Aesthetics -- Psychological aspects

The main focus of this dissertation is a discussion of how an artist uses her dance
bodily knowledge to develop in a static art form a more bodily sense of movement. For
this purpose this dissertation examines four clay sculptures by contemporary artist Mary
Frank. The analysis suggests that the uncharacteristic sense of movement displayed in
these works derives from her experiential knowledge of dance. This sense of movement
is achieved through the considered assemblage and inextricable relationship between
Frank’s dance bodily knowledge (body knowledge a dancer acquires through years of
dance practice) and the manipulation of clay, the plastic medium she uses to create these
forms. The study reveals that Frank’s ceramic assemblages of organic shapes resembling
a figure could be related to somatic awareness of arms, legs, torso, hips, and head that
dancers experience while dancing. Similarly, the fluid quality of her ceramic assemblages
and their seamless coexistence with the environment can be correlated to the proprioceptic sensibilities (the reception of stimuli produced within the organism by
movement or tension) that a dancer’s body senses as it navigates through the air and
across the ground managing the pull of gravity. These findings are developed through a
discussion of the philosophic theories on bodily knowledge (knowing in and through the
body) by Maurice Merleau-Ponty, Michael Polanyi, Edward Casey, Pierre Bourdieu, and
Richard Shusterman, as well as the philosophic theories on dance bodily knowledge (my
own term) developed by Barbara Mettler, Maxine Sheets-Johnstone, and Jaana
Parviainen. In addition, Mary’s sculptures are compared to traditionally built sculptures
to illustrate the bodily sensory quality of the sense of movement of her structures.
Although the scope of this study is limited to the application of dance bodily
knowledge onto sculpture, perceived through the clay sculptures of Mary Frank, this
research adds to the debate on the interrelationships between dance education and the
arts, the body and institutions of learning, and the body and society. It suggests that dance
practice and introspection of one’s body movement affects how one perceives the world
around us and therefore how one reacts and expresses oneself on to the world.

My thesis body of work developed from a desire to examine my
nonrepresentational artwork in relation to the concept of entropy - the law of
thermodynamics that measures the gradual, steady disintegration in a system such as our
world. Experimenting with a range of approaches and mediums, I resolved to radically
manipulate the inkjet printing of my digital photography files to introduce chance and
provoke decay. The resulting prints operate as an orchestrated chaos alluding to
environmental decline and collapse, and by extension, potential social degeneration. My
art reflects my perceptions of our times as well as adds to the problem. I continue to
produce waste through the consumption of materials. I contaminate through inks. I add to
landfills with failures. My artwork points out the inevitable end.

There is limited research available focusing on arts integration at the secondary
school level and even less on a children’s chorus curriculum. Therefore, the aim of this
qualitative study is to investigate the application of arts integration in a university-based
children’s chorus based on historical research, rehearsal observations, and interviews of practicing children’s chorus directors. The pedagogical practices and philosophies of
three prominent children’s chorus directors, Robyn Lana, Henry Leck, and Ann Small
were conducted to understand the relationship between arts integration theory and
practice in their respective children’s choruses. The criteria used to select the participants of this study is based upon their tenure in the field of choral music education, national and international recognition, their publications on music education for children, and their expertise on the child and adolescent singing voice. One of the principal objectives of this study is to discover if the participants are currently implementing arts integration in their respective children’s choruses and, if not, would they be amenable to implementing this type of pedagogy? The study’s research criteria focuses on two possible factors: 1) the expectations of a high level of artistic performance that could affect time availability presenting obstacles to implementing arts integration, and 2) identifying the philosophy and practice towards arts integration amongst the selected children’s chorus directors. The study suggests that a choral curriculum based on arts integration does not appear to diminish or interfere with the rehearsal process in preparation for the choral performance but rather, enhance the total learning and performance outcomes. Research data also suggests the need for materials and resources to assist with the application of an arts integrated curriculum. The three participants acknowledge the value of this type of pedagogy as well as the significance of future research to aid in applying this methodology. Sample lesson plans and choral literature representative of repertoire conducive to creating lesson plans based on arts integration strategies are found in the appendices. However, additional qualitative and quantitative studies are needed to promote arts integration at the secondary choral level.