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Lila A. Reid Master of Fine Arts Department of Dance June 2018 Title: Using Collaborative Processes and Touch-Based Partnering to Formulate Concept and Choreography for a Screendance The research in this study uses collaborative methodology, touch-based partnering, and screendance. The facilitator and two dancers aimed to understand how touch-based partnering and collaborative process curates movement material for the creation of screendance. The dancers and facilitator engaged in orienting movement workshops by studying three partnering idioms: Contact Improvisation, Country Swing, and Cha Cha. They later employed a methodology for collaborative choreography and ultimately filmed movement material in four filming shoots with reflective rehearsals interspersed. The facilitator independently created the screendance, Petrichor, from the footage. The film was premiered at a presentation event on January 19, 2018, where the dancers and facilitator also conducted a lecture-demonstration and talk-back with the audience. Reflections on the study resulted in new understandings about extended applications in touch-based partnering, collaborative methodologies, and the medium of screendance for dance educators and artists. The screendance, Petrichor, can be viewed as a supplemental file.

This thesis document articulates the development of Dance/Video Mashup as a Choreographic Process. Prior to this movement thesis I determined a list of goals I would aim to achieve throughout the exploration of Dance/Video Mashup as a Choreographic Process. The goals aimed to develop a choreographic process that sampled movement from videos found online, create a website that documented the creative process of developing a screendance, realize an artistic need and develop clear guidelines for future choreographers. This document narrates and evaluates the creative process of developing guidelines for Dance/Video Mashup and clearly articulates the guidelines for future researchers and choreographers. The supplemental file attached allows readers to view the screendance, Somniloquies, created through Dance/Video Mashup as a Choreographic Process.

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.

La ciné-danse est une forme artistique hybride qui entrelace étroitement les propriétés techniques et esthétiques de la danse et du cinéma. Ce n’est pas un genre nouveau: d’une certaine manière, la ciné-danse existe depuis les tout débuts du cinéma. Mais elle est théorisée pour la première fois au milieu des années 1940 par Maya Deren qui propose aussi avec A Study in Choreography for Camera (1945) un film-manifeste qui s’est avéré déterminant pour la reconnaissance et le développement decette catégorie la plus transdisciplinaire du film de danse.Néanmoins, c’est seulement à partir des années 2000 etsurtout depuis le début des années 2010 que les festivals spécialisés se sont multipliés et que le genre a commencé à recevoir un éclairage théorique. Cette thèse contribue ainsi à ce tout jeune domaine de recherche que sont les screendance studies en proposant un premier panorama historique de la ciné-danse et en examinant certaines de ses spécificités formelles et dramaturgiques dont beaucoup n’avaient pas encore été analysées.Cette étude prend notamment le parti d’explorer la ciné-danse sous l’angle inaperçu de son hyper-sensorialité et des corporéités originales qu’elle façonne.J’y commence par retracer l’histoire plus large dans laquelle la ciné-danse s’inscrit, celle de la danse au cinéma en général et du film de danse en particulier. Puis,je propose d’esquisser plus spécifiquement l’histoire du genre. Je souligne ensuite la fécondité de l’hybridation artistiquequi définit la ciné-danse en analysant certaines de ses singularités formelles et dramaturgiques. J’examine notamment l’usage sui generis du gros plan dans ces films, la (re)matérialisation des corps à laquelle ils procèdent par un traitement hyper-sensoriel et synesthésique des images et des sons ainsi que les corporéitésétranges qu’ils créent et les implications critiques que celles-ci renferment. Enfin, je me concentre sur un aspect capital de la ciné-danse : les lieux qu’elle investit et les rapports complexes entre corps et espaces qu’elle interroge. Cette thèse brosse ainsi le portrait historique et esthétique d’un art hybride, d’un genre éminemment corporel et sensoriel et d’une pratique in situ. J’y mets au jour des oeuvres expérimentales qui explorent la capacité de ce croisement artistique à mettre en exergue la matérialité des corps ainsi que la sensorialité des films et de l’art chorégraphique. / Screendance is a hybrid artistic form which inextricably interweaves the technical and aesthetic properties of both dance and cinema. It is not a new genre: in a certain sense, screendance has existed since the very beginnings of cinema. It was first theorised, however, in the mid-1940s by Maya Deren, whose film-manifestoA Study in Choreography for Camera (1945) proved central to the recognition and development of this most transdisciplinary category of dance films. Nevertheless, it is only from the 2000s and even more-so from the 2010s onwards that specialisedfestivals have proliferated and that the genre has begun to receive theoretical attention. This dissertation is thus a contribution to the emerging field of screendance studies: it proposes a historical panorama of the genre and examines its formal and dramaturgical specificities, many of which have not yet been the object of in-depth analysis. This examination aims in particular to explore screendance from the previously unconsidered perspective of its hyper-sensoriality and the originalcorporealities it constructs.I begin by retracing the larger history within which screendance has grown that of dance in film and especially that of dance films. I then propose a more specific history of screendace proper. Next, I emphasise the fecundity of the artistic hybridisation which defines screendance by analysing certain of its formal and dramaturgical singularities. More specifically, I examine its sui generis usage of closeups, its (re)materialisation of bodies through a hyper-sensorial and synaesthetic treatment of images and sounds, as well as its strange corporealities and the critical implications they suggest. Finally, I focus on a crucial dimension of screendance: the places it investigates and its complex interrogations of the relationships between body and space. This dissertation paints a historical and aesthetic portrait of a hybrid art, an eminently corporeal and sensorial genre, a site-specific practice; it celebrates experimental works which explore the richness of an artistic cross-over and highlight the materiality of bodies as well as the sensoriality of dance and film.

