No description available.

No description available.

With the trend of globalization, the Creative industry has become a useful tool to compete in the global market. Fine performing art is definitely included, and dance artists play an important role in this field. A successful individual brand can prosper the dance industry and help dance artists stand out in fierce competition, even in the future when the agency system has a mature market mechanism. The researcher strives to delve into the necessities for the individual brand-building of dance performance artists, and further draws up ¡§The Framework of Individual Brand-building of Dance Performance Artists¡¨ based on Aaker¡¦s ¡§Brand Identity Planning Model,¡¨ McNally & Speak¡¦s ¡§The Inner and Outer Facet of Individual Brand¡¨ and Kaputa¡¦s ¡§Key Elements of Celebrity Brand-building,¡¨ in order to concoct suitable strategies. The research applies literature review, case study and interview techniques to collect niches and factors for the initial strategy framework. Furthermore, the way of evaluation applies Modified Delphi method with an aim to re-fortify reliability, validity and objectivity of the study. Finally, totally 4 main strategies and 14 secondary strategies are presented in the research result. The main strategies are as follows: (1) Analyze the artist personality, work image and the style of body expression, in order to grasp strength and overcome weakness in the process of building individual brands. (2) Build individual brand identity through unique choreography style and consistent characteristic; meanwhile, increase brand awareness through award acquisition. (3) Actively promote differential personal traits to strengthen image competitiveness. (4) Expand the global market and, with perceived quality, maintain long-term brand loyalty among customers; furthermore, achieve more benefits with the individual brand.

This project proposes a performing arts center in Chattanooga, Tennessee, a 170-year old industrial city. As part of the city revitalization, the design seeks to build up a "stage", and create a piece of edge at the city's northern boundary. Two folded bands, one made of skeletal steel and surfaced with copper connecting the river and the mountainous landscape beyond with the city, the other made of reinforced concrete folded to form a spatial intersection housing a series of activities: performing, spectating, and exhibiting. A curved metal screened circulation wall opens at the bottom to allow the copper band to pass as an entrance into the lobby to develop its folded intersection. Through it, an industrial stack in the middle of the site is isolated from busy city, and anchored with the building as a monument. Along the west side, an additional element characterized as the education box hovers over the ground, with unobstructed views of the river and the old steel bridge on one end, and the green hill on the other. / Master of Architecture

In recent years, the ecosystem of performing arts in Taiwan showed a prosperous condition. Not only the quantity of performing art organizations increased rapidly¡Abut also the quality of performing arts raised which shown by the diversified works made public and the high degree evaluations from overseas come along with the performance of their works. It indicates the prosperous creative dint of Taiwan performing artists and the international level of their arts. And it also emerged the active attempt of the oversea market. To promote the ability in international competition by going with the tide of the application of culture creativity industry, Taiwanese authority also list the industry of culture creativity as one of the administrative issues. And also, treat performing arts as one of the core industries of culture and art. The performing arts considered as sustaining by the dependence on resources of government become the focus of public attentions by a new image which differs from the past. The subjects about the industrialization of performing arts, positions of the performing art industry and the management of performing arts industries mentioned and discussed over and over again. Cloud Gate Dance Theatre is the research corpus in the thesis. This research exam the ¡§Cloud Gate Dance Theatre¡¨ through the " Value chain " theory raised by master Porter to find out the topology of its existing organization which formed as their own need .Then, also I analyze the ¡§Valuable activities¡¨ and the connections between in order to adjust each single value activity to optimize the ability of accomplishing the management strategy . This can raise the competition ability in its industry and create the advantages for lasting management. I expect the result of my research can provide a reference example of the best strategy suiting the performing art organizations which are still looking for or fixing the management strategy.

The purpose of this study was to investigate how Teachers¡¦ Drama Workshop established by elementary school teachers, and the systematic and consistent seminars helped increase teachers¡¦ specialty in drama teaching. The feedback to the workshop would be later examined to pass down plans and to develop suitable creative drama curriculum for elementary school. The research outcomes could serve as future reference to drama teaching in performing art. The focus of this study was on how the members in a teachers¡¦ specialized group cooperated, shared and interacted, and on the effectiveness of promoting specialty. This author used action research for investigation, starting from meeting the needs of the subjects involved, holding conversations, finding and solving problems. The conclusions were as follows. 1.Difficulties in promoting performing art curriculum in elementary school included the shortage of teachers, the ineffectiveness of seminars and teachers¡¦ lack of specialized knowledge. 2.The key to improve performing art curriculum and teaching was a systematic teacher training program. 3.Teachers¡¦ specialized groups helped teachers promoting the specialty, and shared and enriched their knowledge. 4.The feedback program helped teachers solving problems, and learned by teaching. 5.Teachers paid more attention on teaching goals when teaching drama. 6.As curricular designs differed in advantages, different designs should be well combined to make good use of all the advantages. 7.Creative drama curriculum in elementary school should include body exploring, sound and facial expression, puppets and masks, improvisation, storytelling, storytelling theater, drama appreciation, drama creation, exhibition and show. 8.There should be more than eight creative drama lessons in a semester and twenty lessons in a school year. 9.The content of creative drama teaching should be altered in proportion as the cognitive development of students changed. To succeed was to inspire students and cultivate their abilities year by year. 10.Designing and developing the Creative drama teaching lessons should experenced some stages, from brewing/preparation, development, integration to realization. During the process, some steps were also crucial, such as analyzing, discussing, designing, practicing, examining and correcting. The researcher offered the following suggestions. 1.The most important mission so far was teacher training. 2.Teachers should join more related seminars to increase their specialized knowledge in creative drama. 3.Creative drama curriculum should be promoted in elementary school to encourage open and multi learning and to help students develop fine personalities. 4.Curriculum should be put into practice step by step, and students¡¦ changes would thus be clearly traced. 5.Teachers should be encouraged to establish specialty groups of performing art, to form unions for strategy exchange so as to share and enrich their knowledge. This author also offered five points to ponder, hoping these research outcomes would be helpful reference for upgrading performing art teaching and enriching students¡¦ learning experience.

