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Dissertations / Theses on the topic 'Modern dance Women dancers'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).

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2

Zitzelsberger, Louise. "The self dancing, four stories of professional women dancers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0009/NQ38803.pdf.

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3

Farrar, Alexandria M. "Exploring Motivations Behind Food Choices of Collegiate Female Modern Dancers." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1491213244018103.

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4

Long, Julie-Anne, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Contemporary Arts. "The leisure mistress dances : an investigation of a practice where fact and fiction collide." THESIS_FPFAD_CAR_Long_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/541.

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The leisure mistress project is a perverse contemporary burlesque about leisure and inactivity investigated through a low-key style of dance performance, in an age where leisure pursuits are exhausting business. Julie-Anne questions her notions of dance, its place in her life and her work and challenges other ideas about what dance is. The concerns of the work include social, political, cultural and aesthetic issues. The core theme of leisure facilitates cultural investigation via performance with social critique being implicit. The process and the product are private, personal, idiosyncratic but have wider resonances and ramifications<br>Master of Arts (Hons) (Performance)

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5

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<br>Ph.D.<br>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.<br>Temple University--Theses

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6

Wilson, Ella. "Flow and Performance Competency in Modern and Ballet Dancers." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/725.

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A qualitative investigation is proposed to examine flow experiences in professional ballet modern dancers in order understand the nature of this psychological experience. It is not well understood where and when professional dancers experience flow, and whether or not their subjective experience is correlated to what an audience evaluates in a dancer’s performance. The study of performance quality and subjective experience of the dancer has not been studied within the dance movement analysis literature. This is an important topic to research to further understand what factors facilitate or debilitate a professional dancer’s well-being. This study aims to determine any facilitating and mediating factors of flow experiences in professional ballet and modern dancers. Additionally, it aims to address whether a dancer’s performance is perceived as being competent, and if the dancer’s experiences of the performance matches the levels of competency. Two hundred professional ballet and modern dancers (100M, 100F) will participate in this study. These participants will be recruited from the professional companies based in the United States. This study will also analyze the relationship that the reported flow scores have with evaluations of performance competency. Each participant will be interviewed to determine their personal experiences of flow, if they have had any. Following the interview, they will complete the Activity Experience Scale – 2 (DFS-2). A researcher will observe a rehearsal and a performance to evaluate each participant using the Performance Competency Evaluation Measure. Following the rehearsal or performance, the participant will complete the Event Experience Scale-2 (FSS-2). The mean scores from the FSS-2 will be analyzed using a two-by-two factorial ANOVA to determine if modern dancers experience significantly higher levels of flow in performance with no effect across gender. The effects of performance competency evaluations between the style of dance and mean flow scores were examined using mediation analysis and Sobel’s test. Additionally, it is predicted that the number of hours of rehearsal and performances will be established as a mediating factor between the style of dance and mean flow scores. The same methodology will be used for mediation analysis to test this hypothesis.

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7

Daon, Yardena. "THE COGNITIVE SEMIOTICS OF POETRY AND DANCE: EMOTIVE EMBODIMENT OF ECSTATIC SENSORIAL COGNITION IN MODERN REPRESENTATIONS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1269981658.

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8

Bock, Sheila Marie. "From harem fantasy to female empowerment : rhetorical strategies and dynamics of style in American belly dance /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1144685165.

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9

Baird, Emily Lynne. "A Qualitative Investigation of What "Body Awareness" Means to Dancers at a Public Midwestern University." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1587991748223295.

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10

Oehlers, Adrienne M. "Spectacular Women: The Radio City Rockettes from 1925 to 1971." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503321546482266.

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11

Truter, Orlando Vincent. "The originating impulses of Ankoku Butoh: towards an understanding of the trans-cultural embodiment of Tatsumi Hijikata's dance of darkness." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004454.

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From Introduction: Ankoku Butoh is a performing art devised in Japan in the wake of the Second World War by the dancer and choreographer Tatsumi Hijikata (born Akita, 1928; died Tokyo, 1986). A highly aesthetic and subversive performing art, Butoh often evokes "images of decay, of fear and desperation, images of eroticism, ecstasy and stillness." Typically performed with a white layer of paint covering the entire body of the dancer, Butoh is visually characterized by continual transformations between postures, distorted physical and facial expressions, and an emphasis on condensed and visually slow movements. Some of the general characteristics of Butoh performance include "a particular openness to working with the subtle energy in the body; the malleability of time; the power of the grotesque."

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12

Hooi, Mavis. "Oriental Fantasy : A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt." Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125565.

