YorkSpace has migrated to a new version of its software. Access our Help Resources to learn how to use the refreshed site. Contact diginit@yorku.ca if you have any questions about the migration.

Dance

Permanent URI for this collection

https://hdl.handle.net/10315/27682

Browse

Now showing 1 - 20 of 28

Open Access
Choreographing the Non-Ephemeral:An Investigation of Cyclical Temporality Using Minimalist Dance
(2022-12-14) Sunthoram, Ashvini; Jimenez, Jennifer
This thesis is a philosophical and performative investigation of the embodied practice of cyclical temporality used in Indian classical music and dance, called taala, including an argument against the ontological specificity of dance as ephemerality. Extending on cyclical phenomena in Indian thought, the temporal structure in Indian classical music and dance is both linear and cyclical, constructing a unique perception of time as a living entity. Through minimalist movement composition, choreographic exploration and the development of a dance work called Art of Time, I worked to support the arguments of taala and its entity-driven definition of time. By challenging the interpretation of time flowing linearly in my choreography, my discussion aims to transcend normative framings of time, body, and presence as seen in Western scholarship and dance writing, specifically liberating dance from its diagnosed ephemerality.
Open Access
Revolutionary Forms: Unsettling Dance Through Site-Relational and Transformative Aesthetics
(2022-08-08) Gorman, Rachel Da Silveira; Norman, Tracey
Reflecting on ways in which site-specificity in dance reproduces settler colonial logics, this thesis seeks to address questions about relationships of embodiment and land in screendance, remote interactive performance, and the proscenium theatre. Through close readings of work by Indigenous artists Dana Claxton and Michael Greyeyes, I consider ways in which these artworks enact decolonial aesthetics of embodiment and land. Through practice-led research creating short screendance works House, Bed Effigy, and Garden, I shift my improvisational approach from site-interactive to site-relational. Stretching or transforming aspects of the form, I develop ways to use screendance and online performance to account for my actual, emplaced location as a settler. I explore kinesthetic learning to help me to grasp and transform aspects of my choreographic process that reproduce settler colonial logics. Finally, through the production of a dance theatre work, Golem, I explore decolonial possibilities for dance in the proscenium theatre.
Open Access
Revisiting Past Practice: Traditional Japanese Dance Origins and Contemporary Dance Choreographic Practice
(2022-08-08) Ugai, Yui; Alcedo, Russ Patrick
The main purpose of this thesis research is to discover and explore the traditional Japanese dance elements that may dialogue with contemporary dance choreography and also find the methodology to successfully incorporate dancers individuality during the choreographic process. There will be an introduction to the history of the Japanese classical dance piece called The Wisteria Maiden/Fuji Musume (1826) originated from Kabuki (Classical Japanese Theatre). By revealing its history and searching movement aesthetics through this dance work, the research will incorporate some of the choreographic elements of Japanese movement aesthetics such as kamae (pose), koshi (hip), ju-shin (centre of gravity), and uchiwa (turned in feet) as well as the research of internationally well-known Japanese artists in Dance (Tatsumi Hijikata), Theatre (Tadashi Suzuki), and Film (Akira Kurosawa) into new contemporary dance work, New Nostalgia. In addition to the choreographic elements, there will be a contemporization of the elements of the production of this work, that includes the stage set, props, and the motif of wisteria flowers, and a collaborative process with a paper artist.
