Senior Thesis Page

"Beauties and Bayadères: Addressing Change within the Classical Ballet Canon"
By Abigail Eberts, (Fall 2017)

"The Hip Hop Persona: Evolutions in the Mission of a Genre"
By Sarah Hoffman (Fall 2017)

"Choreographing for Change: An Investigation of Dance Activism Practices"
By Dominique Holt (Fall 2017)

"Dance Perception: Emerging Sexual Paradigms in Dirty Dancing"
By Alexis McCarthy (Fall 2017)

"'Dancing for the Culture': An Exploration of Cultural and Communal Healing and Uplift through Multicultural Dance Education"
By Armoni Moody (Spring 2018)

"Stepping Out of Heteronormativity: An Exploration of Gender Roles in Social Salsa Dance"
By Sophia Pellegrom (Fall 2017)

"Crossing the Contemporaries: The Interaction Between American Competition Dance and Euro-American Concert Dance"
By Nicole Chase Rondeau (Fall 2017)

"Moving from Site-Specific to Museum-Specific Dance: an Examination of Museum Workout's Dialogue with the Met"
By Leah Samuels (Fall 2017)

"So You Think You Can Dance: Redefining Criticism, and The Dilemma of Exceptional Cases"
By Kristen Alexandra Santiago (Fall 2017)

"Hinduism, Buddhism, and Taoism: Guides for Sixties Radical Dance"
By Cauveri Madabushi-Suresh (Fall 2017)

"Loose Taps: Finding Queer Orientations in Tap Dance Performance"
By J.P. Viernes (Fall 2017)

"Organizing Diversity: An Organizational Approach to Diversity and Inclusion Work for Ballet Companies"
By Connor Davis Yockus (Spring 2018)

“A New Hybrid Form: The Evolution of Jazz Dance on the 1940s Broadway Stage”
By Jane Abbott (Spring 2017)

“The Kini Kapahu Amendments: Editing and Retaining an Accurate Representation of the Hula Dance at the 1893 Chicago World’s Fair”
By Karen Tong (Spring 2017)

“Writing into History: American Dance Autobiography since the Twentieth Century”
By Chava Pearl Lansky (Spring 2017)

“The Great Recession and Nonprofit Dance in New York City: The Impact of an Economic Crisis on Contributions to Nonprofit Dance Companies”
By Anna Haas (Spring 2017)

“Dance and Technology: An Evolving Body of Dance”
By Melissa Kaufman-Gomez (Fall 2016)

“Template for an Exception: How Archetypes of Genius Mold Choreographers’ Biographical Narratives”
By Nadia Khayrallah (Fall 2016)

“Dis/ability on Display: Performance, Practice, and Integration of Dancers with Physical Disabilities”
By Debbie Mausner (Fall 2016)

“Stepping Sustainably: The Potential Partnership Between Dance and Sustainable Development”
By Saradiane DeChambeau Mosko (Fall 2016)

“Structure and Exploration: Mathematical Concepts in Post-Modern Dance and Dance-Tech”
By Carolyn Silverman (Fall 2016)​

“Dance Theatre of Harlem and the Upper Manhattan Empowerment Zone: A Case Study in Cultural Economics”
By Rebecca Bass (Spring 2015)

“Escaping The System: Dancing to Transcend Racial Binaries in Jean Toomer's Cane”
By Sam Fox (Spring 2015)

“Music and Dance in Anne Teresa De Keersmaeker’s Fase Four Movements to the Music of Steve Reich”
By Maya Lee-Parritz (Spring 2015)

“Fleeing Reality: Escapism in Dance and One Hundred Years of Solitude”
By Ivy Vega (Spring 2015)

“Empowerment in Motion: Improvisation as a Tool of Feminist Leadership”
By Sarah Esser (Spring 2015)

“The Process Made Visible: Anna Halpin's RSVP Cycles in Creating Ceremony of Us (1969”)
By Liana Gergely (Spring 2014)

