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Title: Dorky Dance.Com: Dorky Dancing, Vlogging and the Rise of Self Produced Dance on the Internet.
Creator: Young, Latika Linn, Sommer, Sally, Perpener, John O., Young, Tricia, School of Dance, Florida State University
Abstract/Description: This thesis traces a lineage from historical onscreen awkward dancing to contemporary online dorky dancing. This evolution encompasses Edison's actualities, the stars of silent film, Charlie Chaplin and Buster Keaton, the expert awkward dancer, Donald O'Connor, and the more recent awkward dance stars, Pee Wee Herman and Napoleon Dynamite. This foundation contextualizes the rise of self-produced, "dorky dance" on the Internet, a form beloved for its genuineness and lack of fabrication and...
Show moreThis thesis traces a lineage from historical onscreen awkward dancing to contemporary online dorky dancing. This evolution encompasses Edison's actualities, the stars of silent film, Charlie Chaplin and Buster Keaton, the expert awkward dancer, Donald O'Connor, and the more recent awkward dance stars, Pee Wee Herman and Napoleon Dynamite. This foundation contextualizes the rise of self-produced, "dorky dance" on the Internet, a form beloved for its genuineness and lack of fabrication and immensely popular due to "viralization" and transmission as "Internet memes." Dorky dance is further distinguished from awkward dance by examining the specific criteria that compose its definition. This investigation utilizes both movement analysis and socio-cultural studies, drawing particularly from gender studies and recent sociological theorizing about the Internet. The current role of Internet participation advocacy is linked to a long-standing precedent for participation-fuelled art-making, drawing from Walter Benjamin to the post-modern artistic collaborators of the 1960s and 1970s. This study analyzes the impacts of the online dorky dance movement, including those personal in nature—either for the creator or the viewer, the new audience member—and those on a societal level, both the positive and potentially negative. Although participation in the dorky dance genre is still limited by the existing restrictions of the digital divide, the technology necessary to participate is rapidly becoming cheaper and more available. This greater accessibility is continuing to bring fascinatingly diverse examples of online dorky dancing. Finally, the thesis explores the points of intersection between Internet dorky dancing and other arenas that it is permeating—the live concert dance stage, the cinema house, the video art realm, and the commercial world of advertisements and sponsorship.
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Date Issued: 2007
Identifier: FSU_migr_etd-0871
Format: Thesis

Title: Embodying the Italian-American: An Analytical Look at Bodily Performances of Italian-Americans in Film.
Creator: Bozzone, Daniella N., Young, Tricia Henry, Perpener, John O., Sommer, Sally, School of Dance, Florida State University
Abstract/Description: This study provides an analytical exploration of the embodied performance of Italian-American ethnicity in film. The analyzed performances are taken from The Godfather trilogy, Moonstruck, and Saturday Night Fever. These films provide a wide range of characters expertly portrayed by the actors and directors. The purpose of this study is to illuminate the inherent presence of dance and movement in expressing ethnicity in filmic performances. This project utilizes movement analysis, cultural...
Show moreThis study provides an analytical exploration of the embodied performance of Italian-American ethnicity in film. The analyzed performances are taken from The Godfather trilogy, Moonstruck, and Saturday Night Fever. These films provide a wide range of characters expertly portrayed by the actors and directors. The purpose of this study is to illuminate the inherent presence of dance and movement in expressing ethnicity in filmic performances. This project utilizes movement analysis, cultural studies, gender studies and ethnicity studies to address the importance of the performer's body in expressing character, gender and ethnicity. American folklore or mythology is largely created by the medium of film and many of these mythological characters are part of the hyphenated ethnicities that form our culture. The seminal performances found in The Godfather trilogy, Moonstruck, and Saturday Night Fever brought several Italian-American character types to mythological proportions. The movement of these character types as individuals and in ensembles, as well as the films' mise en scene forms the primary focus of this analysis. This project also allies the inherently intertwined relationship between acting and dancing. Analyzing these performances as choreographic as well as dramatic broadens the scope of dance studies to include other bodily performances. A brief introduction and outline of this study begins the text of this thesis. This introduction elucidates the dance perspective given to the filmic analysis. The first chapter provides a brief history of Italians in America in the twentieth century. The following chapters contain an overview of the character types to be discussed, movement analysis of these characters as individuals, ensemble movement and the narrative venues for these portrayals of ethnicity. Finally a concluding chapter will tie together the overarching ideas of this project and consider future possibilities for this approach to performance studies.
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Date Issued: 2004
Identifier: FSU_migr_etd-3425
Format: Thesis

