Now showing items 21-25 of 25

    • Tap Dance Choreography: An exploration of tradition and innovation

      Carrasco, Tammy; Silveira Karnas, Luiza; The College at Brockport (2018-04-01)
      Tap dance is a genuine American art form that has evolved from consolidated traditions to unexpected innovations in its technique and aesthetic. With awareness to social and cultural contexts, I aim to clarify the cyclical process between tradition and innovation in tap dance choreography. Through critical investigation of tap history, thorough study of the aesthetics developed by avant-garde female choreographers, and detailed description of my own creative process, I address choreographic possibilities in which tap dancing can evolve based on the relationship between tradition and innovation inherent to this dance form. With a research scope focused on women, this thesis also discusses about female role in tap throughout history and how choreographers like Chloe Arnold and Michelle Dorrance have achieved authority and recognition in the tap dance field. Ultimately, my purpose is to promote and cultivate tap dance making as an artistic process by fostering the dialogue between innovation and tradition in my personal choreographic investigation.
    • Peaceful Embodiment: Not Merely Tranquil In Nature

      Levy, Dena; Mahon, Caitlin E.; The College at Brockport (2017-08-07)
    • Reverence for Éire: Expanding the Tradition

      Suarez, Juanita; Kelly, Briana B.; The College at Brockport (2017-07-01)
      Many aspects of Irish movement have been lost or forgotten due to the emphasis on oral tradition. Other features of Irish culture, literature for example, were well-documented, while Irish dance was neglected. This thesis recognizes the Irish body as an important historical site to research as well as a vessel for immense creative potential. It is an example of the exploration and documentation necessary for such a vast and varied subject. For centuries prior to the 1990’s Irish dance revival, Irish dance was known by those who participated in the dance form and was otherwise unknown to the global population. But, after the debut of Riverdance Irish dance became a global phenomenon. Now what? How can Irish dance be presented on stage in alternative ways? What impact can it have now? My research is focused on how Irish dance can not only exist but thrive within a contemporary context. Irish dance is still at such a beginning and I aim to uncover its creative potential through physical exploration and choreographic innovation. My aim is to establish a new set of relations through which Irish dance can be seen and recognized by challenging some defining limitations of the form.
    • Body Language: Seeking a Living Vocabulary for the Dancing Body

      Suarez, Juanita; Culley, Colleen Theresa; The College at Brockport (2015-05-13)
      Language is an important part of the dance tradition, used by dance teachers to convey images and understandings of the body for technical skill and expressive development. Furthermore, language does not exist in isolation; it shapes understanding and reveals the conceptual undertones of understanding. Recognizing language as a possible site to integrate theory and practice, I began to ask, "How does the cuing commonly used in dance education influence understandings of the dancing body?" In order to investigate this question I analyzed language commonly used in dance classrooms based on the contemporary metaphor theories developed by cognitive theorists George Lakoff and Mark Johnson. Through this lens, I noticed an important distinction between language that references the dancing body through non-living metaphors as very different than language where the body is spoken of in terms of a living system. This research identifies several common metaphors used in dance in which the body is understood in terms of non-living systems like instruments, machines, computers, commodities, and wars. Next, this research looks at movement practices where the body is understood as a living, generative and changing system. The focus of this section is on somatic practices, especially Continuum and the work of Liz Koch, where the possibility of change towards what is possible is the preference. Finally, based on this research, I suggest that dance and movement educators develop a practice of attending to the language of training the dancing body; after all it is a powerful tool for affecting potential.
    • Moments of Geopolitical Choreography: Performance of Cultural Ideals in Nazi Germany, the Soviet Union and Beyond

      Keefe, Maura; Bohman, Allison; The College at Brockport (2015-05-15)
      This research analyzes the standardized regimens of bodily training characteristic of Nazi Germany and the Soviet Union and dance in general. Not only were the movements of daily life such as gesture choreographed within these contexts, but also the dance scene at large was highly designed to represent the political ideals of the government. Through analysis of gesture, marching parades and mass movement choirs in Nazi Germany combined with discussion of censorship and artistic repossession in Soviet ballet, themes of conformity and individuality are extrapolated to trends in movement culture in the United States today. This is a study of bodies, not much different than our own—these bodies once moved through contexts we never will fully get to embody ourselves, but through looking at what physical movements defined their experiences, we can begin to grasp a better understanding of the history they moved through. Looking at history from the lens of movement and dance opens up a wider knowledge of the world we live in today. Dance inherently puts meaning into motion, and this written research puts physical motion into meaning. Your body is a sponge, absorbing the geopolitical climate you move through, and as you dance through life, consider the context and how it is leaving its inevitable mark on you.