DOCSLIB.ORG

Creative Cognition in Somatics-Based Contemporary Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creative Cognition in Somatics-Based Contemporary Dance Somatics, Creativity, and Choreography: Creative Cognition in Somatics-based Contemporary Dance Rebecca Weber Submitted version deposited in Coventry University’s Institutional Repository Original citation: Weber, R. (2018) Somatics, Creativity, and Choreography: Creative Cognition in Somatics-based Contemporary Dance. Unpublished PhD Thesis. Coventry: Coventry University. Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Somatics, Creativity, and Choreography: Creative Cognition in Somatics-based Contemporary Dance By Rebecca Weber January 2018 Janet Rebecca Weber A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Doctor of Philosophy Library Declaration and Deposit Agreement Title: Forename: Family Name: Mrs. Janet Rebecca Weber Student ID: Faculty: Award: 6145169 FAH - CDaRE PhD Dance Psychology Thesis Title: Somatics, Creativity, and Choreography: Creative Cognition in Somatics-based Contemporary Dance Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. You may wish to restrict access to your thesis for a period of up to three years. Reasons for restricting access to the electronic thesis should be derived from exemptions under FOIA. (Please also refer to the University Regulations Section 8.12.5) Do you wish to restrict access to thesis/submission: No Please note: If your thesis includes your publications in the appendix, please ensure you seek approval from the publisher first, and include their approval with this form. If they have not given approval, they will need to be removed from the version of your thesis made available in the Institutional Repository. If Yes please specify reason for restriction: Length of restriction: Does any organisation, other than Coventry University, have an No interest in the Intellectual Property Rights to your work? If Yes please specify Organisation: Please specify the nature of their interest: Signature: Date: 12 Aug 2018 For Doctoral College and Centre for Research Capability and Development use Date Final Thesis Submitted Date of Thesis release to Library 1 Certificate of Ethical Approval Applicant: Janet Weber Project Title: Somatics, Creativity, and Choreography This is to certify that the above named applicant has completed the Coventry University Ethical Approval process and their project has been confirmed and approved as Medium Risk Date of approval: 26 October 2015 Project Reference Number: P36865 2 Acknowledgements There are many people I would like to thank, without whom this PhD would not exist. I am particularly grateful to the Leverhulme Trust, for funding the ‘In the Dancer's Mind’ project, and to the project team, including principle investigator John May, and co-investigators Sarah Whatley and Emma Redding, for allowing me the opportunity to complete this research. Thank you, too, to the Rebecca Skelton Fund for Dance, Research and Performance for the grant in support of my fieldwork with Miranda Tufnell, and to Bates Dance Festival for supporting my fieldwork with Andrea Olsen. I also thank Coventry University’s Centre for Dance Research, Centre for Global Engagement, and Chancellor's Fund for supporting my fieldwork and the dissemination of this research. To my supervisors, Sarah Whatley and Sara Reed, I thank you for your unflagging support and keen critiques, each always exactly when I needed them. Throughout this process, I appreciated your availability for feedback and advice, unceasing faith in my abilities, and endless patience. Your guidance has indelibly shaped this work, and my thinking, and I could not have asked to be blessed with a better supervisory team. Thank you. I am particularly grateful to the artists, Andrea Olsen, Sandra Reeve, and Miranda Tufnell, for their generosity, openness, articulateness, and candour about their own processes. Thank you for allowing me repeated access to your work and thinking, and thank you for laying the inspiring groundwork which provided the impetus for this research. Likewise, I thank Phillip Barnard for his obliging and benevolent spirit in discussing my ideas and helping me to understand his. I thank, too, those who have otherwise supported me and offered insight at critical moments in developing the ideas I present here, including Kate Stevens and her colleagues at the MARCS Institute of Western Sydney