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DANCE SCIENCE and SOMATICS in TRAINING and PERFORMANCE by HANNAH KAY ANDERSEN a THESIS Presented to the School of Music and Danc

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DANCE SCIENCE and SOMATICS in TRAINING and PERFORMANCE by HANNAH KAY ANDERSEN a THESIS Presented to the School of Music and Danc DANCE SCIENCE AND SOMATICS IN TRAINING AND PERFORMANCE by HANNAH KAY ANDERSEN A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2017 THESIS APPROVAL PAGE Student: Hannah Kay Andersen Title: Dance Science and Somatics in Training and Performance This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the School of Music and Dance by: Dr. Steven J. Chatfield Chairperson Sherrie Barr Member Sarah Ebert Member Shannon Mockli Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Hannah Kay Andersen iii THESIS ABSTRACT Hannah Kay Andersen Master of Fine Arts School of Music and Dance June 2017 Title: Dance Science and Somatics in Training and Performance This mixed methods investigation analyzes the effect of a novel somatics training program on dance skills. Fourteen dancers were divided into treatment and control groups. The treatment group participated in an eight-week workshop on the use of the spine utilizing sensory experiences, mini-lectures, and dance exercises. During entry and exit, all dancers learned two phrases by video containing the same motor-patterns with contrasting choreographic intents; Phrase A fluid, sustained and slow, Phrase B, dynamically enhanced. Participants performed each phrase for the camera, to be scored by a judging panel. Descriptive statistical analysis of judging data suggests the workshop positively affected their execution of skills in Phrase A, over B. Data reduction and interpretation of the participants’ interviews, questionnaires, and journals yielded several themes. This study has vast implications, suggesting combination of dance science and somatics in dance as efficacious for dancers’ experiences and execution of technical dance skills. iv CURRICULUM VITAE NAME OF AUTHOR: Hannah Kay Andersen GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR Western Washington University, Bellingham, WA Allegheny College, Meadville, PA DEGREES AWARDED: Master of Fine Arts, Dance, 2017, University of Oregon Bachelor of Fine Arts, Dance, 2010, Western Washington University AREAS OF SPECIAL INTEREST: Dance Science Somatics Pedagogy PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2014-2017 Adjunct Dance Faculty, Whatcom Community College, 2010-2014 Instructor of Dance, Western Washington University, 2011-2014 Certified Pilates Instructor, Balanced Body University, 2009-present GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellowship, Department of Dance, University of Oregon 2014-2017 Georgianne Teller-Singer Deans Award, Outstanding Graduate Student, University of Oregon, 2015-2016 Dance Research Award, University of Oregon, 2015 and 2016 Graduate Student Award, National Dance Education Organization, 2015 Monica Gutchow Dance Scholarship, Western Washington University, 2008 v ACKNOWLEDGMENTS I wish to express sincere appreciation to the dance scientists, somaticists, educators, and artists who have preceded me. You have inspired this work. Thank you to my teachers including my family, friends, students, professors, and colleagues. This project would not have been possible without the support and encouragement of Dr. Steven Chatfield. He helped me realize my vision, and cheered me on throughout the entire process, while also providing critical feedback and significant editorial support. I am in deep gratitude to my committee, Sherrie Barr, Sarah Ebert, and Shannon Mockli, who supported this project the through the whole process. They have become not only my teachers, but my great friends through this work. Additionally, thank you to Caleb Southworth, a Professor of Sociology, who provided additional support and feedback. I am most indebted to the participants in this research. These women volunteered their time, and stuck with me through the entire process. Thank you for making this possible. Thank you to the judges for volunteering your time, and providing your expertise. The Department of Dance at University of Oregon provided me monetary support that enabled research, and each individual in the department has remained inspiring, and supportive throughout my graduate experience, thank you. To my mom and dad, who have encouraged me from day to keep dancing. You constantly show me how hard work pays off. To my step-mom, Dr. Rachel O’Brien, thank you for inspiring me at a young age to continue my education. You paved the way for me, and for that I am forever grateful. Lastly, to my husband, Jordan Andersen, who came with me on this journey. Your faith in my work has made it possible. vi Dedicated to Dr. Steven J. Chatfield, GCFP. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Statement of Purpose ............................................................................................. 6 Definition of Terms ................................................................................................ 6 Delimitations .......................................................................................................... 8 Biases ..................................................................................................................... 9 Limitations ............................................................................................................. 10 Significance of Study ............................................................................................. 10 II. REVIEW OF LITERATURE .................................................................................. 13 Introduction ............................................................................................................ 13 Combining Science and Somatics .......................................................................... 14 A Somatic Approach for the Whole Dancer .......................................................... 17 Attention ................................................................................................................ 18 Motor Learning and Motivation ............................................................................. 20 Transfer Theory ..................................................................................................... 21 The Spine ............................................................................................................... 22 Quantitative Assessment in Dance ......................................................................... 24 Conclusion ............................................................................................................. 27 III. METHODOLOGY ................................................................................................ 28 Study Preparation ................................................................................................... 28 Entry Process ......................................................................................................... 30 The Workshop ........................................................................................................ 32 viii Chapter Page Exit Process ............................................................................................................ 34 Assessment Tool Creation ..................................................................................... 34 Judging Panel Preparation ...................................................................................... 35 The Judges ................................................................................................. 36 Judging Panels ....................................................................................................... 38 Data Analysis ......................................................................................................... 39 Quantitative Evaluation ............................................................................. 39 Qualitative Evaluation ............................................................................... 40 IV. RESULTS .............................................................................................................. 41 Quantitative Data ................................................................................................... 41 Phrase A Results .............................................................................................. 40 Phrase B Results .............................................................................................. 44 Descriptions and Individual Reports ...................................................................... 46 Control Group .................................................................................................. 46 Alexa ......................................................................................................... 46 Joelle ......................................................................................................... 47 Sala ............................................................................................................ 47 Riley ........................................................................................................... 47 Jo ..............................................................................................................
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