Open Access
Methods of Surrealism and Intermedial Contemporary Dance
(2022-08-08) Stuart, Jessica Lynn Hayley; Jimenez, Jennifer
This thesis draws on the creative method of Surrealism referred to as automatism within the setting of contemporary dance. The research acknowledges the origins of the Surrealist movement, the use of automatism across various disciplines, and its application within the thesis research. The practice of automatism is used to generate unique movement that is organic to the individual. Interested in the unconscious mind as a trove of creative impulses, the performers are urged to communicate with their creative core, without the judgement of their logical, conscious mind. The visual aesthetic of the work aims to model Surrealisms goal to transcend from reality. To further support this, Jessica Stuart relies on the use of digital media to construct what she refers to as a "dreamscape" environment. Film and projections are significant mediums in this exploration of technology and dance. Choreography and technology are combined in order to augment the live performance space, and challenge concepts of reality. The results of this research are used to create Stuart's Master of Fine Arts thesis project, In Media Res: an intermedial contemporary dance, existing in both the physical and virtual planes.
Open Access
Moving Through States: Applying the Seven Levels of Tension
(2021-11-15) Seibold, Kaitlyn Helene; Callison, Darcey
This thesis draws from Theatre Methodist Jacques Lecoqs and his Seven Levels of Tension to experiment with contemporary dance choreography and performance, and discusses the process and insights that unfolded during the creation of Meeting at R9: a short, contemporary dance film and my Masters thesis project. Focusing on ways a performer can access, experience, and recognize tension in the body, I explore ways in which choreographers can use tension levels (as well as mime and improvisation) to evoke a sense of urgency and different impulses in order to generate different physicalities (or physical capacities). Accessing and utilizing expressive, embodied movements inspired in this process, I argue, can serve to generate dynamic choreography and stimulate audience engagement. This thesis is intended for the performer, researcher, choreographer, or anyone who is interested in using the Seven Levels of Tension to craft movement for the stage and alternative locations.
Open Access
Emancipating the Dancing Body: Bridging the Interdependency of Aesthetic Theory with Separated Roles in Contemporary Dance to Solidify the Phenomenology of Creative Movement Causation
(2021-07-06) Vintila, John Michael; Olafson, Freya
This thesis involves the development of a methodology that when assessed hermeneutically, provides an existential yet accessible framework that informs and deepens the practice of improvised contemporary movement forms. This theoretical methodologys construction also initiates a unique aesthetic theory that can be used for solidifying an improvisational creative process. The unveiling of concealed convergences eventually resonates with dancing bodies as the becoming of the unseen through a phenomenological grounding that performers using improvised movement structures have ostensibly disregarded as being the forgotten trance in dance. Through the interpolation of topics and concepts exclusive to the fields of political theory, aesthetics, philosophy and hermeneutics, selected segments from works by prominent thinkers from Georg Wilhelm Friedrich Hegel through Maurice Jean Jacques Merleau-Ponty are deconstructed to inform the eventual reasoning of how an emancipated dancing experience might come to exist.
Open Access
In Flight: Contemporizing Winged Motifs in Philippine Folk Dance for the Canadian Stage
(2021-07-06) Alcedo, Paulo Perez; Cash, Susan
This thesis is a choreographic and filmic exploration of contemporizing selected Philippine folk dances that have winged motifs. It examines dance rehearsals as a site for ethnographic research. Metaphors of birth, growth, life, immigration, struggle, failures, resilience, and hope will be manifested and expressed. The output of this research is a dance film. Titled In Flight, it critically responds to themes of isolation, limited movements, the precarity of flight, restricted travel, acts of transferring from one place to another, and the ways in which dance artists adapt to quarantined movements of life. Its aim is to identify an increased knowledge of natural movement of the avian species paralleled or in discussion with how humans translate the naturally occurring movements of birds into human expressions and dances.