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Belly dance is popularly practised in the West, and every year, thousands of enthusiasts and professionals from around the world travel to attend belly dance festivals in Egypt, which is considered the cultural centre of the dance. This bachelor’s thesis examines the discourses produced by Western or ʽwhiteʼ belly dancers from Sweden and Finland, on the topics of tourism in Egypt and belly dance festivals in Egypt. The texts are analysed using James Paul Gee's discourse analytical framework, combined with postcolonial theory, complemented with an intersectional approach. From the postcolonial and feminist perspectives, belly dance discourse in the West and tourism discourse are problematic, as they perpetuate Orientalist tropes and unequal global power structures, which build on colonial discourse. It is hoped that by identifying and questioning these aspects of discourse that are problematic in terms of equity, this study will make a small contribution towards mitigating its adverse effects, and towards social change.<br><p>ORCID for Mavis Hooi : 0000-0002-0049-1095</p>

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13

Krogman, Jennifer Tena. "Handbook on eating disorders for dance teachers: A guide to understanding anorexia nervosa, bulimia nervosa and promoting proper nutrition in young female dancers." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2244.

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This project discusses the problem of eating disorders in dancers. The development of eating disorders can be attributed to sociocultural development, and psychological factors. Dance places an emphasis on thinness, and the pressure to obtain ideal standards of thinness appear to be particularly salient in the development of eating disorders in dancers.

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14

Gibson, Alanna Marie. "Salome: Reviving the Dark Lady." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398693802.

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15

Long, Julie-Anne. "The leisure mistress dances : an investigation of a practice where fact and fiction collide /." View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.135752/index.html.

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16

Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.

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17

Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.

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18

Ganoe, Kristy L. "Mindful Movement as a Cure for Colonialism." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367936488.

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19

Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.

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20

North, Naomi. "Fall Like a Man." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460115929.

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21

Boye, Seika. "The women of modern dance in Toronto 1965-1975 /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19638.

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Thesis (M.A.)--York University, 2006. Graduate Programme in Dance.<br>Typescript. Includes bibliographical references (leaves 99-104). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19638

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22

Wade, Trevor Montague. "Choreography as feminist strategy : three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Dahsha Sheth /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3006564.

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23

Coon, Courtney E. "Dance and meaning analysis of modern-day belly dancers through the context of ancient Egyptian dance /." 2005. http://www.oregonpdf.org.

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Thesis (M.A.)--Northern Arizona University, 2005.<br>Includes bibliographical references (leaves 142-147). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

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24

Foulkes, Julia Lawrence. "Dancing America: Modern dance and cultural nationalism, 1925-1950." 1997. https://scholarworks.umass.edu/dissertations/AAI9721448.

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In 1930, the dancer and choreographer Martha Graham proclaimed the arrival of "dance as an art of and from America." Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in shaping a new art form: modern dance. Confrontational and experimental, modern dancers questioned their own roles in society, the role of art in America, and the place of America in the world. This dissertation is about how modern dance developed in the midst of debates about national identity. In the wave of cultural nationalism of the 1930s, modern dancers attacked ballet because of its elitist roots in European courts. Influenced by communist and socialist politics, they danced in bare feet, with unadorned costumes, and privileged individual expression and portrayals of abstract concepts over fairytale narratives and escapist entertainment. White women (many of whom were Jewish), gay men, and some African American men and women populated modern dance. Separate chapters explore how each of these groups negotiated what it meant to be an American through dance. Challenges to gender, sexual, racial, and class norms coalesced in idealized visions of American democracy and pluralism such as Graham's 1938 "American Document." Dancing American heretics, pioneers, and workers toppled corps of European swans, sylphs, and snowflakes. The convergence of these marginalized groups in modern dance demonstrates the critical role that social identities played in this movement of cultural nationalism. Modern dancers found in dance the medium through which they could explore what set them apart from the white male so often depicted as the consummate expression of American individualism: their bodies. The case of modern dance highlights the interplay of different identities--as women, Jews, or African Americans--that undercut a unified national identity. In this art form that attracted physically distinct groups of people, those distinctions, particularly of race, fractured ideas of a national culture. In the wake of World War II, Merce Cunningham led a new phase of modern dance that rejected nationalist themes and social purpose. In dancing America, modern dancers exposed the physical and social dimensions of nationalist beliefs in 1930s and 1940s American society.

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25

Středová, Lucie. "Orientální tanec v kontextu západní a arabské islámské společnosti." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313295.

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Belly Dance in the Context of the Western and Arab Islamic Societies The present work deals with the development and social status of the belly dance and professional belly dancers in the Arab Islamic society and examines to which extent that status was influenced by the West and how the belly dance made its way to the Western culture. The work concentrates on the 19 th and 20 th centuries with a special focus on Egypt as a centre of the belly dancing. This work is supplemented with a questionnaire, the results of which depict the development of the social status of the belly dance and dancers in the Arab society at the beginning of the 21 st century.

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