Engaging in dance culture through the interior design of a Collaborative Dance Centre
| dc.contributor.author | Naesgaard, Elisa | |
| dc.contributor.examiningcommittee | Scott, Deb (Interior Design) Landrum, Lisa (Architecture) Lott, Brent (Winnipeg’s Contemporary Dancers) | en_US |
| dc.contributor.supervisor | Beecher, Mary Anne (Interior Design) | en_US |
| dc.date.accessioned | 2011-11-25T15:23:33Z | |
| dc.date.available | 2011-11-25T15:23:33Z | |
| dc.date.issued | 2011-11-25 | |
| dc.degree.discipline | Interior Design | en_US |
| dc.degree.level | Master of Interior Design (M.I.D.) | en_US |
| dc.description.abstract | Artistic outlets act as mechanisms with the potential to provide transformative effects on a psychological, emotional, and physical level. Unfortunately, barriers such as inequality (Erickson, 2008, p. 345) and the economic initiatives of art institutions have provoked the emergence of boundaries, hindering the opportunities and desire to engage (p. 345; Tepper, 2008, p. 363, 368). This practicum project responds to these obstructions by presenting an artistic institution that expands access to the art-form of dance by celebrating individual expression, collaboration, and cultural heritage. The Collaborative Dance Centre embraces the notion of a participatory culture and artist collective by breaking down hierarchal structures to present the general public and amateur artists with the opportunity to engage with the professional dance realm (Jenkins & Bertozzi, 2008, p. 174; Cotter, 2006, p. 21). These notions allow participants to gain exposure to the technical aspects associated with each genre, as well as the various elements of performance. By exploring experiential learning, and post-museum theory this practicum presents an interior that repositions boundaries to encourage participants to engage in experiences that are often restricted from the general public and amateur artists (Brooks-Harris & Stock-Ward, 1999, p. 122-124; Bruce, 2006, p129). The intricacies of dance have also been used to direct design development by employing the ingredients of choreography to guide design principles and elements (Humphrey, 1983, p. 46). The resulting interior connects people from diverse backgrounds through the act of dance stimulating growth, passion and transformation. | en_US |
| dc.description.note | February 2012 | en_US |
| dc.identifier.uri | http://hdl.handle.net/1993/4986 | |
| dc.language.iso | eng | en_US |
| dc.rights | open access | en_US |
| dc.subject | Experiential Learning Theory | en_US |
| dc.subject | Post-Museum Theory | en_US |
| dc.subject | Collaboration | en_US |
| dc.subject | Dance | en_US |
| dc.subject | Choreography | en_US |
| dc.subject | Interior Design | en_US |
| dc.title | Engaging in dance culture through the interior design of a Collaborative Dance Centre | en_US |
| dc.type | master thesis | en_US |
| local.subject.manitoba | yes | en_US |