Open Access
Introspection into the Evolution of Bharathanatyam in Sri Lanka and Sri Lankan Tamil Diaspora During and Post Civil War
(2021-07-06) Kanageswaran, Meera; Alcedo, Russ Patrick
Unity, devastation, courage, helplessness, perseverance, sorrow, valour and loss were experiences of the Sri Lankan Tamils living in Sri Lanka and the broader global diaspora throughout the nations Civil War period. During this time, Sri Lankan Tamil artists around the world introduced new gestures and movements as well as altered existing Bharathanatyam vocabulary in order to produce dance works that addressed their lived experiences. If this was not contemporizing Bharathanatyam, then what is? The pain and oppression endured overflowed as expressive dance works. Through the creation of two dance films, Iappu and Isolation, this thesis investigates the potential of furthering Bharathanatyam by contemporizing and secularizing. Exploration into dance works created during the Civil War period is the fuelling factor for Iappu. In addition to acknowledging the contributions of Sri Lankan Tamils to contemporary Bharathanatyam, this thesis will intensify the versatility of Bharathanatyam movement vocabulary to tell present-day, relevant and urgent stories, such as the ones coming out of the COVID-19 pandemic. Isolation, the second dance film as part of this thesis, is an exploration into the various different lockdown experiences. The shared experiences of the War and the pandemic is the common theme within the films.
Open Access
Nostrovia: Methods in Creating Immersive Theatre for Audiences
(2020-12-07) Kearns, Raine Madison; Olafson, Freya
In Nostrovia: Methods in Creating Immersive Theatre for Audiences, I explore the process and politics of creating an immersive dance theatre experience. Nostrovia was performed January 16th -18th 2020 at The Peacock Public House and reimagines the historical narrative of the Romanov family. This thesis begins with an overview of participatory movements and presentations that inspired immersive and site specific performances, and then proceeds to summarize the theoretical framework that was used to create this production. Through the use of adaptive narrative, consensual practices and movement shaped for non-dance spaces, I outline the practices and developments that occurred throughout and subsequently following the performances. This thesis is aimed at understanding and analyzing methodologies for guiding and engaging viewers/participants through contemporary dance presentations.
Open Access
Choreographing the Cyborg: IM-Mortal
(2020-08-11) Colalillo, Emilio Michael; Cash, Susan
In IMMORTAL, choreographer Emilio Colalillo examines the superior effect of choreographing movements with technology seen through projection mapping and video projections. It is known as spatialized augmented reality or 3-dimensional (3D) projection mapping, in live dance theatre. Specifically, to examine the effect of this modality, this thesis focuses on the evolution of humankind, a posthuman. This research will prove the success in bringing fantasy to reality to create a posthumanistic world through the use of technology, aesthetics and choreography in live theatre. The thesis examines how to augment reality through the illusion of 3D projections on stage with dancers. With the correlation of music and choreography, the augmented reality stimulates the illustrative and visual meaning. The results show that spatialized projections and projection mapping produces greater 3D existence, expanding to additional layers of depth. With projections on the cyclorama, dancers, scrim and the illusion of holographic images, creates what is argued as a 4-Dimensional (4D) effect. The technology has an interactive quality with the dancers that augment reality and bring the imaginary and fantastical to live theatre, creating a futuristic experience.
Open Access
Repositioning the Object: Exploring Prop Use Through the Flamenco Trilogy
(2020-08-11) Avila, Gillian Maria; Callison, Darcey
Reflecting on the creation process of my flamenco trilogy, this thesis explores how one can reposition iconic flamenco objects when devising, creating, and producing three short films: The Fan, The Rose and The Bull. Each film examines personal, historical, and local relationships to iconic flamenco objects, enabled through the collaboration with filmmakers: Audrey Bow, Dayna Szyndrowski, and Clint Mazo.
Open Access
Telling Giselle: Reworking the Ideologies of a Canonical Ballet
(2019-07-02) Allison, Patricia Teresa Marie; Olafson, Freya
This paper outlines the process from conception to analysis of Telling Giselle which was performed February 7-9 2019 in the McLean Studio as the performance component of Patricia Allisons MFA thesis at York University. This paper starts by contextualizing Thophile Gautiers Giselle, the original ballet that this production was based on, and outlines the ideological elements of the storyline that would be addressed in this reworking. This paper then summarizes the theoretical framework that informed the creation of this work included key concepts from Linda Hutcheon, Vida L. Midgelow, and Darko Suvin. It summarizes the core methodology used and how the theoretical framework influenced its creation. Finally, this paper includes a scene by scene analysis of the performance and a conclusion which points towards the potential for future research on this.
