Thesis (M.A.)--University of Wisconsin, 1963. / Typewritten copy. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 88-89).

Thesis (M.A.)--University of Wisconsin--Madison, 1964. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 87-89.

Thesis (M.S.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 157-160).

Thesis (M.S.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 105-109).

No description available.

This study sought to determine the relationship of motor creativity, tap dance skill, and experience in tap dance choreography to the ability to choreograph tap dances.

This practice-led research enquires into how ideologies of community as commonality have informed the dominant rhetoric in the Community Dance sector since the 1970s, and formed the conditions of possibility for Cross-generational Dance, a reciprocal relationship between discourse and practice that has arguably been overlooked in the historiography of Community Dance. Framed by Michel Foucault’s (1972) concept of the episteme – an umbrella mode of knowing that permeates historical taxonomies – Community Dance history is linked here with experimental choreographic processes during the 1960s and 1970s, and Relational Art of the 1990s. Such relationships suggest a more critical, politically-orientated genealogy. Cross-generational Dance is discussed through a reflexive approach to the writing which reveals how philosophies of community are divided into those associated with the idea of commonality – either through shared characteristics or common goals – and those that advocate a break with these imperatives, here examined through the philosophies of Adriana Cavarero, and Jean-Luc Nancy. Given its perceived agenda to bring people of distinct ages together into a harmonious totality, Cross-generational Dance provides a particular opportunity to discuss community, examined here through case-studies of key choreographers at the time of writing – Rosemary Lee, and Cecilia Macfarlane. The discussion of age is made explicit through an analysis of models of difference, and introduces how an ethical encounter with others can avoid the totalising impulse of community in subsuming these differences. The methodology of ‘relational choreography’ underpins the phenomenological emphasis on process and relationships in choreography over more conventional conceptions of product and form in dance and supports the hypothesis that community can be experienced as ‘being in relation through a phenomenology of uniqueness’. This conception does not rely on polarising the positions of the individual and the community, or self and other, young and old, but rather generates an experience of uniqueness, wherein differences remain unresolved, shared amongst ‘others plural’ (Nancy, 2000). This thesis therefore reconsiders what community means in the context of dance practice.

This practice-based research project explores how a choreographic view of a physicallyinformed drawing practice can serve to articulate and generate new understandings of material relations between moving bodies and static, receptor surfaces. Using task-based studies and other systematic structures of working that activate the horizontal plane of the floor, the research reveals how different configurations of relations between bodies, surfaces, and materials such as charcoal and paper, can mediate and extend a reciprocal touch between body and surface. Rather than on the production of finished artwork, emphasis is placed on processual activity and the working conditions from which material and visual residues emerge as evidential remains of reciprocal touch. The research is organised around the key terms intersect, surface, and body that operate as working concepts and facilitate a way of organising the observations and findings of the practical investigation into distinct areas of enquiry while recognising that these areas increasingly overlap and complicate one another. The thesis is extended through a critical engagement with ideas of non-human agency and materiality developed in the work of Harman (2013), Bennet (2010) and Barad (2013) and a reconsideration of horizontality through Steinberg’s notion of the ‘flatbed picture plane’ (1972) which informs a choreographic view of drawing in relation to orientation and surface distribution. The thesis is further contextualised through a consideration of the choreographic conditions presenting in performance works of choreographers Trisha Brown, La Ribot and Janine Antoni that extend across choreography and visual art contexts. The thesis aims to contribute to recent discourse in the field of choreography concerned with how a co-presence of human and non-human forces can be incorporated into choreographic processes and how drawing can present as choreographic knowledge through a consideration of material agency in approaches to performance-making.

No description available.

Thesis (Ph. D)--Ohio State University, 2002. / Includes abstract and vita. Advisor: Terry Barrett, Dept. of Art Education. Includes bibliographical references (p. 305-315).