University of Southern California Dissertations and Theses

Talk through dance

(USC Thesis Other)

Talk through dance

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content Talk Through Dance
ZI Qi Luo
A Thesis Presented to the
FACULTY OF THE USC ANNENBERG SCHOOL FOR
COMMUNICATION AND JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM)
December 2023
Copyright 2023 Zi Qi Luo

ii
Acknowledgements
I would like to thank Dan Birman for his endless effort of pushing me to finish this
documentary. I simply would not have completed this project without his help and guidance on
and off the class. Thank you to Su Rong Na, my documentary subject, for being so generous with
her time and sharing her experience of teaching Mongolian dance and inspiration of the dance film.
Thank you to Jingqiu Guan from multimedia department at the University of California, Irvine,
for providing her insight and knowledge about screen dance. I would also like to thank my second
and third committee members Keith Plocek and Jeff Fellenzer for being available and helping my
thesis process.

iii
Table of Contents
Acknowledgements…………………………………………………………….……………..ii
Table of Contents……………………………………………………………………………. iii
Abstract………………………………………………………………………………………..iv
Chapter 1: Reflection………..……………………………………………………….…………7
Documentary Script…………………………………………………………………………….18
Reference …………………………………………………………………………....................20

iv
Abstract
“Talk Through Dance” is a documentary that follows a college dance teacher who gave up her
job in China and went to America to direct a screen dance film that expresses cultural and
environmental sensibilities she gained while teaching dance in China. My main character Su
Rong Na and I share a similar identity being members of minority groups both in China and
America. There are a lot of culture elements in this documentary including Shamanism and an
appreciation for nature. It also contains my reflection, experience, and learning of producing a
documentary within a narrow window of my time at USC. I am devoted to making more voices
heard as a journalist.

1
Reflection
“Talk Through Dance” is a documentary that follows a Chinese dancer’s journey of
transitioning from a Chinese college dance teacher to a dance artist-filmmaker in America. I
spent a week gaining access and doing some basic research about screen dance. It took me two
weeks to shoot and edit all the clips and interviews with my main character Su Rong Na and her
dance crew. It was an intensive and seemingly impossible task to pull off a short documentary in
three weeks. Two key factors helped me through this tough process. One was that I was lucky
because I found someone who fits my culture and identity. Su shares a similar identity to my
own cultural background. We are both members of minority ethnic groups in China1
. We are
both minorities in America. The other factor is that I was determined to make the documentary
happen by spending time with Su, shooting days and nights. During this process, not only did Su
introduce me to a totally new field, dance film, by telling me her experience of teaching
Mongolian dance, but she also brought forward a lot of elements from Inner Mongolian culture
into her dance film, including Shamanism and an appreciation for nature. I was also fascinated
by the concept of using the body as a language to express one’s ideas by dancing on the screen
without the restriction of stage and time.
The approach I chose to take on this documentary was being a curious and patient
observer. Admittedly, the situation I was facing was quite challenging timewise. Furthermore,
1 2023 “Ethnic Groups in China | Overview& Culture” Study.com

2
dance film was an area outside of my knowledge and comfort zone. I needed to research on the
history of dance film and elements of the culture in Mongolian dance to gain a better
understanding of Su’s area of interest and the significance of the dance film she was producing.
Dances on screen have been around for as long as the film medium when cinema
pioneers the Lumière brothers were inspired to recreate Loie Fuller’s Serpentine Dance in 1896.2
When Marta Renzi’s 1981 film, You Little Wild Heart, was featured on public television as part
of the New Television Workshop, it was an era when dance film seemed to be gaining traction. 3
What triggered my interest the most was even though dance has been present during
much of the American film industry’s vast history, film choreographers have always lacked
recognition for their work. In 1992, the Academy of Motion Picture Arts and Sciences released
Oscar’s Greatest Moments, which included multiple choreographed dance scenes without giving
the film choreographer proper credit. In response, a group of film choreographers approached the
Academy saying they were tired of the industry’s continuing lack of respect for their work. 4
In
the opinion of Jingqiu Guan, a multimedia producer at the University of California, Irvine, and
the expert in my documentary, dance film is a form that breaks down so many logics or the so
called “right ways of filmmaking”. So, dance films did not get as much recognition as other
forms of film.
2 2021 “THE CINEMA OF DANCE” off stage.
3 2022 “As Dance Returns to Theaters, Will We Keep Investing in Screen Dance?” Dance magazine
4 1992 “Choreographers kick up storm over vid credits” Variety

