Embodied economies: Locating the ‘prosumer-dancer’ within dancers’ experiences of choreographic practice

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dc.contributor.advisor Rowe, N en
dc.contributor.advisor Martin, R en
dc.contributor.author Foster, Sarah en
dc.date.accessioned 2018-01-31T23:59:51Z en
dc.date.issued 2017 en
dc.identifier.uri http://hdl.handle.net/2292/36896 en
dc.description Full text is available to authenticated members of The University of Auckland only. en
dc.description.abstract In the creative economies of the 21st Century, understanding how group interactions can be organised into collaborative creative endeavours is a significant matter, with implications for economic, social, political, and cultural growth. From an embodied perspective, the relationships between dancers and choreographers could impact the dance created, as well as the people creating it. How choreographic practices are facilitated is diverse, multi-layered, and potentially dependent on understandings of different choreographic approaches, experiences, and available leadership methods. This research proposes the notion of an ‘embodied economy’ as a means to parallel experiences of dance making, with economic supply and demand, service transactions, and consumer-oriented practices. My aim is to disentangle notions of power in the relationship between dancers and choreographers, by re-imagining the dancer as a consumer of choreography within a service driven dance making environment. To explore this notion, experiences within the ‘microeconomy’ of choreographic practice, are viewed inside the frames of dancer-centred and economic theory. Themes of dancer agency, self-actualisation, and ‘optimal experience’ mark the territories of the consumer or prosumer-dancer. Drawing together economic and dance scholarship, a new theory evolves, the Prosumer- Dancer Paradigm. This theory, when placed within phases of the choreographic process becomes the Prosumer Dancer Choreographic Experience Spectrum (PDCES). This thesis examines this theory, through five participant dancer experiences of movement generation within choreographic processes in Singapore, as a vibrant dance and economic hub. It is hoped that this study contributes to growing scholarly research into the voice and role of the dancer within choreographic practice. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.relation.isreferencedby UoA99264980605202091 en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights Restricted Item. Available to authenticated members of The University of Auckland. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri http://creativecommons.org/licenses/by-nc-sa/3.0/nz/ en
dc.title Embodied economies: Locating the ‘prosumer-dancer’ within dancers’ experiences of choreographic practice en
dc.type Thesis en
thesis.degree.discipline Dance Studies en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The author en
pubs.elements-id 722775 en
pubs.org-id Creative Arts and Industries en
pubs.org-id Dance Studies Programme en
pubs.record-created-at-source-date 2018-02-01 en

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