Title: In God's Presence: Conquering Addiction Through Dance.
Creator: Delancy, Elizabeth, Perpener, John O., Jumonville, Neil, Cloonan, William, Fichter, Nancy Smith, Young, Tricia Henry, Program in Interdisciplinary Humanities, Florida State...
Show moreDelancy, Elizabeth, Perpener, John O., Jumonville, Neil, Cloonan, William, Fichter, Nancy Smith, Young, Tricia Henry, Program in Interdisciplinary Humanities, Florida State University
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Abstract/Description: The purpose of this paper is to provide an historical examination of founder/director Alexia Jones' use of Christian-based dance as a treatment for substance addiction through the Beracha Dance Institute. This study analyzes how Jones' integrative process intuitively drew on the similar techniques and methodologies of clinical dance therapy and those of faith-based dance ministries. Jones' work combined the transformative and restorative properties of both of these applications of dance. In...
Show moreThe purpose of this paper is to provide an historical examination of founder/director Alexia Jones' use of Christian-based dance as a treatment for substance addiction through the Beracha Dance Institute. This study analyzes how Jones' integrative process intuitively drew on the similar techniques and methodologies of clinical dance therapy and those of faith-based dance ministries. Jones' work combined the transformative and restorative properties of both of these applications of dance. In addition, Jones' work, and the sources it drew on, echo the healing dance rituals that have been used in traditional societies throughout the ages. Consequently, an historical analysis of her work necessitates looking at the foundations of, and analogies between, the clinically therapeutic application of dance and the spiritually therapeutic application of dance, as well as their historical precedents.
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Date Issued: 2007
Identifier: FSU_migr_etd-0779
Format: Thesis

Title: Setting the Stage: Dance and Gender in Old-Line New Orleans Carnival Balls, 1870-1920.
Creator: Atkins, Jennifer, Sinke, Suzanne, Perpener, John O., Hadden, Sally, Conner, V.J., Young, Tricia, Department of History, Florida State University
Abstract/Description: Mardi Gras Carnival balls are traditional New Orleans events when krewe organizations present their seasonal mock monarchs. Traditionally, these ballroom spectacles included tableaux vivants performances, the grand march and promenade of the season's royal court, special dances with masked krewemen, and general ballroom dancing. These events reinforced generational ties through the display of social power in a place where women were crystallized into perfect images of Southern beauty. Since...
Show moreMardi Gras Carnival balls are traditional New Orleans events when krewe organizations present their seasonal mock monarchs. Traditionally, these ballroom spectacles included tableaux vivants performances, the grand march and promenade of the season's royal court, special dances with masked krewemen, and general ballroom dancing. These events reinforced generational ties through the display of social power in a place where women were crystallized into perfect images of Southern beauty. Since the mid nineteenth century, old-line krewes (the oldest, most elite Carnival organizations) have cultivated patriarchal traditions in their ball presentations and have acted as historical vehicles of commentary on personal and social identity. The manner in which krewe members used their bodies to proclaim their royalty, to promenade, or to dance, all signified individual social roles and represented the evolving mores of their connected group. Likewise, masked courtiers and fashionable guests used their bodies in ballroom dancing to uphold or refute acceptable standards of male and female behavior. From 1870 to 1920, old-line krewes dominated the private terrain of New Orleans Mardi Gras. Through their steadfast commitment to performing white elitism, traditional krewes set the stage for the gender battles of the twentieth century, when female, black, and gay bodies, within newly formed krewes, used dance in their own carnival balls to define modern and diverse sexual, personal, and communal identities.
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Date Issued: 2008
Identifier: FSU_migr_etd-0806
Format: Thesis