University, Kim Vincs, and Emma Meehan. To the friends who have offered sounding-boards, assistance, and encouragement throughout—especially Rebecca Stancliffe, Sanne Weber, Megan Mizanty, Sarahleigh Castelyn, and Eveleigh Buck-Matthews—you helped me get here. Likewise, working alongside my colleagues at C-DaRE was an intellectually stimulating joy; thank you for the support and scholarly insight. And generally, I express thanks to all of my artistic and academic mentors, and my parents and family, who helped guide me to this point. Perhaps most of all, I thank my husband, Weston Aenchbacher, without whose love and support none of this would be possible. This thesis is dedicated to you. 3 Disclosures Though not full chapters, portions of this thesis and the thinking that develops within it have been previously published (or are in press) in the following: • Weber, R. (2018 in press), ‘Somatic Movement Dance Education: A Feminist, Cognitive, Phenomenological Perspective on Creativity in Dance’, in Bond, K. and Gardner, S. (eds.) Dance and the Quality of Life: Springer Social Index Series. Springer: Dordrecht • Clements, L. and Weber, R. (2018), ‘Making Space for Creativity in Dance Science’. International Journal of Art, Culture, and Design Technologies, 7(1), 30-45 • Weber, R. (2018) ‘Creative Cognition and Dance,’ in Ellis, S., Blades, H. and Waelde, C. (eds.) A World of Muscle, Bone & Organs: Research and Scholarship in Dance. Coventry: C-DaRE at Coventry University, n.p. • Weber, R. (2017), ‘Interacting Cognitive Subsystems and Dance: Choreographic Creativity’, in GraZia Sindoni, M., Janina Wildfeuer, J., and O’Halloran, K. (eds.) Multimodal Perspectives in Performing Arts: Routledge Studies in Multimodality, Routledge: London, 106-126 I am grateful, in addition to the artists generously giving of their time, to the following sources that have supported the development of this research: • The Leverhulme Trust-funded ‘In the Dancer’s Mind’ Project • The Rebecca Skelton Fund for Dance Research and Performance • Coventry University’s Centre for Global Engagement • Coventry University’s Chancellor’s Fund • Western Sydney University’s MARCS Institute • Bates Dance Festival Furthermore, this work was presented at the following: • The 27th Annual Conference of the International Association for Dance Medicine and Science held in Houston, Texas, USA, October 2017 • The Dance and Somatic Practices conference held in Coventry, England, UK, July 2017 • ‘The Dancer’s Mind’ Symposium held in London, England, UK, December 2017 4 Abstract This doctoral thesis will comprise an in-depth, multidisciplinary and mixed- methods research project examining creativity in Somatics-based choreographic practices. The project draws on methodologies from phenomenology, ethnography, close reading, grounded theory, and thematic analysis. It involved data collected from three well-known Somatics practitioners who embody a professional hybridity as artists, authors, and Somatic Movement Educators—Sandra Reeve, Andrea Olsen, and Miranda Tufnell—and who each use their somatic practice as instrumental in their choreography. Each practitioner utilises different Somatics modalities (Move into Life, Authentic Movement, Embodied Anatomy, Alexander TechniQue, among others) in various settings (higher education, community arts, professional practice, etc.), which provides an international (US and UK) and cross- modality scope to examine shared ideologies within Somatics. Data was collected in a semi-structured, open-ended interview process, participant observation of workshops and intensives delivered by the artists, and a close reading of their published texts. It was analysed for emergent shared themes. I posit that these themes identify connections between the identification, definition, and facilitation of creativity within Somatics-based choreographic practice and cognitive psychological theories of creativity. I identify shared elements of the pedagogical environment and argue that they facilitate the development of a refined perceptual ability. This perceptual expertise is presented as a change-agent in facilitating both novelty in movement generation and the generation of meaning, allowing for a discerning, selective retention of this movement material in giving
Load more

Recommended publications
  • Rudolf Laban in the 21St Century: a Brazilian Perspective
    DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world.
