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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, wfiMe others may be from any type of computer printer. Tfie quality of this reproducthm Is dependent upon ttie quality of the copy subm itted. Broken or indistinct print, ootored or poor quality illustrations and photographs, print bleodthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these wiU be noted. Also, if unauthorized copyright material had to t>e removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at ttie upper left-tiand comer and continuing from left to rigtit in equal sections with small overlaps. Photographs included in the original manuscript have t>een reproduced xerographically in this copy. Higtier qualify 6” x 9” black and white photographic prints are available for any pfiotographs or illustrations appearing in this copy for an additional ctiarge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMT CHILDREN'S DANCE: AN EXPLORATION THROUGH THE TECHNIQUES OF MERGE CUNNINGHAM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Sharon L. Unrau, M.A., CM.A. The Ohio State University 2000 Dissertation Committee: Approved by Professor Emeritus Philip Clark Professor Seymour Kleinman, Advisor Assistant Professor Fiona Travis UMI Number 9962456 Copyright 2000 by Unrau, Sharon Lynn All rights reserved. UMI UMI Microform9962456 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright btf Sharon L Unrau 2000 ABSTRACT This study was developed to explore the techniques of Merce Cunningham with elementary school children. It challenged the students' ability to understand and communicate the essence' of Merce Cunningham's distinctive use of collaboration, chance operations, movement style, and technology. This resulted in recognizing the significant contributions made by the Cunningham Foundation and Dance Company. Implications for research, teaching and education, and elevating' the aesthetic and movement possibilities in children's dance are discussed. u To My Family Father, Theodore Unrau Mother, C. Irene Unrau Sister, Kimberly A. Unrau Husband, Thomas S. Meade, Sr. Son, Thomas S. Meade Q ACKNOWLEDGMENTS To my advisor. Professor Dr. Seymour Kleiiunan: Thank you for allowing space to question, discover, practice and reflect upon new ideas in elementary dance education. To my committee members. Dr. Fiona Travis, and Professor Emeritus Dr. Philip Clark: Dr. Clark, I appreciate the wealth of knowledge, insight, and direction shared regarding creativity and the creative process. Thank you for stepping back into teaching' for this study. Dr. Travis, thank you for serving on the committee. To Karen (Radford) Woods, Associate Professor of Dance, The Ohio State University, Department of Dance: Thank you for sharing your experiences with Merce Cunningham and demonstrating an interest in this study. My appreciation to Kay Noble (retired) Principal at Douglas Alternative Elementary SchooL Thank you for your support and guidance while I taught at your school. Thank you for encouraging my post graduate work in Laban Movement Analysis and doctorate studies. To the twenty-five talented Douglas Alternative Elementary Students that participated in this study: Thank you for believing in yourself, each other, and me. 1 hope all of you recognize the significance of your accomplishments in this study. To Karen Bell, Chair of the Department of Dance at The Ohio State University. Thank you for supporting this study, providing comments and a performance space for the work. To The Ohio State University, Department of Dance, Lecturer, Candace Feck: Thank you for inviting the students to perform for your classes during this study. Thank you for your friendship and helpfulness during this study. To Daniel-Aguzzoli Roberts, Understudy, Merce Cunningham Dance Company: Thank you for sharing your interest in Merce Cunningham's work and your reconstruction of Totem Ancestor. Thank you for listening to excerpts, over the telephone, of this dissertation. To my sister and son's Godmother, Kimberly A. Unrau and her best friend Maryann Maiuri: Thank you for taking care of my son, Thomas Scott for extended stays during this dissertation. To Denise Szykula, Artistic Director, Dance Nonce: Thank you for believing in my work as I began my choreographic and performing journey as an undergraduate student at Wayne State University. To the Cunningham Dance Foundation and Cunningham Studio, NYO Special thanks to Sutton Brown, Louise Bums, Trevor Carlson, Meg Harper, Robert Swinston and David Vaughan. IV VTTA September 26,1964 ........................................................ Bom—Detroit, Michigan 1986 ............................................................................... BS-, Wayne State University Detroit, Michigan 1988 ............................................................................... M ^., The Ohio State University Columbus, Ohio 1994 ............................................................................. C.M~A., Laban-Bartenieff Institute of Movement Studies New York City, New York FIELDS OF STUDY Major Field: Education Studies in: Somatics, Dr. Seymour Kleinman Laban Movement Anatysis, Peter Madden, CM~A. Creativity? Dr. Philip Clark CdnÉüfgham Dance Technique, Dr. Karen (Radford) Woods TABLE OF CONTENTS Abstract. .............................................................................................................................. ii Dedication. ...................................................................................................... - - iii Acknowledgements. ........................................................................................ iv Chapters 1. OVERVIEW Introduction ------------------------------------------------------------------------ 1 Purpose of the Study ............................................................................... 2 Statement of the Problem ....................................................................... 4 Rationale --------------------------------------------------------------------- 4 Definition of Terms ................................................................... 5 Limitations of the Study ........................................................................ 6 Organization of the Remainder of the Dissertation ...................... 6 2. REVIEW OF THE LITERATURE Introduction ------------------------------------------------------------------ 7 Six Developments that Lead Cunningham to Large Discoveries.. 7 Collaborations %vith John Cage and others 8 Chance Operations ........................................... 12 The Cuiuiingham Dance Technique ............................. 23 Events .......................................................................... 27 Technology/Video ........................................................... 31 LifeForms™/Motion Capture ------------------------- 35 Laban Movement Analysis ........................................................................... 41 Body............................................................................ 44 Efibrt. ....................................................................... 46 Shape. ................................................................................ 47 Space ......................................................................... - 47 Summary.... .................................... 48 3. EXPERIENCING AND UNDERSTANDING CUNNINGHAM Introduction. ................................................................................................ 50 Element One: The Cunningham Literature ........................ 51 Element Two: The Cuiuiingham Studio and Company .... 55 Element Three: Teadiing Pedagogy ..................................... 60 Element Four The Dance PLACE ___________________ 61 Summary......................................................................................... 61 4. METHODOLOGY ... m .... h . m .... m . .......................... .... h ........ .............. Definition and Use of Action Research in this Study ............................ 63 VI Physical Site and Facilities ................................................................. 66 Sample Selection ...................................................................................... 67 Identification of My Biases and Ideology .............................. 68 Triangulation .......................................................................................... 68 Credibility^ — 68 Timeline of the Study ............................................................................. 69 Limits of the Study .................................................................................. 69 Collection of Data ..................................................................................
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