Title: Step in Time: The Ritual Function of Social Dance and Military Drill in George Washtington's Continental Army.
Creator: Andrews, Melissa D., Young, Tricia, Sommer, Sally, Perpener, John O., School of Dance, Florida State University
Abstract/Description: This thesis will describe, analyze and compare the functions of social dance and military drill among American soldiers during the Revolutionary War. These movement forms, though performed in different contexts, both contributed to the creation of communitas in the army, which was vital to its success. Specifically, collective movement, whether on the training field or ballroom floor, served as a vehicle by which Americans negotiated the transitional phase into a new nation. The Revolutionary...
Show moreThis thesis will describe, analyze and compare the functions of social dance and military drill among American soldiers during the Revolutionary War. These movement forms, though performed in different contexts, both contributed to the creation of communitas in the army, which was vital to its success. Specifically, collective movement, whether on the training field or ballroom floor, served as a vehicle by which Americans negotiated the transitional phase into a new nation. The Revolutionary War can be read as a rite of passage; social dance and military drill were literally embodied ritual enactments of solidarity and community. Social dance and military drill will be compared in relationship to their European roots, with particular emphasis on their role in social class structure, movement style and vocabulary.
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Date Issued: 2006
Identifier: FSU_migr_etd-0203
Format: Thesis

Title: Working Women and Dance in Progressive Era New York City, 1890-1920.
Creator: Bishop, Jennifer L., Jumonville, Neil, Perpener, John O., School of Dance, Florida State University
Abstract/Description: This study provides a historical examination of working women's relationship with social and theatrical dance in New York City during the Progressive Era. These years, between 1890 and 1920, were seminal in bringing America into the modern age, as well as providing a unique framework for women's activism against restrictive sociopolitical roles. The purpose of this thesis is to illuminate the relationship between New York City working class women, dance, and intellectual ideas in an attempt...
Show moreThis study provides a historical examination of working women's relationship with social and theatrical dance in New York City during the Progressive Era. These years, between 1890 and 1920, were seminal in bringing America into the modern age, as well as providing a unique framework for women's activism against restrictive sociopolitical roles. The purpose of this thesis is to illuminate the relationship between New York City working class women, dance, and intellectual ideas in an attempt to broaden the scope of both dance studies and history. By utilizing historiography, women's studies, cultural studies, and movement analysis, this project addresses the shift of women (from Victorian to Modern) through the lens of dance. Social dancing, especially in dance halls, was an outlet for working class experimentation with new attitudes of social and financial independence, as well as in defining a more liberal attitude of sexuality. Likewise, the chorus girls of Ziegfeld's Follies used a theatrical medium in which to explore new identities of independence and sexuality. These high-grade chorines epitomized the working girl dream--they earned their own money while gallivanting through elite social circles. Throughout these two spheres--social or theatrical--the social and sexual transformation of women was underscored through ideas of conspicuous consumption and ethics of leisure.
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Date Issued: 2003
Identifier: FSU_migr_etd-3731
Format: Thesis

Dance (4)	+ -
History (2)	+ -
Arts (1)	+ -
Humanities (1)	+ -
Women's studies (1)	+ -

Florida State University (6)	+ -
School of Dance (4)	+ -
Sommer, Sally (3)	+ -
Young, Tricia (3)	+ -
Jumonville, Neil (2)	+ -

Young, Tricia Henry (2)	+ -
Andrews, Melissa D. (1)	+ -
Atkins, Jennifer (1)	+ -
Bishop, Jennifer L. (1)	+ -
Bozzone, Daniella N. (1)	+ -
Cloonan, William (1)	+ -
Conner, V.J. (1)	+ -
Delancy, Elizabeth (1)	+ -
Department of History (1)	+ -
Fichter, Nancy Smith (1)	+ -
Hadden, Sally (1)	+ -
Program in Interdisciplinary Humanities (1)	+ -
Sinke, Suzanne (1)	+ -
Young, Latika Linn (1)	+ -

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