    [Show full text]
  • Aikido: a Martial Art with Mindfulness, Somatic, Relational, and Spiritual Benefits for Veterans
    Spirituality in Clinical Practice © 2017 American Psychological Association 2017, Vol. 4, No. 2, 81–91 2326-4500/17/$12.00 http://dx.doi.org/10.1037/scp0000134 Aikido: A Martial Art With Mindfulness, Somatic, Relational, and Spiritual Benefits for Veterans David Lukoff Richard Strozzi-Heckler Sofia University, Palo Alto, California Strozzi Institute, Oakland, California Aikido is a martial art that originated in Japan and incorporates meditation and breathing techniques from Zen Buddhism. Like all martial arts, it requires mindful concentration and physical exertion. In addition, it is a compassion practice that also provides a spiritual perspective and includes social touch. These components make Aikido a unique form of mindfulness that has the potential to be particularly appealing to veterans coming from a Warrior Ethos tradition who are used to rigorous somatic training. Mindfulness practices have shown efficacy with veterans, and the self- compassion, spiritual, and social touch dimensions of Aikido also offer benefits for this population, many of whom are struggling with these issues. Several pilot Aikido programs with veterans that show promise are described. Keywords: mindfulness, veterans, PTSD, spirituality, martial arts Aikido, like all martial arts, requires mindful spiritual dimensions in his martial art and de- concentration and physical exertion. In addi- scribed it as “The Way of Harmony.” tion, it is a compassion practice that provides a Aikido emphasizes working with a partner, spiritual perspective and social human touch. rather than sparring, grappling, or fighting Aikido emerged in twentieth-century Japan fol- against an opponent in competitive tourna- lowing an evolution of martial arts over hun- ments. Aikido techniques neutralize and control dreds of years from a system of fighting arts attackers instead of violently defeating them.
    [Show full text]
  • Dance Fields Conference Boa NEW
    Dance Fields Conference April 19th – 22nd 2017 Book of Abstracts (Chronologically listed) SESSIONSPANELSPRACTICALSWORKSHOPSROUND TABLES Thursday, April 20th 10:00 – 11:30 Session I Chair: Ann R. David Michael Huxley Dance Studies in the UK 1974-1984: A historical consideration of the boundaries of research and the dancer’s voice The first Study of Dance Conference was held at the University of Leeds in 1981. The following year saw the First Conference of British Dance Scholars in London, leading to the inauguration of the Society for Dance Research and then the publication of its journal, Dance Research. Since 1984, the field of dance studies in the UK has both developed and been debated. My paper draws on archival and other sources to reconsider this period historically. With the benefit of current ideas of what constitutes dance, practice, research, and history, it is possible to consider the early years of UK Dance Studies afresh. In the twenty-first-century there are some accepted notions of dance studies. I would argue that they have established boundaries, but that these are often unstated. The period is re-examined with a view to uncovering a broader, and indeed more inclusive, idea of dance studies. In this, attention is given to the researches of practitioners in the period; both published, including in New Dance, and unpublished. Whilst recognising the significant scholarship of the period, the paper also considers the ideas that dancers gave voice to. The analysis is taken further by considering the unexamined discourses that helped enable research in dance in the UK to develop in the way it did.
    [Show full text]
  • What Are the Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Applied Behavior Analysis Commons, Arts and Humanities Commons, and the Cognitive Psychology Commons Recommended Citation Wright, Carley, "What Are The Overall Benefits of aD nce Improvisation, and How Do They Affect Cognition and Creativity?" (2018). Honors College Theses. 193. https://digitalcommons.pace.edu/honorscollege_theses/193 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright BFA Commercial Dance Major Advisor: Jessica Hendricks th nd Presenting: May 7 ,​ Graduating: May 22 ​ ​ Advisor Approval Page Abstract The purpose of this thesis is to define the terms improvisation, cognition, and creativity, ​ and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement.
