The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing. / The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness. / Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy. / While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.

This report is a hermeneutic analytical study of a practical pedagogical situation. For three occasions I observed my own practice as a dance teacher and how a moment, choreographic approach in the governing documents for upper secondary school GY11 was executed in a group of dance students. The part is formulated in the course objectives for the courses on the arts program under the topic Dansgestaltning with focus on choreographic approach. The study is based on a socio-cultural thinking but also takes into account the prevailing gender theories and focuses on how the process of formulation level, through the transformation level is portrayed in the realization level of the dance regarding choreographic approach. The study illustrates educational research from both a dance perspective and a school development perspective. The intention of this study was to raise the awareness of how a pedagogical situation was designed and what is realized in the dance studio. Some pedagogical models are described as useful in raising awareness of the process and the realization of the aspect of moment in a dance studio. The methodology used for the study was participant observation and focus conversations. The results are reported in a discussion on a larger awareness of my own practice, and the benefits it can bring to learning, dancing and school development.

This study investigates how a choreographer, through the abstract language of contemporary dance, generates emotional states/nuances which can be recognised but at the same time allow for ambiguity in the reading of the work. This investigation was addressed through a series of performance projects, culminating in the final dance work Inhabited Space. The setting for the work, triggered by Bachelard's The Poetics of Space, became the imagined spaces of a domestic urban environment, specifically the lounge and bedroom. In order to create a work reflecting emotional states and nuances, a range of choreographic processes were explored to inform the construction of movement vocabulary, framed by performer/space/object relationships. This studio-based study with performative outcomes was supported by a hybrid methodological approach of predominantly practice-led research, incorporating aspects of action research and phenomenology. Findings and understandings emerged from reflective practice in the exegesis but were primarily embedded within the creative work itself.

This research uses dance and film to investigate the creation and conveyance of a kinesthetic experience of place. The choreographer, dancers, and videographer participating in the study aimed to create a kinesthetic experience of place by engaging the senses in a sensory experience of place and exploring the different feeling states of place. The study utilized choreographic methodologies of site-specific dance and screendance to facilitate a creative process rehearsed, performed, and filmed in the Oregon Dunes National Recreation area at Eel Creek. The footage from this choreographic process was edited into a screendance intended to convey a kinesthetic experience of place to viewers. The pilot study, At Eel Creek, and the final screendance, ensō, can be viewed through supplemental files included with this document. The evaluation of the study has resulted in key discoveries into the components necessary for the creation and conveyance of a kinesthetic experience of place.

A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não eurocêntrica da dança do ventre, a qual postula que todas as danças são potentes artisticamente, independente de sua origem. Imersa na prática das aulas de dança contemporânea de Eva Schul, conhecendo sua poética, vivenciando sua técnica e inspirada pela antropofagia (ANDRADE, 1924; 1928, DANTAS 2008), a pesquisadora encontrou o caminho para alcançar a hibridação desejada (CANCLINI, 2011; LOUPPE, 2012). A poética de Eva Schul permitiu inserir conceito e reflexão na coreografia e relacionar os movimentos clássicos da dança oriental a procedimentos de composição em dança contemporânea. A criação coreográfica apresentada buscou problematizar o orientalismo que vê a dança do ventre de forma imutável através do tempo. Neste estudo compreendeu-se que, para inserir a dança do ventre em uma perspectiva contemporânea, é preciso subverter a visão orientalista associada a esta dança e refletir sobre a ambiguidade da bailarina de dança do ventre a qual, se por um lado, é mostrada como um ser exótico para apreciação, por outro lado é muitas vezes limitada a um objeto sensual passivo. / From the perspective of a research in art by the auto-ethnographic view, this memorial proposes an reflexive analise of the composition process of a hybridized belly dance choreography with the poetic of the choreographer Eva Schul . By this way, it seeks to understand how can belly dancing be movement matrix for a contemporary dance composition. Studies in "World Dance" (FOSTER, 2009; SHAY; SELLERS - YOUNG, 2003; 2005) and the post colonial perspective of authors like Edward Said (2007) and Homi Bhabha (2010), provided a theoretical framework to propose a non-eurocentric approach to belly dance, from which all dances are artistically potent regardless of their origin. Immersed in the classes of Eva Schul, learning her poetic, experiencing her technique and inspired by anthropophagy (ANDRADE, 1924 1928; DANTAS, 2008), the researcher found the way to achieve the desired hybridization. (CANCLINI, 2011; LOUPPE, 2012) The poetic from Eva Schul allowed to insert into the composition concept, reflection and to connect the classical movements of oriental dance to a compositional procedures of contemporary dance. The choreography presented sought to problematize the orientalism that sees belly dance as an immutable form throughout the times. In this study it was understood that to place belly dance in a contemporary perspective, it is necessary to subvert the orientalist vision associated with this dance and reflect on the ambiguity of the belly dancer who, if on one hand, is shown as an exotic being to be appreciated, on the other is often viewed only as a passive sensual object.

