• Ballet No Kata

      Oakes, Stephanie; DeLorme, Katherine J.; The College at Brockport (2015-05-12)
      The purpose of this this is to investigate the relationship between ballet and judo. Ballet and judo are movement practices that emerged from specific cultural contexts, are codified forms that maintain traditions of the origin while continuing to evolve to new generations of practitioners, and both require coordination between the body and the mind to be performed successfully. To gain a deeper understanding of these physical parallels between ballet and judo, I went beyond my daily practice to study the movement vocabulary. I learned the first three sets of the traditional judo kata, Nage No Kata, which served as inspiration for an original ballet movement study that I created and performed. It was important to my investigation that my choreographed work be a duet. Classical ballet is performed as an individual or with others in a duet, trio or group. However, judo cannot be done without a partner. In judo, whether in contest or kata, the uke and the tori are always facing one another; close contact is required for the throws to occur. When creating “Ballet No Kata’’, my initial inclination was to establish the same spatial relationship between the dancing bodies. Yet, while partnered dancers may be in an intimate proximity to one another, rarely do they stand face to face. Such a stance would not be consistent with classical ballet’s presentation of the body to the audience. As I created “Ballet No Kata”, I was also interested in how two dancing bodies could be in an established relationship without being physically connected. Relationship is critical in both ballet and judo; there must be trust, synchronization and understanding between the bodies no matter their orientation in space. During the course of this research, both the analysis and the performance, I was able to move beyond the expression of a personal journey to show the interdisciplinary link between practices. There is a lack of connection between the world of dance, and the other physical disciplines that fall under the dichotomy of sport. By analyzing the movements in the ballet vocabulary and the judo vocabulary and finding parallels, I hope to present greater acknowledgement that these two worlds are closely related. Moreover, movers of any kind are informed from their lifetime of physical work. When parallels are made between past and current experiences, the information can be drawn upon to supplement growth.
    • Conscious Conversations: An Experiential Study of Improvisation in Sound and Movement

      Maloney, Mariah; Gonzalez, Maya S.; The College at Brockport (2015-06-16)
      Art is a conscious practice. It is a method of live manifestation and a process of creative and individual expression. We perceive art and its meaning both physically and metaphysically through the vessels of body and mind, bridging connections between the abstract and the explicit. Creative process offers a method through which we may open our minds and channel inspirations so that we can explore and manifest greater meaning than ourselves. Art is the connective tissue of consciousness. Art offers truth beyond what we seem to know, and it intrigues us in ways that pull us deeper into the void of being. As it manifests, art is all one mechanism of life. Knowing that art operates from a place void of distinction, we can recognize opportunities to close the circle on differentiations we have defined—even within art itself. Artistic expression has been categorized into separate entities, defining lines between music, dance, poetry and theatre, among many other self-proclaimed forms. Different channels of creativity are segregated by form, restricted to their world of creative expression. But bringing forms together in free-flowing play illuminates the universal language of creativity and inspires personal creative exploration. This project operates on two levels of creative conversation: it seeks to diminish those lines through collaborative improvisational explorations between music and dance, and, through a synthesis of research and practice, establishes awareness of the bodymind- spirit relationship in improvisation. By bringing music and dance into one creative space while investigating the conversation between body, mind and spirit, the creative process is altered, freeing expression from form and offering new palettes for play.
    • Dance Artists’ and Choreographers’ Financial Sustainability in New York City Under the CreateNYC Cultural Plan

      Carrasco, Tammy; Saltiel, Jolie; State University of New York College at Brockport (2020-09-17)
      New York City is brimming with a plethora of diverse art, performances, exhibits, and communities, sparking many people to regard it as the Cultural Capital of the World. The New York City Department of Cultural Affairs (DCLA) has been a longtime supporter of the arts in New York City. In 2017, the DCLA released the CreateNYC Cultural Plan, which was intended to increase equity and sustainability in the art and culture sector of New York City.
    • Effects of Childhood Cancer and Hospitalization on Preschool Aged Children: Benefits of Movement Programming in Child Life Departments

      Warner, Kevin; Graham, Abigail N.; The College at Brockport (2015-05-02)
      Child Life departments have been prominent in most children‘s hospitals to provide psychosocial care for children experiencing time in a hospital environment. This presentation will demonstrate the impact of Child Life intervention in pediatric oncology as well as promote new ideas for movement/dance therapy Child Life programming. New methods for healthcare therapies have been rapidly increasing especially in cancer treatment centers. The creative arts have been implemented into pediatric hospitals as a form of therapy for children and families undergoing treatments. The overview of play therapy and the developmental purpose it provides for preschool aged children is essential to understand why it is important to have in an environment such as the hospital. Play therapy is a new and upcoming type of therapy that focuses on helping children understand and deal with issues triggered from being hospitalized. Through play and the creative arts children are able to cope, portray their fears and anxieties, and have a sense of normalization. Children‘s Hospitals use this technique to help children cope with their illnesses in and outside of their time in the hospital. New perspectives on play therapy and ideas on how to tie in movement/dance therapy to greater benefit the Child Life department are offered through this research.
    • Lower Back and Lower Limb Injury in Ballet Dancers: Incidence and Implications

      Oliver, Suzanne; Battisti, Jennifer; The College at Brockport (2011-05-01)
      While ballet looks graceful and soft, there is a real threat of injury to the ballet dancer. This senior honors thesis looks at common injuries suffered by the dancers, their cause, and ways to avoid them. The first danger explained is over-exerting children. Children have growing bodies, with underdeveloped bones and muscles. Because of this, they should not be expected to perform certain movements that adult ballet dancers are capable of. Often child dancers will attempt unmodified techniques that are unsafe for people at their developmental level. The thesis continues to explore injuries commonly shared among ballet dancers of all ages. These include injuries to the spine such as scoliosis, and spondylolysis. Injuries of the hip such as trochanteric bursitis, coxa saltans, and osteoarthritis. Injuries to the knee including patellar tendonitis, and meniscal tears. Injuries to the ankle and foot such as acute fractures, hallux valgus, and flexor-hallicus longus tendinitis. The author concludes that most of these injuries are preventable, therefore ballet instructors should have a proper training and certification in order to teach safely, and avoid injuries to students.
    • The Contemporary Continuum: Intertextualizing Concert and Commercial Dance

      Oakes, Stephanie; Williams, Christina Rose; The College at Brockport (2017-05-11)
    • The Dance of Politics: “All for One, and None for All”

      Mahon, Caitlin E.; The College at Brockport (2014-05-06)
      This senior honors thesis considers the connection between dance and political science. Within the text, the author shows how dance can be used as a means to express political view. This is shown through three parts, each part using a different example to illustrate this. In the first part, the author shares her experiences and feelings creating and performing her own dance piece of political expression. The second part explores David Dorfman Dance, and their political expression through dance. A particular piece relating to the Weather Underground, an extremist left-wing radical group is detailed. The final part relates historical protests as being choreographed similar to dances, however with unwitting co-performers and audience.