3
However, the pandemic was a pivot point for the screen dance format. Because of Covid19, dancers could not share space in studios. Without peers, coaches, or the promise of
performance, dancers’ primary purpose of telling stories by dancing had been stripped away.
Instead, living rooms, kitchens, and bedrooms became the places where dancers had to get
accustomed to dancing. This was less than ideal for their practices, but the pandemic also opened
an opportunity for them to reach larger audiences.
Traditionally, for students who want to learn dance, the barrier to entry can be rather
steep: from tuition costs to buying new shoes, to studio accessibility. A variety of dance classes
from all levels taught by world-class teachers and professionals became available online during
the pandemic. Recording dance films became an effective way for dancers to stay connected in
the dance industry. By sharing films or streaming classes, dancers could communicate with
larger audiences.
5Guan said that presenting movement on screen is a form of dialogue, a form of
storytelling through gestures. It is true that there are no words, but she believes that our bodies
communicate so much more than words.
By the time the pandemic gradually faded away, live dance shows were back on stage
again. Screen dance still remained some capacity. Choreographers who switched their focus in
making dance films were trying to find a way combing their screen dance work into live
performance on stage. In April 2021 Ballet Austin Tex. artistic director Stephen Mills decided to
transform his dance film, PRELUDES/BEGINNINGS made in in partnership with former
company dancer and award-winning filmmaker Paul Michael Bloodgood into theater. He
5 2020 “The Pandemic Has Radically Changed Dance- Maybe For the Better” The Harvard Crimson

4
reworked his dance film by casting down to five dancers out of the original 20 into the stage
version. Grand Rapids Mich. Ballet resident choreographer Penny Saunders took a different
approach when translating her 2020 dance film, Amiss, to the stage by projecting the original
film and outtake footage onto screens behind the dancers6
. It was not a major shift or trend of
taking dance films, but some choreographers were trying to incorporate screen dance on and off
the stage.
My main character, Su was a dance teacher in one of the best ethnic dance universities in
China.7 She quit her job because her teaching style emphasized improvising and inner strength in
dance; in her opinion, it did not fit in the main dancing culture in China, especially when it
comes to performing on the stage. Su says most of the students are “soulless shells,” because
they are afraid of improvising in dance; instead, they can only do what teachers taught them to
do. Even by the standards of the dancing world, Chinese dance instructors place so much
emphasis on appearance and body that in some top schools, examiners will only consider
students who comply with a similar body shape known as “three longs, one small, one high, two
12s” – namely, long arms, long legs, long neck, a small head, high insteps, lower limbs that are
at least 12 centimeters longer than their torso, and an arm span at least 12 centimeters longer than
their height.
In China, dancers care more about their physical conditioning than improving their dance
technique and other artistic shortcomings. 8 Seeing how Chinese dancers were so formalized was
6 2022 “How 3 Choreographers Revamped Their Pandemic Dance Films for Live Performances” POINTE
7 2021 “Minzu University of China” China CEEC Dance Culture Union
8 2023 “In China’s Dance School a Dangerous Obsession With Weight Loss”