abstract: You Are Here: A choreographic memoir exploring anxiety in the YouTube generation is an evening-length performance which began as an interdisciplinary exploration of the therapeutic properties of creative writing and creative movement. Throughout the creation of this performance, the choreographer engaged in self-reflection from which arose the themes of anxiety, the Internet, and identity. As a result of this experience, she reached conclusions regarding her personal voice and agency, interdisciplinary art as therapy, the importance of dance as a coping mechanism in digital cultures, and a definition of the therapeutic process of choreographic memoir. / Dissertation/Thesis / Masters Thesis Dance 2017

abstract: “shiFT: An Exploration of Empathy” is a document detailing the process of creating the evening length dance performance, “shiFT,” through the theoretical, somatic, kinesthetic and choreographic research of empathy. This research specifically addressed the ability to consciously take on an empathetic perspective and the change that must occur within oneself to co-create empathy. It focused on the factors that impede empathetic function and the role of vulnerability in experiencing empathy. Throughout the creation of this concert, the choreographer employed empathy building exercises and concentrated creative processes constructed from her research into the neurological, emotional and physical aspects of empathy with a cast of ten dancers. Choreographer and dancers worked collaboratively to create an empathetic environment, a pre-show film installation titled GREY MATTER, and the culminating evening length concert piece “shiFT.” / Dissertation/Thesis / Masters Thesis Dance 2018

A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não eurocêntrica da dança do ventre, a qual postula que todas as danças são potentes artisticamente, independente de sua origem. Imersa na prática das aulas de dança contemporânea de Eva Schul, conhecendo sua poética, vivenciando sua técnica e inspirada pela antropofagia (ANDRADE, 1924; 1928, DANTAS 2008), a pesquisadora encontrou o caminho para alcançar a hibridação desejada (CANCLINI, 2011; LOUPPE, 2012). A poética de Eva Schul permitiu inserir conceito e reflexão na coreografia e relacionar os movimentos clássicos da dança oriental a procedimentos de composição em dança contemporânea. A criação coreográfica apresentada buscou problematizar o orientalismo que vê a dança do ventre de forma imutável através do tempo. Neste estudo compreendeu-se que, para inserir a dança do ventre em uma perspectiva contemporânea, é preciso subverter a visão orientalista associada a esta dança e refletir sobre a ambiguidade da bailarina de dança do ventre a qual, se por um lado, é mostrada como um ser exótico para apreciação, por outro lado é muitas vezes limitada a um objeto sensual passivo. / From the perspective of a research in art by the auto-ethnographic view, this memorial proposes an reflexive analise of the composition process of a hybridized belly dance choreography with the poetic of the choreographer Eva Schul . By this way, it seeks to understand how can belly dancing be movement matrix for a contemporary dance composition. Studies in "World Dance" (FOSTER, 2009; SHAY; SELLERS - YOUNG, 2003; 2005) and the post colonial perspective of authors like Edward Said (2007) and Homi Bhabha (2010), provided a theoretical framework to propose a non-eurocentric approach to belly dance, from which all dances are artistically potent regardless of their origin. Immersed in the classes of Eva Schul, learning her poetic, experiencing her technique and inspired by anthropophagy (ANDRADE, 1924 1928; DANTAS, 2008), the researcher found the way to achieve the desired hybridization. (CANCLINI, 2011; LOUPPE, 2012) The poetic from Eva Schul allowed to insert into the composition concept, reflection and to connect the classical movements of oriental dance to a compositional procedures of contemporary dance. The choreography presented sought to problematize the orientalism that sees belly dance as an immutable form throughout the times. In this study it was understood that to place belly dance in a contemporary perspective, it is necessary to subvert the orientalist vision associated with this dance and reflect on the ambiguity of the belly dancer who, if on one hand, is shown as an exotic being to be appreciated, on the other is often viewed only as a passive sensual object.

