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Put Your Mother on the Ceiling: Fem...

Grover-Haskin, Kim Arlene.

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Put Your Mother on the Ceiling: Feminist dance-making as a worldmaking process of three women choreographers.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Put Your Mother on the Ceiling: Feminist dance-making as a worldmaking process of three women choreographers./
作者:	Grover-Haskin, Kim Arlene.
面頁冊數:	197 p.
附註:	Adviser: Penelope Hanstein.
Contained By:	Dissertation Abstracts International62-04A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3012864
ISBN:	0493230734

Put Your Mother on the Ceiling: Feminist dance-making as a worldmaking process of three women choreographers.
Grover-Haskin, Kim Arlene.

Put Your Mother on the Ceiling: Feminist dance-making as a worldmaking process of three women choreographers. - 197 p.

Adviser: Penelope Hanstein.

Thesis (Ph.D.)--Texas Woman's University, 2001.

Richard de Mille (1967) considers personal invention crucial in comprehending and shaping socially constructed realities. Intrigued by what a woman's reality brings to the creative process and how these experiences become movement and embody meaning, I imagined what the reality of choreographing a dance entitled “Put Your Mother on the Ceiling” would unveil. Dance making provided the opportunity to study a woman's lived reality. The purpose of this study was to investigate what a feminist perspective contributed to dance making as a social construction of reality and, subsequently, the development of theory.

ISBN: 0493230734Subjects--Topical Terms:

610547
Dance.

Put Your Mother on the Ceiling: Feminist dance-making as a worldmaking process of three women choreographers.
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245 1 0 $a Put Your Mother on the Ceiling: Feminist dance-making as a worldmaking process of three women choreographers.
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500 $a Adviser: Penelope Hanstein.
500 $a Source: Dissertation Abstracts International, Volume: 62-04, Section: A, page: 1251.
502 $a Thesis (Ph.D.)--Texas Woman's University, 2001.
520 $a Richard de Mille (1967) considers personal invention crucial in comprehending and shaping socially constructed realities. Intrigued by what a woman's reality brings to the creative process and how these experiences become movement and embody meaning, I imagined what the reality of choreographing a dance entitled “Put Your Mother on the Ceiling” would unveil. Dance making provided the opportunity to study a woman's lived reality. The purpose of this study was to investigate what a feminist perspective contributed to dance making as a social construction of reality and, subsequently, the development of theory.
520 $a Through the metaphor of worldmaking, premised on Nelson Goodman's (1978) idea of worlds and worldmaking originally applied to art criticism, dance making as a worldmaking endeavor illuminated the diversity of a woman's dance-making process and what that process revealed. Qualitative research methodology and a worldmaking taxonomy of three components, the ‘world-in-the-making,’ the ‘world-in-view,’ and ‘performing the world,’ provided for an in-depth investigation into three distinct dimensions related to the dance making process. The ‘world-in-the-making’ revealed the artist's creative process and how each woman perceived and created her work. The ‘world-in-view’ unveiled the dimensions of how the body, as a resource for worldmaking, shaped identity and influenced artistic invention. ‘Performing the world’ focused upon the performing experience revealing self, process, and transcendence.
520 $a A series of in-depth interviews with three selected women revealed a woman choreographer's world and work socially influenced and shaped by the world at large. A reverence for uncertainty, mobility in resistance, and a complexity of consciousness emerged as elements for the development of theory. Continually re-entering the dance making process the artist seeks complexity, transcending what is expected to construct, experience, and implement the possible, thus evolving for the future.
520 $a In their dance making, women are models of evolutionary praxis. Their created worlds of possibility and change speak a woman-centered agency, activism, voice, and autonomy. Women's “voices” continually refine and redefine dance making as a feminist artistic practice with future visionary application for critical pedagogy and curriculum development. As a consequence, women worldmakers, making a difference in the classroom and curriculum, become educational strategists for the future.
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