5
a huge disappointment for Su. She says she left China for the United States because she did not
like how Chinese dance was being taught in China. While she continued to teach Inner Mongolia
dance in the United States, she was influenced by the trend of screen dance, and she decided to
produce a dance film. By dancing in nature, Su said that she wanted to not only remind dancers
to dance from their hearts instead of paying too much attention to their appearance and body
weight, but she also wanted to remind people to stay connected to their true selves. There was a
lot of Inner Mongolia dance culture in the film. Because Su also wanted to draw more attention
and awareness to her minority group. Shamanism had a main role in Su’s dance film. In Inner
Mongolian culture, shamans help to communicate and negotiate this complex network of ritual
interrelationships between people and nature. Animism is central to a shamanic belief system. 9
Su improvises most of the shamanistic dance as a mechanism to communicate with nature and
her true self.
The process of filming her documentary was quite a challenge for Su. Obtaining a film
permit in Los Angeles was not easy. The basic application cost takes $685 dollars for shooting in
one location. Every county and region has different rules and prices for obtaining film permits
10
.
As a result, Su decided to skip the process of getting a permit, instead filming most of the dance
film in the middle of the night. We were running from one location to another to avoid getting
caught. I was not worried about me having a permit as a journalist documentarian. But I know
this was a risk for Su.
9 2020 “Afterthoughts: Nature, Culture, and Shamanism in Inner Mongolia”
10 2020 “When do I need a film permit? Rules and pricing for filming in Los Angeles in 2020”

6
In watching her work, I realized that I was fascinated by the idea of using the body as a
language to communicate with the audience. I am devoted to making more voices heard as a
journalist; she’s doing this as an artist-filmmaker.
On reflection, I believe what worked well in this documentary was learning to create a
visual sequence with a camera. I captured some beautiful sequences of her doing such things as
making Chinese tea or doing makeup. With the limited time that I had in producing this
documentary, I was able to use all the shooting techniques that I learned in class including reveal
shots, match of motion, reaction shots, enter, and exit the frame. I made amazing use of
combining those different shots into cohesive and smooth storytelling sequences, which helped
me tremendously when editing the sound bites together. I think the reason it worked well was
that I had created a shot list and scouted my location before I shot the sequence. Furthermore,
knowing what I needed in terms of shots made it easy for me to edit all the sequence clips
together.
On the other hand, what did not work so well was the storyline and captions. With the
limited time that I had, I could only do a short observational documentary with a Chinese dancer
making a dance film. I did not think through how to put all the information together to make it a
more intriguing story. The lack of background information and a clear storyline may cause the
audience to be confused about the main point of the story.
On top of that, most of the soundbites of this documentary were in Chinese. I had a hard
time translating everything into its correct meaning in English. The reason behind all the

7
problems was time. If I had communicated with my instructor, I would not have ended up with
only three weeks left to make a documentary from scratch.
My overall impression of the results is that there is a lot of room to improve. Being a firsttime producer of documentaries, I surely underestimated the amount of effort I needed to put into
making a complete documentary. Now I have a better understanding of the concept of
documentary. From making a pitch with a story idea, to taking actions reaching out and shooting,
is a long process that requires a ton of preparation and planning. I know deep down that with the
ability I have, I could have done a much better job and saved myself from the stress and anxiety
toward the end of the semester. However, I am satisfied with the techniques I learned. Now I am
equipped with more skills in making videos. More important, by making this documentary, I can
view great documentaries from a professional lens and learn from them in the future.
Documentary Link: https://vimeo.com/891200061?share=copy

8
Documentary Script
NAT SOUND
Follow shot of Su Rong Na wearing the
Shaman costume
NAT SOUND
Cutaway shot of flowers, park sign
VO Su Rong Na
Self Employed Dance Instructor and the
Director of the dance film
Sequence：
SU dancing in nature
Because humans are a product of nature, we
are natural beings. When we feel ourselves,
we are feeling nature.
NAT SOUND
Cutaway shot - flowers and beach
NAT SOUND
Sequence:
SU dancing in nature
VO SU
Sequence:
SU lying on the grass
The reason I make this dance film is that it
represents my philosophy of dance. Dance is
not only showcasing beauty for others to
acknowledge, but it’s a physical language that
can express any point of view. Anything you
want to say can be expressed through body
language.
SOT SU And I think dance film is an excellent way of
expression. It can make more people