none

This thesis is a study of race and ethnicity in culture and the arts. It discusses whiteness and racism in ballet and addresses a gap in the literature for both disciplines Ballet and Race and Ethnic Studies. Even if ballet is a privileged art form that for centuries has served statecraft, survived revolutions, and political instability the problem of race in ballet is jeopardizing its validity and acceptance in the contemporary world. I ask if racism in ballet is more than behaviors, if it designates ideology, or if it is a matter of visuality and aesthetics. I do this to provide insight into how race is projected in and through the art form in question. The need to transcend the scope of a single discipline brought me to adopt interdisciplinary research to analyze ballet right at the intersection with crossing perspectives linked to the body, aesthetics, performance, privilege, race, and gender. The thesis shows that ballet gives material expression to whiteness as ideology and is compliant with an exclusive approach to an idea of the body and beauty that presupposes racist attitudes and behaviors. At the institutional level, the experience of ballet is whiteness -unnamed, unmarked, universal. But for those bodies outside the constructs of whiteness, the experience is marked by racism and objective barriers. The study informs that an exclusive discourse of the body, often disguised as aesthetic discourse, translates into limited access to ballet education, body shaming, harassment, and fewer job opportunities. However, ballet is an art form, it is more than whiteness or racism. It creates beauty in the body of the dancer which is both instrument and object of art. Ballet dancers invest their lives learning and performing an art form that some other people cherish, but how come a space of whiteness and racism is perceived as beautiful? The thesis elucidates the importance of this reflection also.

This Master thesis is about Western circus performance styles. It is the aim to describe, compare, and contextualise traits and tendencies of early Western circus performances (EWCP) and contemporary Western circus performances (CWCP) through academic terms. The investigation is centred around the thesis that CWCP have revitalized a suffering and almost dying art form called 'circus' – causing it to reach a new level of social and artistic acceptability in a postmodern world – mainly through the introduction of a significant stylistic feature: Identification. The feeling of a spectator's close emotional association with the action taking place onstage. This feature stands in opposition to the acrobatic skills exposed, and through this implementation, the author therefore claims an exposition of contrasts to occur onstage: The foreign and mysterious combined with the familiar and 'real'. The exposition of superior and seemingly unobtainable physical abilites combined with the exposition of human fragility, flawedness, and inferiority. The spectators' passive observance in awe of an artist flying high and far away combined with spectators' active engagement with an artist staring them closely into the eyes on the ground. The imaginative combined with relatable everyday-like images. Establishing a common ground between artist and audience while at the same time distorting it.  According to the author, the feature of identification has been absent in stylistic expositions of EWCP. This absence is argued to create dichotomous gaps, rather than ties, between sender and receiver as well as between performed images and images linked to 'reality'. The author suggests that these modes were crucial causes of EWCP' decrease in popularity due to the arrival of postmodernism, and that the increasing popularity of CWCP in the later 20th century was due to the elimination of these gaps. The research is done by interweaving 1) historical contextualizations and comparative studies between EWCP and CWCP, 2) discussions of selected circus scholars' literature about circus performances' stylistic developments, 3) the author's embodied experiences with circus performances (ie. as an acrobat in the company Cirque du Soleil), and 4) stylistic analyses of tropes and patterns in selected EWCP and CWCP. Conclusions are reached through the author's constructions of coherence between these aspects. Paula Saukko's eclectic research model has been applied in order to integrate various methodologies. The analyses are based on dance scholar Susan Foster's theory about modes of representations as well as selected rhetorical terms related to stylistics. It is a core aim of this Master thesis to provide studies of circus performances' stylistic executions with more clarifying and adequate terminologies.

Intangible Cultural Heritage is a dynamic presentation of the local community’s cultural authenticity and identity (UNESCO, 2003), differentiating it from other tourist destinations. Authenticity concerns arise in modern tourism studies (MacCannell, 1973), especially in heritage studies with a significant trend on safeguarding the "living culture" after 2003. However, there is little agreement on the notion of authenticity in tourism and a lack of information on how intangible cultural heritage practitioners perceive heritage authenticity, who plays an essential role in transmitting along to future generations the immaterial heritage effectively (Lenzerini, 2011). Furthermore, the dominant tourism settings in both academia and industry have overlooked the voices of local people and heritage practitioners for a long time. Through the lens of Swedish folk dancers in the Skansen Museum, this research here explores how practitioners interpret heritage authenticity during tourism activities and further involves the discussion of the authenticity issues in heritage tourism, the cultural identity of ICH practitioners, and the connotation of authenticity in the field of ICH by using Skansens Folkdanslag as a representative case study. This research is expected to contribute to the understanding of authenticity from the practitioners' perspective and the preservation of intangible cultural heritage during tourism activities.