Open Access
Television Screen Dance for Young Audiences: The Praxis of Effective Creation to Engage Young Audiences through Digital Media
(2019-07-02) Brkich, Christine Anne; Mackwood, William J.
In todays growing digital media trends, more young audiences are accessing their choice of entertainment through a variety of online streaming. In a vastly growing competitive market, it is important to stay current when developing entertainment that is both fun for children, and educational to entice the approval of parents. This thesis looks to utilize the technical conventions posed by Dr. Shalom Fisch in creating childrens television, so as to encourage engagement. The technical conventions explored include multiple sources of appeal within the work, the use of clarity and age-appropriate content, and the use of formal features when editing the work. These conventions will be compared and explained when applied to the creation of the childrens production The Legwarmers in: Finding Family Roots. The success and the challenges of establishing these conventions while creating the work will be discussed as well as the success of the final presentation outcome, leading to its future prospects.
Open Access
Choreographing for Children's Television: The Legwarmers in Variations on a Dream
(2019-07-02) Brkich, Lisa Joanne; Callison, Darcey
In Choreographing for Childrens Television: The Legwarmers in Variations on a Dream, choreographer Lisa Brkich explores the choreographic process for a demographic of children between the ages of four and seven years through embodied practice with the dancers, and through the collaboration process with her production team, media company Images Made Real, visual artist Emma Smith and composer Erik Geddes. In this work, Brkich explores the medium of television and its relationship to choreography for viewers in the primary years, kindergarten to grade two. Choreography for this project is cultivated as a tool to increase the imagination of the viewer, introducing dance to this age group as a form of communication through storytelling. Discussions of the choreographic process of this work depict the choreography, created in the studio during rehearsals, as well as the choreographic changes that arise when influenced by the filming process.
Open Access
Cultivating Roots: A Tensional-Hybrid Investigation of Embodied Resources through Traditional Cretan Folkloric and Contemporary Dance Practices
(2018-09-19) Markakis, Nikolaos; Mackwood, William J.
In Cultivating Roots, emerging dance artist Nikolaos Markakis investigates choreographic creations through his two embodied resources of Cretan folkloric and Contemporary dance practices. These two embodied resources were questioned and challenged through the lenses of tradition and tensional-hybrid art, a term he has been exploring through his three case studies: Ithaka, Ariadne, and Metaxy. In these case studies Markakis delves into his embodied resources, and investigates influences through the folkloric and contemporary themes of costume, music, and dance. Furthermore, this extended essay questions the role that cultural traditions can play within a contemporary choreography for the Toronto dance scene. Playing with the emotional, political and aesthetic tensions between Markakis embodied resources; he researched the possibility of a successful and organic approach to marry these two worlds for the stage.
Open Access
Dancing in the Diaspora: An Investigation of Contemporary Indian Dance Practices
(2018-09-19) Suresh, Suma; Cash, Susan
My research focus is to develop my own personal choreographic voice by contextualizing and investigating the works of three contemporary Indian dance choreographers in the diaspora who have trained in the classical dance form of Bharatanatyam-Anita Ratnam, Hari Krishnan and Shobana Jeyasingh. The three dance practitioners, although with similar backgrounds, have embarked on three different creative routes and reached different destinations in terms of cultural and artistic productions. My research is directed to understanding how they have adapted the embodied knowledge of this classical dance form to create a contemporary dance language through their works. I will gather this knowledge and channel my findings to inform my own work as an emerging contemporary dance artist. Through a practice-led research producing three new dance works, I will activate my research findings and incorporate them into my evolving choreographic process.