9
Interview clip
On camera
understand your thoughts and ideas. Free
from the constraints of theaters or stages.
SOT SU
SU Interview clip
Face close-up
So, in reality, my work or rather. Dance is an
essential way of expressing myself. Talk
through dance.
VO SU
Sequence：
Est. shot – SU’s house
SU painting herself doing makeup at home
My name is Su Rong Na, I am from Beijing,
China, but my ancestral home is in Inner
Mongolia. I used to watch a documentary
about the excessive exploitation by humans.
The harm it causes to nature. It was like a
seed planted in my heart. Ten years ago,
when I returned to my hometown. I saw
numerous machines extracting oil from the
grasslands. The grasslands had been
destroyed due to coal mining, creating
massive sinkholes. I felt a deep sense of pain.
NAT SOUND
room tone
Sequence:
SU applying makeup as part of her dance
costume.
VO SU
Sequence:
SU continuing to add makeup
When I reflected on the root cause of our
suffering. The character of the clown was
born in my dance film. When I think about
how we can generate happiness and joy. This
is where the shaman comes in my dance film.
The shaman is an envoy of nature and
humanity. How can we return to our natural
state? First and foremost, we are natural

10
beings. We must reconnect with nature. The
shaman uses natural forces to heal our
wounded souls and minds.
SOT SU
SU Interview clip
On camera
The Shaman makes the clown to be reborn
and return to a childlike state. There is an old
saying in China called “ancient innocence” it
allows people to return to a childlike state of
innocence.
SOT SU
SU talking while driving the car.
In my work, I am playing the role of a
shaman as a central figure. The shaman
makes people to return to their natural state.
He sees the suffering caused by excessive
desire and greed.
NAT SOUND
SU putting on the Shaman costume
SOT SU
SU talking about how she designed the
costume while putting it on
When I returned to Inner Mongolia, I
contacted a costume designer from the
Mongolian ethnic group. We discussed every
detail of the shaman costume, from color to
style.
VO SU
SU walking through flowers
Because the shaman is also a human, he can
sense the power of nature. He sees human
desire and uses natural forces to soothe the
wounded souls caused by greed.
SOT JingQiu Guan
multimedia producer at the University of
California, Irvine. Doctor of Philosophy,
culture and Performance in UCLA graduated
in 2019.
Interview clip
on camera
It’s really important to remember that screen
dance has existed as long as the beginning of
the cinema. Even when we think about film,
moving images, it’s inherited related to
movement. In the early era of the cinema,
silent film doesn’t have words, it’s all through
movement languages.

11
VO GUAN
Sequence:
GUAN editing the screen dance film.
Especially, the last few years, I would say in
the last ten years, gradually we would see
more and more dance film festivals around
the world, in many cities in the US. Just every
part of the world has more and more dance
films.
SOT GUAN
Interview clip
On camera
But the pandemic it’s the pivot point for this
field. During the pandemic, suddenly, you can
not present work on the concert stage
anymore. You can not gather people in
person, so most of the dance artists, they have
to go to the screen to still present work
through that media. Suddenly, there was an
explosion of the needs to explore how to put
dance on screen.
VO GUAN
CU and Med shot- Guan editing the screen
dance film
At the very beginning, people in the film
industry, they did not care as much about the
dance film. They think it’s the form that
breaks down so much logic or the right way
of filmmaking. But now when you go to the
dance film festivals, you also see filmmakers
who were not in dance film.
SOT GUAN
Interview clip
On camera
They started to participate, see works and find
inspiration. There have been increasing
number of works created by Chinese artists in
China that’s presented in scream dance
festivals in a global levels. So that clearly, has
been rising in the last few years.
NAT SOUND
Est. shot – Newport Beach Mall
Fake licking..

