dc.contributor.advisor |
Rowe, Nicholas |
|
dc.contributor.advisor |
Buck, Ralph |
|
dc.contributor.advisor |
Martin, Rose |
|
dc.contributor.author |
Chen, Ruohan |
|
dc.date.accessioned |
2022-07-14T03:47:16Z |
|
dc.date.available |
2022-07-14T03:47:16Z |
|
dc.date.issued |
2021 |
en |
dc.identifier.uri |
https://hdl.handle.net/2292/60428 |
|
dc.description.abstract |
This research critically reflects on contemporary choreographic practices in China, specifically
focusing on the personal narratives of four dance artists from mainland China. The four dance
artists, Zhang Xian, Wen Hui, Xiao Ke, and Jiang Fan, share their unique and transgressive
choreographic experiences located in the context of China’s Reform era. The key question prompting
this research is: How might a resistance to normative gaze manifest as transgressive choreographic
practices?
A qualitative paradigm, ethnographic investigation, semi-structured interviews, and Thematic
Analysis (TA) are used as methodological foundations for collecting and making meaning of data
gathered from the four artists. Through the in-depth personal narratives and detailed
reflections, diverse experiences in terms of choreographic practices of the four artists are
shared. These narratives illuminate the normative gaze in regards to the ‘dramatized
ideal’, the ‘dancer’s body ideal’, and the ‘product-oriented ideal’ experienced by the four
artists, and they express their resistance to normative gaze through approaches employed in their
choreographic works. The experiences of the four artists highlight that their artistic
practices are closely entwined with the socio-cultural environment of China. Ideas, values, and
creative methods narrated by the four artists are exemplified through their choreographic
works, which are embodied as the manifestation of their transgressions from the
normative gaze. This study proposes that the distinct voices and unique choreographic
experiences of the four artists thus provide a foundation to re-imagine the meaning of
‘revolutionary bodies’ (Wilcox, 2019) in contemporary China. The transgressive choreographic
approaches shared by the four artists also bring opportunities to further explore and reconsider
issues pertaining to contemporary
choreographic practice and choreographic education in China. |
|
dc.publisher |
ResearchSpace@Auckland |
en |
dc.relation.ispartof |
PhD Thesis - University of Auckland |
en |
dc.relation.isreferencedby |
UoA |
en |
dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. |
|
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/ |
|
dc.title |
Transgressing gaze: Personal narratives of four dance artists’ choreographic practices in mainland China |
|
dc.type |
Thesis |
en |
thesis.degree.discipline |
Dance Studies |
|
thesis.degree.grantor |
The University of Auckland |
en |
thesis.degree.level |
Doctoral |
en |
thesis.degree.name |
PhD |
en |
dc.date.updated |
2022-07-04T01:53:26Z |
|
dc.rights.holder |
Copyright: The author |
en |
dc.rights.accessrights |
http://purl.org/eprint/accessRights/OpenAccess |
en |