“AIDS at the Primitive Male: The Collaboration of Bill T. Jones and Keith Haring”
By Daniel Pahl (Spring 2014)

“The Myth of the Audition:
Mechanisms of Mobility into and within the New York City Dance Labor Market”
By Hana Monroe Goldstone (Spring 2014)

“A Giselle for Our Time:
Mats Ek's Post-Structuralist Approach to Romantic Ballet's Pathologized Dancing Female”
By Katherine Bergstrom (Fall 2013)

“Dance Movement Therapy for Austism Spectrum Disorder?
An Investigation”
By Sonia Neuburger (Fall 2012)

“Genuine In A World Of Phonies: Dance In J.D. Salinger's The Catcher In The Rye”
By Garnet Henderson (Fall 2012)

“Drifting West: How The Presence of an Indian Diaspora Has Changed Bollywood”
By Rachel Turner (Fall 2012)

“Mirror Neurons and "Mirroring": The Missing Scientific Link”
By Mansi Vira (Fall 2012)

“Moving In The Myth:
Modernism in Marth Graham's Night Journey and Hilda Doolittle's Helen In Egypt
By Adrianna Aguilar (Fall 2012)

“Confronting the Boundaries of Art and Recovering the Futurist Legacy:
The Futurist Avant-Garde and Avant-Garde Dance of the 1960s”
By Alexandra Duffey (Spring 2010)

“Carmen Miranda and Cultural Exchange. In the Era of the New State and the Good Neighbor”
By Alicia Outing (Fall 2010)

“The Coefficient of Friction of the Pointe Shoe and Implications for Current Manufacturing Processes”
By Glenna Clifton (Fall 2009)

“A Time to Mourn, With No Time To Dance: The Lineage of Biblical Justifications for Anti-Dance Sentiment from Post-Reformation Europe to Nineteenth-Century America”
By Julia Bloch (Fall 2009)

“No to No: Trisha Brown, Lucinda Childs, and the “No” Manifesto”
By Sharona Kahn (Fall 2009)

“All Bodies Are Created Equal. Uncovering Reasons for the Under Representation of Black Ballerinas in America”
By Shanice Naidu (Fall 2009)

“Dancing for the Deity: Remapping the Black Female Body through Spiritual Movement in Brazil and the United States”
By Tara Willis (Fall 2008)

“Sacred Movement: Dance as Prayer in the Pueblo Cultures of the American Southwest”
By Sarracina Littlebird (Fall 2008)

“Composition And The Artistic Icon:The Beauty, Mystery, And Legacy of George Platt Lynes' Dance Photography”
By Michael Novak (Fall 2008)

“Writing Nostalgia:Dance Criticism at the New York Times in the Age of Internet Journalism”
By Leslie Berman (Fall 2008)

“Images of a Decolonizing India: Bollywood’s Tawai’f and the Postcolonial Muslim”
By Leda Ward (Fall 2008)

“Importing Ballet to the West”
By Camile Avestruz (Fall 2008)

“Integrating Dance into the Public School Curriculum: Embracing the Complexities in Order to Gain Acceptance”
By Emily Bickford (Fall 2008)

“Meredith Monk: Between the Cracks”
By Hadley Smith (Fall 2008)

“A Phoenix Rising from the Ashes: Self-Expression in the Work of Rudolf Laban and Mary Wigman during the Weimar Years”
By Kelly Rodal (Fall 2008)

“Newfound Rituals:Music and Movement in Pina Bausch’s and Shen Wei’s Rite of Spring”
By Johanna Morris (Fall 2006)

“The Master of Rejection: Tere O’Connor as a Representation of the New Postmodern Choreography in New York City”
By Noa Mark (Fall 2006)

“Understanding the NEA Crisis of 1990 through the Work of Tim Miller”
By Natalie Arellano (Fall 2005)

“Royal Hawaiian Dance: How Hotels Commodified the Hula”
By Molly Brush (Fall 2005)

See more Senior Theses on the Columbia Academic Commons website