12
VO SU
Sequence:
shooting dance film
Our entire film crew all have a regular job on
top of filming. When I asked my friends how
to deal with a shooting permit. Everyone had
to pay out of pocket to shoot the dance film.
So we didn’t have a lot of funds.
SOT GUAN
Interview clip
On camera
So when filming in the US particularly, if you
want to do it right, you definitely have to
apply for a permit for a specific location. The
permit could be very expensive to obtain, it
could take some time to obtain it. So it’s not a
very easy process.
SOT SU
CU - Talking while driving
We are like thieves
VO SU
CU- driving
We applied for a permit, but they would not
let us have it, so we had no choice.
SOT SU
CU- Talking while driving
Now, God bless us, hope that police don’t
kick us away
VO SU
Sequence:
driving, parking, and getting stuff from the
car.
A permit costs several thousand dollars, with
that money can pay for the entire film crew.
We wanted to shoot at Fashion Island, but
since we didn’t have a permit, we had to
shoot secretly. So when we arrived at 4:30 am
in the morning, we were chased away by the
police.
SOT SU
Interview clip
On camera
I was most afraid of being caught. I was under
lots of pressure at the time. So I had to think
of a backup plan immediately.

13
SOT SU
Med shot- Su walking to the museum
We are going to the museum for shooting. We
are not allowed to shoot, so we are trying to
shoot clandestinely.
NAT SOUND
Sequence:
dancers dancing
VO SU
Sequence:
dancers dancing in different locations playing
the clown
The inspiration for the clown makeup came
from the ugly role in Beijing Opera. I call the
segment where the dancers are jumping “ the
puppies.” I think many people in today’s
society are like puppies. They are trained,
uniformed, and standardized. They turn
themselves into puppies to please those who
benefit them.
SOT SU
Interview clip
On camera
Society tells them to go east, they go east.
Society tells them to jump, they jump, tell
them to wag their tail, they wag their tail.
NAT SOUND
Est. shot – University of Irvine
VO SU
Med shot- Person with pig head going
downstair with clown watching.
Therefore, I think that the living conditions of
most people in society are like puppies, that’s
why I have the dancers apply clown makeup,
mimic the movements of puppies.
VO Aoi Aihara
A dancer from Japan
Sequence of dancers dancing
We were not really acting but acting was
similar to dance. Because dance is also
expression. So we feel something then
express it with the body.

14
SOT Aoi Aihara
Interview clip
On camera
So Su would tell us more feelings, more
facial, facial expressions, so it’s kind of
similar like you have to have a feeling first,
then just express with your face. I know it’s
acting but act true feelings.
SOT SU and other dancers Thank you, I love your part
Text Card:
After the dance film is done. Su revealed the
reason why she left China to America, and
how she started teaching a group of elder
sisters
NAT SOUND
Med shot- SU bringing a plate of tea
containers and washing them
VO SU
Sequence:
SU washing tea containers
I started learning dance professionally when I
was twelve years old, I went from Inner
Mongolia Art Institute to the National
University for undergraduate and graduate
studies, After graduate study I stayed as a
dancer teacher. So I spent seventeen years at
the National University.
NAT SOUND
CU- Filling up the containers with snacks
VO SU
CU- Filling up the containers with snacks.
Why did I quit my job and leave the school?
Because I think that most of the students in
the teaching process are soulless shells, Many
students say that they are most afraid of
improvising in dance. Despite the fact that
our National University is still the best ethnic
dance school in China.
SOT SU Most students are like products in a
production workshop, they can do prescribed