    [Show full text]
  • Master Thesis Document Schwartz
    Copyright by Ray Eliot Schwartz 2006 Exploring the Space Between: The Effect of Somatic Education on Agency and Ownership Within a Collaborative Dance-Making Process by Ray Eliot Schwartz, B.F.A., C.B.M.C.P. Thesis Submitted to the Faculty of The Graduate School of The University of Texas at Austin in partial fulfillment of the requirements for the degree of Master of Fine Arts University of Texas at Austin May 2006 Exploring the Space Between: The Effect of Somatic Education on Agency and Ownership Within a Collaborative Dance-Making Process Approved by Supervising Committee: _____________________________ Kent DeSpain _____________________________ Jill Dolan _____________________________ David Justin ______________________________ Kristen Neff Acknowledgements I would like to thank my many dance colleagues and teachers. In particular: the faculty and students of the North Carolina School of the Arts 1984-1987, the faculty and students of Virginia Commonwealth University’s Department of Dance and Choreography 1987-1992, the faculty and students of The University of Texas at Austin 2003-2006, Martha Myers, Nancy Stark Smith, Mike Vargas, Donna Faye Burchfield, Laura Faure, Phillip Grosser, Rob Petres, Sardono Kusumo, Ramli Ibrahim, Liz Lerman, Lucas Hoving, Steve Paxton, Chris Aiken, Andrew Harwood, K.J. Holmes, Kathleen Hermesdorff, Sandy and Denny Sorenson, Deborah Thorpe, Sarah Gamblin, the members of Steve’s House Dance Collective, the Zen Monkey Project, them, and Sheep Army/Elsewhere Dance Theater. Their collective wisdom, as it
    [Show full text]
  • Rhythmical Coordination of Performers and Audience in Partner Dance: Delineating Improvised and Choreographed Interaction
    Rhythmical coordination of performers and audience in partner dance: delineating improvised and choreographed interaction Saul Albert ([email protected]) Contents 1 Introduction 3 2 Data and methods 4 2.1 Rhythm and interaction in a Lindy hop performance .................... 4 2.2 Studying the attention structure of an audience through rhythm ............... 6 2.3 Describing varied, coupled rhythms in the performance setting ............... 7 3 Analysis 9 3.1 Choreography: reorientation to familiar movements .................... 9 3.2 Improvisation: displays of readiness to change ....................... 13 3.3 Embodied action: joint coordination of improvised movement ................ 14 4 Discussion 17 4.1 Analytic distinctions between improvisation and choreography ............... 17 4.2 Embodied rhythms as projectable, interactional resources ................. 18 4.3 Embodied action built with non-vocal resources ...................... 19 5 Conclusion 21 6 Acknowledgements 21 7 References 21 1 Abstract This paper explores rhythm in social interaction by analysing how partner dancers and audience members move together during a performance. The analysis draws an empirical distinction between choreographed and improvised movements by tracking the ways participants deal with variations in the projectability and contingencies of upcoming movements. A detailed specification of temporal patterns and relationships between rhythms shows how different rhythms are used as interactional resources. Systematic disruptions to their rhythmical
    [Show full text]
  • Somatics Studies and Dance GLENNA BATSON DSC, PT, MA with the IADMS DANCE EDUCATORS’ COMMITTEE, 2009
    RESOURCE PAPER FOR DANCERS AND TEACHERS Somatics Studies and Dance GLENNA BATSON DSC, PT, MA WITH THE IADMS DANCE EDUCATORS’ COMMITTEE, 2009. INTRODUCTION 2 HISTORY 2 KEY CONCEPTS 3 NOVEL LEARNING CONTEXTS 4 SENSORY ATTUNEMENT 4 AUGMENTED REST 5 SOMATIC PRACTICES IN DANCE TECHNIQUE 6 IDEOKINESIS 6 THE FELDENKRAIS METHOD® 7 ALEXANDER TECHNIQUE 8 BODY-MIND CENTERING 9 FURTHER SUBSTANTIATION 10 STUDY AND CERTIFICATION 10 FURTHER THOUGHTS 10 ADDITIONAL RESOURCES 11 REFERENCES 11 1. INTRODUCTION “I think, therefore I move” Thomas Hanna Since the 1970s, a growing number of dancers have sought additional training in mind- body techniques loosely called “somatic studies,” or simply, “somatics.”1 Once considered esoteric and far removed from daily technique class, somatics is now a household word in a dancer’s training. University dance programs worldwide now offer substantive somatic studies2 and degree programs,3 and community studios offer extensive study and certification in various practices.4,5 2. HISTORY Somatic studies also have been referred to as body therapies, bodywork, body-mind integration, body-mind disciplines, movement awareness, and movement (re) education.6 The origins of western somatic education are rooted in a philosophical revolt against Cartesian dualism.7,8 In the European Gymnastik movement of the late 19th century, for example, somatic pioneers Francois Delsarte, Emile JaquesDalcroze, and Bess Mensendieck sought to replace the reigning ideology of rigor in physical training with a more “natural” approach based on listening
    [Show full text]
  • Talking Black Dance: Inside Out
    CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES Talking Black Dance: Inside Out OutsideSociety of Dance InHistory Scholars 2016 | Volume XXXVI Table of Contents A Word from the Guest Editors ................................................4 The Mis-Education of the Global Hip-Hop Community: Reflections of Two Dance Teachers: Teaching and In Conversation with Duane Lee Holland | Learning Baakasimba Dance- In and Out of Africa | Tanya Calamoneri.............................................................................42 Jill Pribyl & Ibanda Grace Flavia.......................................................86 TALKING BLACK DANCE: INSIDE OUT .................6 Mackenson Israel Blanchard on Hip-Hop Dance Choreographing the Individual: Andréya Ouamba’s Talking Black Dance | in Haiti | Mario LaMothe ...............................................................46 Contemporary (African) Dance Approach | Thomas F. DeFrantz & Takiyah Nur Amin ...........................................8 “Recipe for Elevation” | Dionne C. Griffiths ..............................52 Amy Swanson...................................................................................93 Legacy, Evolution and Transcendence When Dance Voices Protest | Dancing Dakar, 2011-2013 | Keith Hennessy ..........................98 In “The Magic of Katherine Dunham” | Gregory King and Ellen Chenoweth .................................................53 Whiteness Revisited: Reflections of a White Mother | Joshua Legg & April Berry ................................................................12
    [Show full text]
  • Prime Somatics Think • Move • Feel • Live
    SOMATIC SYSTEMS INSTITUTE S 1 Prime Somatics think • move • feel • live CLINICAL SOMATIC EDUCATION TM PROFESSIONAL TRAINING PROGRAM PROGRAM PROSPECTUS FULL CERTIFICATION PROGRAM CONTENTS CONTENTS Greetings from the Director . 3 About Prime Somatics . 4 Greetings from the Director . 3 ThomasAbout HannaPrime Somatics. .. .. .. .. .. .. .. .. 4 . 5 ProfessionalThomas Hanna Praise .. .. .. .. .. .. .. .. .. .. .. 5 . 5 SSIProfessional History & MissionPraise . .. .. .. .. .. .. .. .. .. 5 . 6 PraiseSSI Historyfor Prime & SomaticsMission .. .. .. .. .. .. .. .. 6 . 6 StudentPraise Testimonialsfor Prime Somatics . .. .. .. .. .. .. .. 6 . 7 CurriculumStudent Testimonials . .. .. .. .. .. .. .. .. .. 7. 9 StudentCurriculum Support . .. .. .. .. .. .. .. .. .. .. .. .. 9. 9 Student Support . 9 Certification . 10 Certification . 10 Society Membership . 10 Society Membership . 10 SocietySociety Benefits Benefits . .. .. .. .. .. .. .. .. .. .. .. 10. 10 StudentStudent Benefits Benefits . .. .. .. .. .. .. .. .. .. .. .. 10 . 10 FacultyFaculty & &Director Director . .. .. .. .. .. .. .. .. .. .. 11. 11 Campus/HousingCampus/Housing . .. .. .. .. .. .. .. .. .. .. 12. 12 CONTACT INFORMATION Somatic Systems Institute 32 Masonic Street Northampton, MA 01060-3038 (877) 586.2555 or (413) 586.2555 for more information, including schedules & tuition — or to apply to the training program — visit us today at somatics.org/training S 1 Prime Somatics think • move • feel • live Dear Prospective Student, On behalf of the entire faculty at the Somatic Systems