Open Access
Choreographic Research Combining Contact Improvisation and the Alexander Technique: Somatic, Practice-Based-Research, and Ethnographic Inquiry
(2017-07-27) Liska, Suzanne Ruth; Alcedo, Russ Patrick
Somatic practices, practice-based-research (PBR) and ethnography contextualize this choreographic research that moves from the studio/stage to the desk. My project investigates how integrating the Alexander Technique (AT) and Contact Improvisation (CI) principles, combined with theoretical studies in PBR and ethnography expand psychophysical coordination for dancers, teachers, researchers and choreographers. I primarily ask: What theoretical and methodological principles guide my dance research in order to move beyond teaching dance technique or choreographing a piece? To address my inquiries, I choreographed, danced and taught with dance artists from Canada, Japan, Europe, and the USA. The culmination of my research offers a new dance methodology to facilitate the multiple internal/external awareness necessary for an embodied choreographic process.
Open Access
Ode to Isadora:Embodying Isadora Duncan's Natural Movement Philosophy for Choreographic and Performance Tools
(2017-07-27) Burton, Ashley Ann Katherine; Cash, Susan
This practice-based research investigates Isadora Duncans natural movement philosophy as choreographic and performative tools to enhance expressivity on the millennial dancing body. The millennial demographic targeted in this research ranges from the birth dates of mid-1980s to early 2000s. Characteristically, this generation is highly proficient with digital technology and social media applications. My perception of the current millennial dance climate closely parallels Duncans perception of the emphasis on technical virtuosity during her era. To comprehend Duncans natural movement philosophy, my research methodology employs a combination of Duncan scholarship, archival and embodied research, and a Duncan-inspired choreographic case study with the York Dance Ensemble in the Department of Dance at York University. Due to the minimal representation of Duncan dancers, performers and teachers in Canada it was essential to travel abroad to study with Duncan practitioners.
Open Access
Choreographic Play: Investigating Dynamic Choreographic Engagement with all Bodies
(2016-09-20) Silagy, Michelle Ann; Anderson, Carol
Choreographic Play: Investigating Dynamic Choreographic Engagement with all Bodies is informed by the burgeoning trend to include multi-ability bodies in the practice of contemporary dance. An important aspect of this research addresses inclusivity whereby improvisational methods and choreographic processes can be infused within communities comprised of all abilities of all populations of people. The goal of my research has been to originate improvisational and choreographic processes and choreography that can be experienced and understood by all who take part in it. This research considered ways to share both processes and performative aspects of choreography by utilizing a practice-based methodology in the creation of three choreographic case studies. These are, first the I Am solo project entitled at the end of a stem, second, a self-produced project (RE)Trace and finally, Snowlight. These case studies represent the containers where activated investigations are magnified and/or realized.
Open Access
The Work of Women in Canadian Musical Theatre: Dancing in the Chorus
(2016-09-20) McCaughey, Allison; Callison, Darcey B. W.
My interest is in the study of the female chorus member working in Canadian Musical Theatre. Through the body of my choreographic research, I propose to answer the following question: Who is the modern day chorus girl? My research required an investigation into the historical background of the chorus girl, with special attention given to her ongoing development and to the fascination with which the chorus girl is still viewed. I looked into well-known British, French and American groups for the time-frames indicated: The Ballet Girls (1870-1890), The CanCan Dancer (1840-1900), The Ziegfeld Follies Girls (1930-1950) and The Tiller Girls (1920-1930). This not only helped with the understanding of the development of the chorus girl but also served as an inspiration for my own choreographic research. My interest is not only in the work that these women did as professionals, but also in who they were as individuals. What was behind their pretty faces, elaborate costumes and perfectly synchronized movements? How did these women of the past influence who the chorus girl is today? Are there particular personality traits that such women possessed that ring true in todays chorus member? Through a detailed description of the three choreographic works I created (including a solo piece, group choreography, and a self-produced show), I framed my MFA research as an auto-ethnographic investigation on The Work of Women in Canadian Musical Theatre: Dancing in the Chorus.