15
SU interview clip
On camera
movements, but they can’t show their own
feelings. So their inner selves are suppressed.
If they were given freedom again, they
wouldn’t even know how to express
themselves. They have lost themselves.
VO SU
CU- Put the incense stick in the container
So I felt a little disappointed when I left the
school, but I didn’t feel particularly sad. I just
felt the children were very pitiful.
NAT SOUND
CU- Lighter lights the stick
SOT SU
Interview clip
On camera
After giving birth to my child, who is now
eight years old. My focus in life was on my
child when he was six or seven years old.
NAT SOUND
CU- Filling up the water, putting on the lid,
getting tea from the container
VO SU
Sequence:
SU making Chinese tea
During the process of filming dance movies,
there were some conflicts with my career, but
I think they can be resolved. It can give my
child more space and myself some space. It’s
a balance for life. Only when my abilities
become stronger, I can have more brilliance
and space to love him.
NAT SOUND
CU- Tea making and tasting

16
VO SU
Sequence:
SU writing calligraphy
I don’t like to show off my profession very
much, after all, I have been studying dance
for over 20 years. When I first came to the
United States, I would go to private dance
schools to teach classes. Later, I met some
older sisters, I started a class by myself to
teach them to dance from their hearts.
NAT SOUND
TV background sound
SOT SU
CU- SU talking while driving
Now I only teach the older sisters two classes
a week, why would I only teach two classes a
week? Because most of the sisters still prefer
to learn more about form during class time.
But I like to take them closer to nature,
sometimes to the beach, sometimes to the
park. I think this is an opportunity for the
sisters to return to themselves and nature.
NAT SOUND
Med shot- SU parking the car and helping
sisters put on makeup in the park.
VO SU
Sequence:
SU helping sisters with makeup and bird
decorations.
Why do I want the sisters to wear makeup
like birds? I hope that they are shamanic
spirits, allowing the shamans to feel their call,
connect with nature, pray, and let nature hear
our voices. Washing people’s souls, and
letting humanity be reborn.
NAT SOUND
Med shot- SU and sisters dancing in the park.
SOT SU
Med shot- SU talking to the sisters by the
river.
What does it feel like to have water in the
palm of your hand? Feel the water flow from
your fingertips to the back of your hand.
What kind of emotion does water give you? Is
it gentle or warm?

17
VO SU
CU- sisters playing around in nature.
When a child is born, he or she has never felt
a lack of confidence, Children at the age of
five or six are in a very sunny state. Many
people practice with the goal of returning to
the innocent state of mind and body that they
had as children, unaffected by external
influences.
SOT SU and sisters
CU- SU Holding hands with sisters
How do you guys feel, your hands are cold,
can you sense the genuine happiness that
comes from within? The true state of dance is
expressing oneself through the body, enjoying
every moment, and remembering the feeling
of joy. Your body is always the most
beautiful thing. Remember happy moments.
Thank you!
SOT SU
Interview clip
On camera
The reason that they were so happy is that I
took my sisters back to a childlike state, We
felt nature and played freely, they felt like
they had returned to their innocent, childlike
state, it was the happiest moment
SOT GUAN
Interview clip
On camera
I think our body carry so much of our
personal history and memories. In dance
studies, some scholars adopted this idea of
thinking of our body as a living archive, so
it’s an archive and it’s living right?
VO GUAN
Med shot- SU dancing with other sisters at the
park
It contains a lot of our personal history and
memories, so by doing when we dance with
another buddy together, we are
communicating our story and history at the
same time with the other person, presenting
movement on screen it’s a form of a dialogue.
It’s a form of storytelling
SOT GUAN
Interview clip
Through gestures, through interaction on a
body level, yes it’s true there is no words but

