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Choreography as curriculum and knowi...

Halliday, Christina Arija.

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Choreography as curriculum and knowing in education.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Choreography as curriculum and knowing in education./
作者:	Halliday, Christina Arija.
面頁冊數:	155 p.
附註:	Adviser: Rishma Dunlop.
Contained By:	Dissertation Abstracts International63-09A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ71987
ISBN:	0612719871

Choreography as curriculum and knowing in education.
Halliday, Christina Arija.

Choreography as curriculum and knowing in education. - 155 p.

Adviser: Rishma Dunlop.

Thesis (Ph.D.)--York University (Canada), 2002.

My dissertation draws on phenomenological and post-structural approaches to dance, art, the body, curriculum, and learning theory to examine selected examples of artistic dance as curricula and epistemologies resistant to normative understandings of knowing, learning, and representation in education and education research.

ISBN: 0612719871Subjects--Topical Terms:

610547
Dance.

Choreography as curriculum and knowing in education.
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245 1 0 $a Choreography as curriculum and knowing in education.
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500 $a Adviser: Rishma Dunlop.
500 $a Source: Dissertation Abstracts International, Volume: 63-09, Section: A, page: 3098.
502 $a Thesis (Ph.D.)--York University (Canada), 2002.
520 $a My dissertation draws on phenomenological and post-structural approaches to dance, art, the body, curriculum, and learning theory to examine selected examples of artistic dance as curricula and epistemologies resistant to normative understandings of knowing, learning, and representation in education and education research.
520 $a The term ‘choreography’ literally means ‘dance writing.’ In my dissertation I draw on this definition of choreography as ‘body discourse’ to perform a figuration or post-structural writing and research practice in education. Working within this methodological framework, I characterize examples of dance performance as choreography and define my orientation to these choreographies as parallel to the position of choreographer. Exploring four choreographies as my own curricula, Bill T. Jones's “Still/Here,” Peggy Baker's “a true story,” Margie Gillis's “Nothing Clings to You,” and contact improvisation dance, I examine each as an epistemological theory that insists on the presence of the body in experience, knowing, and representation. I argue that this insistence brings into relief the complementarity, rather than duality, of the following categories: body and mind, subject and object, the ‘real’ and representation, and theory and practice. Further, I perform these choreographies as epistemologies through an articulation of my own responses to the dance pieces. Here I draw on my experiences of mothering as evoking a similar kind of knowing.
520 $a Hermeneutic phenomenology, as it has been understood and written about by Maurice Merleau-Ponty and Martin Heidegger in particular, is my language for describing choreography as epistemology in my dissertation. I draw on Merleau-Ponty's conception of the body as the ‘instrument of comprehension’ and ‘absolute source’ of knowledge and knowing to illustrate how choreography theorizes and puts into theory and practice the body in experience, knowing, and representation.
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