoix. Many kinds of complex and disappointing movements go accross their texts, and way off and way back are so intermingled that they become interchangeable. Trapped or forced to move forward, the poets dream to live between mobility and immobility, departure and return, here and away. The partance is the way they found out to reconcile the opposite and go away while they stay. Thanks to the music and to the transposition of its elements, they succeed in leading this paradoxical and motionless movement. With the writing of a score – partition – they cause an efficient partance. Their musical language becomes a means of transport. Vehicle and emotion, it leads to danse scenes where the alliance of movement and music shows through
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Li, Zihao. "Adolescent Male Dancers' Embodied Realities." Thesis, 2010. http://hdl.handle.net/1807/24468.
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This dissertation looks at adolescent male dance students who challenge the dominant perceptions of masculinity by participating in dance, an art form which has been subjected to feminine and homosexual stereotypes.
With a multi-methodological approach—qualitative, arts-informed, autobiography, interviews, videotape, and performance—this research investigates and explores the largely unknown realities regarding adolescent male dance students; why they decide to take dance; what makes them continue or stop dancing; how their perceptions of dance are transformed over time; how they feel when they are dancing; the realities they embody in studio and on stage; their message to the public about who they were, who they are, and what they want to be in and through dance.
The researcher challenges the socially constructed epistemology that dance is merely an entertainment while exploring the relationship between mind and body; gender, race, and identity; literature and literacy; physical education and dance; the professional and the novice; the hows and the whys; female and male dance educators; dance pedagogy (theory) and curriculum delivering (practice); and the association of homosexuality and heterosexuality in the context of dance and its effect on adolescent male students’ willingness to dance.
This study shows that families, friends, teachers, school administrators, dance class environment, media (So You Think You Can Dance), and technology (internet) have all created various levels of impact on adolescent males’ decision to participate in dance at a high school. Data and implication from this research can serve as a catalyst for future studies on adolescent male dance students. Findings can also be applied to dance programs at all levels, curriculum development, and teacher education. This electronic dissertation encompasses graphs, photos, audio and video clips, webpage links, and even a full-length documentary movie to enhance the research finding and maximize the power of a multimodal design (Jewitt & Kress, 2003).
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Renzo, Adrian, University of Western Sydney, College of Arts, and School of Communication Arts. "Love in the first degree : handbag dance music and gay male culture." 2007. http://handle.uws.edu.au:8081/1959.7/11830.
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This thesis explores the links between handbag dance music and gay male culture. Handbag (colloquial British slang for ‘uplifting,’ ‘girly’ remixes of Top 40 songs and similar club material) is frequently derided within club culture for being predictable, formulaic, and ‘commercial.’ However, the same music is hugely popular within gay male clubs. Significantly, handbag tends to retain clear song structures, as opposed to the more open-ended instrumental ‘tracks’ which are the norm in electronic dance music. Why would a marginalised group adopt such a low-status music as its own? Why does handbag have such low status in the first place? This thesis argues that the field of ‘electronic dance music’ is rife with distinctions between ‘credible’ dance music and ‘commercial trash,’ and that these distinctions are frequently used to downplay song-based genres. The pleasures of handbag can be better understood if we pay attention to the ways that ‘songs’ (rather than instrumental ‘tracks’) have always played an important role in club music. Love in the First Degree questions an emerging orthodoxy in sociology and popular music studies: that issues of identity can only be approached ethnographically. By interrogating the music itself, the thesis explores the ways in which musical conventions can be deployed to arouse desire on the dance floor—and the reasons that these musical strategies are particularly useful in gay male clubs.Doctor of Philosophy (PhD)
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Bartel, Ellen. "Watch The Gap : site-inspired dance and pedagogy of choreography." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5080.
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This thesis offers two layers of analysis of a contemporary dance titled Watch The Gap, a site-inspired work initiated by the architecture, design, and function of the Jamaica, Queens (New York) train station. For the dance analysis, the investigated question is: can a dance that is inspired by a specific location but performed on a concert stage still fit within the genre of site-dance? By comparing its choreographic methodologies within the field of site-dance, a second investigated question arises: can these practices be codified and taught as part of a course in a university setting? Through this study I examine, explain, and analyze the different choreographic tools and aspects of site-dance impacting the field of dance by a comparison study with Watch The Gap and a pedagogical investigation into improvisation and site-dance. In doing so, pedagogical applications, key terminology, and methods, discussed in the paper, help to clarify and add to the discussion of this rapidly growing art form.text
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Conner, Christopher Thomas. "Documenting The Use of Appearances Among The DJ and Nightclub Patrons." Thesis, 2010. http://hdl.handle.net/1805/2132.
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Indiana University-Purdue University Indianapolis (IUPUI)This is a photo-documentary study of two themes found within the literature on fabulous appearances: the gay nightclub patron and the club DJ. This study used a large Midwestern gay nightclub as the field setting. Fabulousness involves the way patrons costume themselves in order to communicate status within the setting. This study revealed that participants in the setting utilize three different types of self-presentation. These types embody desirable characteristics and ideas of attractiveness that revolve around power, establishing a normalized “gay” identity, and using surreal based characteristics to achieve their goal of being noticed. The DJs served as informal organizers through their appearances and performances. Analysis of the DJ role found that DJs provide visual cues for other participants in the setting on how to act, dance, dress, and behave. This study is the first in depth examination of the role of the DJ and the communicative processes between the DJ and dancers in gay nightclubs.
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Marsh, Charity. "Raving cyborgs, queering practices, and discourses of freedom : the search for meaning in Toronto's rave culture /." 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11596.
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Thesis (Ph.D.)--York University, 2005. Graduate Programme in Musicology and Ethnomusicology.Typescript. Includes bibliographical references (leaves 255-268). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11596