18
On camera
I always feel our body communicate so much
more than words.

19
References
“Ethnic Groups in China | Overview& Culture” Study.com 2023. November 21
https://study.com/academy/lesson/ethnic-groups-in-china.html
“THE CINEMA OF DANCE” off stage, Sep 23, 2021
https://www.esplanade.com/offstage/arts/the-cinema-of-dance
“As Dance Returns to Theaters, Will we keep Investing in Screen dance?” February 7, 2022
https://www.dancemagazine.com/screendance/
“Choreographers kick up storm over vid credits” Variety Oct 7, 1992
https://variety.com/1992/film/news/choreographers-kick-up-storm-over-vid-credits-101436/
“The Pandemic Has Radically Changed Dance- Maybe For the Better” The Harvard Crimson
October 17th 2020
https://www.thecrimson.com/column/backstage-at-the-ballet/article/2020/10/17/columns-thepandemic-has-radically-changed-dance/
“How 3 Choreographers Revamped Their Pandemic Dance Films for Live Performances”
POINTE May 25, 2022
https://pointemagazine.com/how-3-choreographers-revamped-dance-films-for-live-performances/
2021 “Minzu University of China” China CEEC Dance Culture Union, November 4, 2021
https://bda.edu.cn/dcuen/members/china/928715.htm
“ In China’s Dance School a Dangerous Obsession With Weight Loss” Aug 3, 2023
https://www.sixthtone.com/news/1013423

20
“The impacts of the eco-environmental policy on grassland degradation and livestock
production in Inner Mongolia. Nov 2023
https://www.sciencedirect.com/science/article/abs/pii/S0264837719302625
“Afterthoughts: Nature, Culture, and shamanism in Inner Mongolia” 2020
https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1041&context=envirolabasia
“When do I need a film permit? Rules and pricing for filming in Los Angeles in 2020” Feb 10,
2020
https://giggster.com/blog/film-permit-rules-and-pricing-for-la/

Abstract (if available)

Abstract “Talk Through Dance” is a documentary that follows a college dance teacher who gave up her job in China and went to America to direct a screen dance film that expresses the cultural and environmental sensibilities she gained while teaching dance in China. My main character Su Rong Na and I share a similar identity being members of minority groups both in China and America. There are a lot of cultural elements in this documentary including Shamanism and an appreciation for nature. It also contains my reflection, experience, and learning of producing a documentary within a narrow window of my time at USC. I am devoted to making more voices heard as a journalist.

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

El Barrio Amado - Palo Verde through three generations

PDF

Finding balance

PDF

A second chance: a documentary that follows the rescue, rehabilitation and release of California's sea lions amidst a new wave of algal bloom poisoning caused by rising ocean temperatures.

PDF

Athlete survivors

PDF

Hockey's issues with inclusivity & diversity

PDF

Being Asian in America

PDF

Who are you?

PDF

Fútbol en America

PDF

Bnei Sakhnin F.C.

PDF

Discovering home

PDF

La lucha: lucha libre in Los Angeles

PDF

The toll of touring

PDF

Coming of age through my eyes

PDF

Family secrets: mobster grandpa, Playboy bunny grandma

PDF

Dance in the Diaspora

PDF

Love it or leave it: a national park story

PDF

Dance careers in flux: seeking the middle ground between art and commerce

PDF

Toad: the story of Luverne Wise

PDF

Escaping Russia: a blind man's American dream

PDF

Sages & seekers

Asset Metadata

Creator Luo, ZiQi (author)

Core Title Talk through dance

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism

Degree Conferral Date 2023-12

Publication Date 12/06/2023

Defense Date 12/05/2023

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag Choreographers,culture,Dance,Film,minority,Nature,OAI-PMH Harvest,screen dance,Shamanism

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Birman, Daniel (committee chair), Fellenzer, Jeff (committee member), Plocek, Keith (committee member)

Creator Email luoziqi18@gmail.com,ziqiluo@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113782280

Unique identifier UC113782280

Identifier etd-LuoZiQi-12526.pdf (filename)

Legacy Identifier etd-LuoZiQi-12526

Document Type Thesis

Format theses (aat)

Rights Luo, ZiQi

Internet Media Type application/pdf

Type texts

Source 20231207-usctheses-batch-1112 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu