Thesis (M.A.)--Rowan University, 2007. / Typescript. Includes bibliographical references.

Thesis (M.A.)--Brigham Young University, 2002. / Includes bibliographical references.

Title: Description of somatotype as part of sports performance in sports dance. Objectives: Create images of selected portions of the structure of sport performance in sport dancing. Help everyone in this sport. Establish model Czech dance couples in the world's top closer, only with a certain measurement for certain segments of the exercise. Methods: For the Purposes of this paper we will work with methods: analysis of scientific literature, the method of interviewing, observation method. Results: The aim was to show the close similarity between the partners and partner dancing couples individually and as a whole. These results I was able to prove (the differences were minimal). Based on my research, it is possible to generalize the model, which is important for dance and sport for all athletes who want to get closer world leaders. Keywords: Sports performance, sports dance, posture, BMI, WHR, height, weight, Latin American and Standard dances, somatotype.

This dissertation analyzes the intellectual and political contributions of choreographer Katherine Dunham (1909-2006). As an African American woman, Dunham broke several barriers of race and gender, first as an anthropologist conducting ethnographic fieldwork in the Caribbean in the 1930s, and second as the artistic director of a major dance company that toured the United States, Latin America, Europe, Asia, and Australia from the 1930s through the 1960s. She also wrote several scholarly books and articles, opened multiple schools, and served on the boards of numerous arts organizations. Although Dunham's contributions to anthropology and dance are vitally important, "Choreographing a New World" emphasizes her political engagement. Through actions both onstage and off, she helped strengthen the transnational ties of black social movements from the New Negro Movement to the Black Power Movement. In particular, the dissertation contends that Dunham made dance one of the primary forces in the creation and perpetuation of the African diaspora. She herself attempted to live diaspora by forging personal connections across racial, linguistic, national, class, and cultural borders. In order to shift the focus to Dunham's intellectual and political engagement, "Choreographing a New World" turns to previously untapped archival sources. This dissertation is the first scholarly work on Dunham to examine archives from the U.S. State Department, Office of Economic Opportunity, Bernard Berenson Papers, Rockefeller Foundation Records, Langston Hughes Papers, and Rosenwald Foundation Papers, among other archives. It combines insights from these archives with choreographic analysis, interviews with Dunham's former dancers and students, and embodied participant-observation research at the annual International Katherine Dunham Technique Seminars from 2010 to 2013. Overall, "Choreographing a New World" not only provides a new perspective on Dunham, but also raises important questions about dance as an intellectual and political activity, especially within an African diasporic context.

Thesis (M.F.A.)--University of California, Irvine, 2005. / Includes bibliographical references (leaves 88-89).

I denna uppsats undersöks erfarenheterna och attityderna som sex pardansare har kring heteronormativitet inom dansen. Deras tankar kring olika roller och betydelser kring danserna fångas upp i intervjuer och tolkas och analyseras sedan via queerteorin och det dramaturgiska perspektivet som utgångspunkten i analysen av sociala situationer. Resultaten visar att heteronormativiteten lever inom sporten pardans via traditioner från förr och de regleringar som finns idag men också genom de attityder som ungdomarna besitter och uttrycker. Dansarna själva uttryckte sig om att förändring inom dansen kan rubba dansen värdegrunder och göra sporten till något helt annat än vad den alltid har varit.Pardansen har inte ofta varit objekt för forskning vilket medfört att jag förlitar mig på mina intervjuer och väljer att göra en icke generaliserbar uppsats då det är erfarenheter, individuella tankar och tolkningar står som grund för min analys. Jag har även plockat alla dansare från samma klubb vilket har genererat till att de har haft liknande svar till den del frågor vilket kan tänkas leda till deras tränare som jag därefter har intervjuat med andra frågor.Min slutsats är den att pardansen i sig ses som en feminin sport men utövar heteronormativa värden som präglar dansarna då det enligt utövarna är otänkbart att hålla kvar vid dansens värdegrunder och samtidigt dansa samkönat på elitnivå. Pardansenarna i denna skåneförening har en heteronormativ syn på dansen och dess betydelse som idrott och kulturbevarande aktivitet. / This thesis explore the experiences of heteronormativity of six ballroom dancers. Their own thoughts on different roles and meaning behind the dances have been captured in interviews. Later translated and analysed through Queer theory and Erving Goffmans dramaturgical perspective theory where he enlightens us about his perspective on social situations as performances based upon the conviction of persuasion. Discovering that heteronormativity lives within the sport as traditions from past times and upheld by rules and guidelines, and attitudes expressed by the dancers. The dancers themselves agree on changing the rules of the sport is making the meaning of ballroom dancing less accurate matching the history of the sport which seems to be the pillar of ballroom dancing. Heteronormativity is the main subject of this thesis.

Asian-American dance study is an integration of dance studies and Asian-American studies. The existence of social and political stereotypes on Asian-American dancers often categorizes them into an oriental labeling. The labeling of Asian-American dancers based on their ethnicity and their culture’s history in the United States and not considering the artists’ intent and the nature of their works cause this orientalism bias. Due to lack of researches in the past, older generations of Asian-American dancers in the United States fell victim to this oriental labeling. Anything that the public did not seem to understand often led them to believe what they were seeing was foreign. It is not about the issue of racism that this study intends to bring, but rather this study will focus on the Asian-American dancers’ place of belonging in the American society. Eiko & Koma, two renown Asian-American dancers, have an extensive performance career throughout their lives traveling from Japan to Europe in the early 1970s and eventually settling down in the United States in 1976. Eiko & Koma witnessed through the social, economic, and political changes in the United States from the mid-1970s to present. This research will focus on the perceptions on Asian-American dancers by the American society both in the past and the present and address the issues that revolve around them primarily through the works of Eiko & Koma and their career history. / Dance

Since the middle of the twentieth century, American dance artists have presented complicated images of American identity to world audiences, as dance companies traveled abroad under the auspices of the US State Department. This dissertation uses oral history interviews, archival research, and performance analysis to investigate how dancers navigated their status as official American ambassadors in the Cold War and the years following the 2001 terrorist attacks in the US. Dance companies worked and performed in international sites, enacting messages of American democratic superiority, while individual dancers re-interpreted the contours of American identity through personal encounters with local artists and arts practices. The dancers’ memories of government-sponsored tours re-insert the American artist into American diplomatic history, prompting a reconsideration of dancers not just as diplomatic tools working to persuade global audiences, but as creative thinkers re-imagining what it means to be American. This dissertation begins in the late 1950s, as the State Department began discussing appropriate dance companies to send to the Soviet Union, as part of the performing arts initiatives that began in 1954 under the direction of President Dwight Eisenhower. The dissertation concludes by examining more recent dance in diplomacy programs initiated in 2003, coinciding with the US invasion of Iraq. My analysis considers New York City Ballet’s 1962 tour of the Soviet Union, where the company performed programs that included George Balanchine’s Serenade (1934), Agon (1957), and Western Symphony (1954), and Jerome Robbins’ Interplay (1945) during the heightened global anxieties of the Cuban Missile Crisis. My analysis of Ailey’s 1967 tour of nine African countries focuses primarily on Revelations (1960), which closed every program on the tour. Moving into the twenty-first century, I analyze A Slipping Glimpse (2007), a collaboration between Margaret Jenkins Dance Company and Tansuree Shankar Dance Company, which began as a US State Department-sponsored 2003 residency in Kolkata. To explore each tour, I consider government goals documented in archived minutes from artist selection panels; dancers’ memories of the tours, which I collected in personal interviews conducted between 2007 and 2009; and performance analysis of the pieces that traveled on each tour. / text

Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. John O. Perpener III, Florida State University, School of Visual Arts and Dance, Dept. of Dance. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains vi, 87 pages. Includes bibliographical references.

Thesis (M.F.A.)--University of California, Irvine, 2005. / Includes bibliographical references (leaves 88-89). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.