    [Show full text]
  • Exploring the Integration of Somatic Concepts Into the Teaching and Learning of Ballet
    UNIVERSITY OF CALIFORNIA, IRVINE Sensing and Shaping from Within: Exploring the Integration of Somatic Concepts into the Teaching and Learning of Ballet THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS in Dance by Alana Rae Isiguen Thesis Committee: Professor Loretta Livingston, Chair Professor Mary Corey Professor Tong Wang 2015 © 2015 Alana Rae Isiguen TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iii ABSTRACT OF THESIS iv CHAPTER ONE: From Balanchine to Bartenieff: My Path Incorporating Somatic Thought into Ballet Beginnings 1 Ballet Pedagogy: How We Teach and Learn, and Looking Forward 4 Optimal Setting for Somatic Introductions? 5 Thesis Research and Project 7 CHAPTER TWO: Somatic Foundations What are “somatics”? 10 The Alexander Technique 11 Laban Movement Analysis/Bartenieff Fundamentals 13 Ideokinesis 15 Insights from Injury 17 CHAPTER THREE: Looking at the Role of Somatics in Undergraduate Dance Curricula A Brief Overview of Dance in Higher Education in America 19 Somatic Offerings within BFA Conservatory Dance Programs 20 Making Connections from Somatics to Dance Technique 23 CHAPTER FOUR: Creating a Pedagogical Framework Breath and Kinesthesia 27 Connectivity 29 Intention and Initiation 31 Experiential Anatomy 32 CHAPTER FIVE: Research Project with Undergraduate Students 35 Teaching and Learning with Breath and Kinesthesia 36 Discovering Connectivity 37 Finding Intention and Initiation 40 Exploring Anatomy Through Movement 42 CHAPTER SIX: Conclusions Time 45 Empowerment 46 Community 47 Final Thoughts 48 BIBLIOGRAPHY 50 ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my thesis committee chair, Professor Loretta Livingston. Every step of the way your insights into academic writing and wealth of knowledge have soundly guided me.
    [Show full text]
  • 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.
    [Show full text]
  • California State University, Northridge Dance
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE DANCE IMPROVISATION IN DANCE EDUCATION: ATTITUDES AND USES A thesis submitted in partial fulfillment of the requirements For the degree of Master of Science in Kinesiology By Jacobi Lynn Mejia May 2015 The thesis of Jacobi Lynn Mejia is approved: ________________________________ __________________ Shana Habel, M.A. Date ________________________________ __________________ Terry Sweeting, Ph.D. Date ________________________________ __________________ Konstantinos Vrongistinos, Ph.D., Chair Date California State University, Northridge ii DEDICATION I dedicate this thesis to the Holy Spirit for enabling me to get this far in education and to become the first in my nuclear family to hold degrees in higher education. I also dedicate this thesis to Albert Durstenfeld for helping me from the start of the process to become a master’s student and being there for me throughout this journey. I additionally dedicate this thesis to my mom for motivating me to go to college and believing in me, Phyllis Grimmett, and to my recently-deceased Noel, Aunt Jeannine, and Grandmother Grace, who persevered. And lastly, I dedicate this thesis to all the great educators that have been involved in my life that have paved my way to achieve this goal. iii TABLE OF CONTENTS Signature page ii Dedication iii List of Tables vi Abstract vii CHAPTER I- INTRODUCTION 1 Background 1 Problem 5 Purpose 5 Hypotheses 5 Benefits 7 CHAPTER II- LITERATURE REVIEW 8 Teachers’ Views on Improvisation 8 Attitudes: Reasons to Use Improvisation 10
    [Show full text]