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American Dance Marathons, 1928-1934 and the Social Drama and Ritual Process
Title
American Dance Marathons, 1928-1934 and the Social Drama and Ritual Process.
Creator
Dunlop, Chelsea Rae, Sommer, Sally R., Young, Tricia H., Perpener, John O., School of Dance, Florida State University
Abstract/Description
Americans first experienced and embraced dance marathons in 1923, after which these events quickly gained popularity. But the dance marathon that burst upon the scene as yet another fad in keeping with the ebullient nature of the 1920s was dissimilar in form and intent from the dance marathon as it would evolve during the depression years of the 1930s. Within a decade, dance marathons were quickly transformed into a combination of contest and entertainment, replete with spectacle, humor,...
Show moreAmericans first experienced and embraced dance marathons in 1923, after which these events quickly gained popularity. But the dance marathon that burst upon the scene as yet another fad in keeping with the ebullient nature of the 1920s was dissimilar in form and intent from the dance marathon as it would evolve during the depression years of the 1930s. Within a decade, dance marathons were quickly transformed into a combination of contest and entertainment, replete with spectacle, humor, horror, romance suspense, and drama. By applying Victor Turner's rites of passage and social drama theories to these contests, the dance marathon circuit is revealed to have been a society within, and to a great degree separate from, the larger American society. This viewpoint serves to demonstrate why and how the marathon developed as it did. The specific social drama that developed within the marathon was a smaller reflection of the nation's larger Meta drama – establishing the micro within the macro of society. Viewed from this perspective – as a secondary or alternate society – social drama is confirmed to be the main utility in its development.
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Date Issued
2006
Identifier
FSU_migr_etd-0629
Format
Thesis
Eiko and Koma
Title
Eiko and Koma: Dance Philosophy and Aesthetic.
Creator
Letton, Shoko Yamahata, Sommer, Sally R., Young, Tricia H., Perpener, John O., School of Dance, Florida State University
Abstract/Description
This thesis examines the evolution of dance works by two Japanese-American choreographers, Eiko and Koma. Growing up in the politically turbulent 1960s in Japan, their entrance into the world of dance was motivated by philosophical inquiry into Japanese society. Briefly trained under early Butoh pioneers in Japan, they traveled from Japan to Europe, and eventually came to the U.S. Their dance career began in the early 1970s and continues to this day. Using Janet Wolff's concept of art as an...
Show moreThis thesis examines the evolution of dance works by two Japanese-American choreographers, Eiko and Koma. Growing up in the politically turbulent 1960s in Japan, their entrance into the world of dance was motivated by philosophical inquiry into Japanese society. Briefly trained under early Butoh pioneers in Japan, they traveled from Japan to Europe, and eventually came to the U.S. Their dance career began in the early 1970s and continues to this day. Using Janet Wolff's concept of art as an expression of artist's Lebenswelt, this thesis defines Eiko and Koma's dance works as a comprehensive expression. Lebenswelt is not limited to representation of particular life experiences. Instead the artists' participation in different social contexts shapes the subjective meanings of the art they create. I chose five works, White Dance: Moth, Grain, Lament, Land, and Cambodian Stories as the signature representations of different phases in their career. These five works reveal common threads which both represent Eiko and Koma's aesthetics as well as encapsulate their philosophy towards dance and, on the greater scale, towards life. This thesis serves as one of the first scholarly research papers focusing on Eiko and Koma and their dance forms. It is the hope of this author that the thesis provides the groundwork from which other scholarly research is conducted.
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Date Issued
2009
Identifier
FSU_migr_etd-3110
Format
Thesis
Naked Truth
Title
The Naked Truth: An Analysis of Nudity in American Avant-Garde Dance of the Twenty-First Century.
Creator
Gay, Patricia L., Young, Tricia H., Atkins, Jennifer, Houlihan, Gerri, Sommer, Sally R., School of Dance, Florida State University
Abstract/Description
In the past decade there has been a resurgence of experimental dance artists in the United States using nakedness—especially utilizing their own nude bodies—in choreography. In an effort to discover why this trend is reemerging now and how nudity is functioning in new ways in the world of twenty-first century avant-garde American dance, this thesis critically investigates five works of choreography as case studies. The first chapter introduces my main ideas, gives a brief history of nudity in...
Show moreIn the past decade there has been a resurgence of experimental dance artists in the United States using nakedness—especially utilizing their own nude bodies—in choreography. In an effort to discover why this trend is reemerging now and how nudity is functioning in new ways in the world of twenty-first century avant-garde American dance, this thesis critically investigates five works of choreography as case studies. The first chapter introduces my main ideas, gives a brief history of nudity in avant-garde dance and outlines the format for the rest of the thesis. The second chapter investigates grotesque and carnivalesque uses of nakedness in Ann Liv Young's Cinderella. The third chapter investigates two radically different ways of relating the bare female body and environment through analyzing Anna Halprin's Returning Home: Moving With the Earth Body and Noémie Lafrance's Home: the Body as a Place. The fourth chapter focuses on how male dancers refute, transgress and move beyond the cultural taboo of male bodily exposure through studying Miguel Gutierrez's myendlesslove and Eiko Otake Yamada and Takashi Koma Yamada's Naked. Finally, the thesis closes by posing some potential political, economic, cultural and scientific reasons why nudity has been reappearing in choreography over the past ten years and highlighting a new use of nudity as a mediating tool in the five aforementioned works
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Date Issued
2011
Identifier
FSU_migr_etd-0132
Format
Thesis