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Syftet med denna studie är att undersöka en dokumenterad respektive konstnärligt filmad metod för instudering av jazzdansmaterial, på ett sätt som samspelar med det egna sättet att lära. Undersökningen har gjorts genom intervjuer, film och observationer med hjälp av en danspedagogstudent. Litteraturen inom ämnet har varit begränsad vilket inneburit en kunskapsinhämtning från flera kunskapsfält. För att analysera materialet har jag använt en tematisk analys samt ett observationsschema med fokus på dansanalys av följande jazzdanskomponenter etablerade av Katarina Lundmark: bredd &amp; höjd, precision, timing, koordination och musikaliskt uttryck (2011). Analysen av intervjuerna resulterade i totalt 10 teman, varav 4st tillhörande respektive filmmetod. Observationerna jämförde två jazzdansfraser som båda filmats vid två tillfällen med en veckas mellanrum och skapade ett resultat för hur vardera jazzdanskomponent påverkade gestaltningen i respektive jazzdansfras. Ett av studiens fynd visar att arbetet med film som instuderingsmetod kräver ett tydligt situerat syfte där de inre processerna aktivt samspelar med de yttre processerna. / The purpose of this study was to investigate a documenting respectively screendance recorded rehearsal method for jazz dance material, in a way that interacts with one's own way of learning. The study has been done through interviews, film and observations with the help of a student in dance pedagogy. The literature on the subject has been limited, which led into the gathering of literature from several fields. To analyze the material, I have used a thematic analysis as well as an observation scheme combined with a focus on dance analysis of the following jazz dance components conducted by Katarina Lundmark: width &amp; height, precision, timing, coordination and musical expression (2011). The analysis of the interviews resulted in a total of 10 themes, of which 4 belongs to the respective filming method. The observations compared two jazz dance phrases that were both filmed on two occasions one week apart from each other and created a result for how each jazz dance component affected the performance in the respective jazz dance phrase. One of the study's findings shows that working with film as a rehearsing method requires a clearly situated purpose where the internal processes actively interact with the external processes. / <p>Angivet datum ovan för presentation är ifrån min opponering, uppsatsen godkändes först den 21 juni 2024, när revideringsarbetet till följd av opponeringen var avklarat. </p>

The general aim of this research is the development of categories and codes (according to Saldaña's terminology, 2009) of the uses, functions and properties of the floor in dance. We have followed a methodology based on the qualitative analysis of a video corpus of dance works that were selected representive of a specific language (classical, modern and new dance) or as belonging to a particular historical moment (our research ranges from the end of the 19th century to the present), although some choreographies have also been included due to their contribution to the use of the floor in dance. In addition, this selection has been restricted by the availability of the works in video format. The final list of the works we have been analysing makes a total of 295 choreographies, 11 of which have been examined in depth so as to develop a qualitative codification. Once the categories had been established, the different aspects of the corpus of dances could be finally described and, in each category, the codes, which are the values of the dances, were also constituted. From the video-based qualitative analysis we propose different categories, grouped into three meta-categories focusing on the body techniques, the characteristics of the ground/floor, and the representation. / El objetivo general de esta investigación es el desarrollo de categorías y códigos (según la terminología de Saldaña, 2009) de los usos, funciones y características del suelo en la danza, por lo que hemos seguido una metodología basada en el análisis cualitativo de un corpus de videos de obras dancísticas, seleccionadas por ser representativas de un lenguaje concreto (clásico, moderno y new dance) o por pertenecer a un momento histórico determinado (nuestra investigación parte desde finales del siglo XIX y llega hasta la época actual), aunque también hemos incluido algunas coreografías que consideramos relevantes por su aportación respecto al uso del suelo. Esta selección también se ha visto condicionada a la disponibilidad en formato video de las obras. El listado final de obras sobre las que hemos trabajado ha sido del orden de 400 coreografías, de las cuales 11 han sido analizadas en profundidad para desarrollar la codificación cualitativa, estableciendo unas categorías de análisis que han permitido describir los diferentes aspectos del corpus de danzas, y en cada categoría, establecer unos códigos que son los valores que pueden adquirir las danzas. Este trabajo de visionado ha tenido como resultado del análisis cualitativo diversas categorías, y nos hemos centrado en las relativas al cuerpo, a las propiedades del suelo para la danza y a la representación.. / Aquesta investigació te com a objectiu el desenvolupament de categories i codis (segons terminologia de Saldaña, 2009) dels usos, funcions i caracterítiques del sòl a la dansa, per la qual cosa hem seguit una metodologia d'anàlisi qualitativa d'un corpus de vídeos de dansa, seleccionats perquè són representatius dels diferents llenguatges (clàssic, modern i new dance) o perquè pertanyen a un moment històric determinat (la nostra investigació s'inicia a finals del segle XIX i arriba fins a l'època actual), encara que també hi hem inclòs algunes coreografies que considerem rellevants per la seua aportació a la dansa en l'ús del sòl. La selecció s'ha vist condicionada a la disponibilitat de les obres en format vídeo, essent un total de vora 295 les coreografies analitzades, de les quals 11 han estat treballades en profunditat per al desenvolupament de la codificació qualitativa, constituïnt unes categories d'anàlisi que han permés descriure els diferents aspectes del corpus de danses, i establint a cada categoria uns codis com a resultat dels valors que les danses poden adquirir. Aquest treball de visionat presenta, com a resultat de l'anàlisi qualitativa, diverses categories, i la nostra investigació s'ha centrat en les que són estrictaments corporals, les referides a les propietats del sòl en relació a la dansa i les de la seua representació. / Arnal Rodrigo, RV. (2017). El suelo en la danza: uso del cuerpo y propiedades del soporte [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90449