Documents 

This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.[author summary]

Finding my voice as a choreographer in the genre of aerial dance serves as the focus of this thesis. In order to provide context, a brief history of aerial dance illuminates the connections between aerial dance and modern dance aesthetics as well as its inclusion in academic dance programs. I began my research by exploring the myth of human flight, but quickly changed course when the aerial apparatus I selected did not lend itself to this idea. Through the process of creating three different aerial dances, I explore several themes pivotal to aerial choreography including declaring an intention, embodying an intention, and learning to be present even when the process involved struggle. A reflection on my own experiences and deep beliefs sheds light on my choices as a dancer and choreographer. Finally, I discuss the journey of finding my niche as an aerial dance artist. [author summary]

As the complex and counterintuitive ideas arising from modern physics have been made accessible via books, articles, and television programs to those with curiosity and persistence, a number of choreographers have tapped the methods and concepts of classical and modern physics for sources of choreography. The choreographers discussed here have used physics in three distinctly different ways, scientifically, artistically, and philosophically: Elizabeth Streb has focused on forces and modeled her process on that of science; Karole Armitage and Amanda Miller have metaphorically translated concepts of physics in making choreographic choices; and Merce Cunningham has shifted long-accepted conceptual and compositional paradigms. [author summary]