A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não eurocêntrica da dança do ventre, a qual postula que todas as danças são potentes artisticamente, independente de sua origem. Imersa na prática das aulas de dança contemporânea de Eva Schul, conhecendo sua poética, vivenciando sua técnica e inspirada pela antropofagia (ANDRADE, 1924; 1928, DANTAS 2008), a pesquisadora encontrou o caminho para alcançar a hibridação desejada (CANCLINI, 2011; LOUPPE, 2012). A poética de Eva Schul permitiu inserir conceito e reflexão na coreografia e relacionar os movimentos clássicos da dança oriental a procedimentos de composição em dança contemporânea. A criação coreográfica apresentada buscou problematizar o orientalismo que vê a dança do ventre de forma imutável através do tempo. Neste estudo compreendeu-se que, para inserir a dança do ventre em uma perspectiva contemporânea, é preciso subverter a visão orientalista associada a esta dança e refletir sobre a ambiguidade da bailarina de dança do ventre a qual, se por um lado, é mostrada como um ser exótico para apreciação, por outro lado é muitas vezes limitada a um objeto sensual passivo. / From the perspective of a research in art by the auto-ethnographic view, this memorial proposes an reflexive analise of the composition process of a hybridized belly dance choreography with the poetic of the choreographer Eva Schul . By this way, it seeks to understand how can belly dancing be movement matrix for a contemporary dance composition. Studies in "World Dance" (FOSTER, 2009; SHAY; SELLERS - YOUNG, 2003; 2005) and the post colonial perspective of authors like Edward Said (2007) and Homi Bhabha (2010), provided a theoretical framework to propose a non-eurocentric approach to belly dance, from which all dances are artistically potent regardless of their origin. Immersed in the classes of Eva Schul, learning her poetic, experiencing her technique and inspired by anthropophagy (ANDRADE, 1924 1928; DANTAS, 2008), the researcher found the way to achieve the desired hybridization. (CANCLINI, 2011; LOUPPE, 2012) The poetic from Eva Schul allowed to insert into the composition concept, reflection and to connect the classical movements of oriental dance to a compositional procedures of contemporary dance. The choreography presented sought to problematize the orientalism that sees belly dance as an immutable form throughout the times. In this study it was understood that to place belly dance in a contemporary perspective, it is necessary to subvert the orientalist vision associated with this dance and reflect on the ambiguity of the belly dancer who, if on one hand, is shown as an exotic being to be appreciated, on the other is often viewed only as a passive sensual object.

No presente trabalho apresentamos algumas soluçõesoes clássicas para o problema de dois e três corpos. Uma solução memorável para o problema de três corpos, na qual os corpos perfazem uma coreografia em forma de Oito, esta soluçãoo foi encontrada em 2000 por Montgomery e Chenciner. Por fim abordamos um pouco do problema clássico de n-Corpos e suas soluções particulares. / In this work we present some classical solutions for the Newtonian problem with two and three bodies. A remarkable solution for the three body problem, found by Montgomery and Chenciner, in which each body has an eight-shaped orbit is presented. Finally some particular solutions of the n-body problem and the so called central configurations, are presented and discussed.