Doctor of Philosophy, The Ohio State University, 2004, History of Art

This dissertation explores the theme of dance imagery in south Indian temples by focusing on one aspect of dance expression, namely, the 108-karana sculptures. The immense popularity of dance to the south Indian temple is attested by the profusion of dance sculptures, erection of dance pavilions (nrtta mandapas), and employment of dancers (devaradiyar). However, dance sculptures are considered merely decorative addtitions to a temple. This work investigates and interprets the function and meaning of dance imagery to the Tamil temple. Five temples display prominently the collective 108-karana program from the eleventh to around the 17th century. The Rajaraja Temple at Thanjavur (985-1015 C.E.) displays the 108-karana reliefs in the central shrine. From their central location in the Rajaraja Temple, the 108 karana move to the external precincts, namely the outermost gopura. In the Sarangapani Temple (12-13th century) at Kumbakonam, the 108 karana are located in the external facade of the outer east gopura. The subsequent instances of the 108 karana, the Nataraja Temple at Cidambaram (12th-16th C.E.), the Arunachalesvara Temple at Tiruvannamalai (16th C.E.), and the Vriddhagirisvara Temple at Vriddhachalam (16th-17th C.E.), also use this relocation. Situated in the inner passageway of the outermost gopura, the 108-karana are arranged on vertical pilasters in a sequence that moves vertically from bottom to top. In addition, the 108 karana is present in all four of the outer gopuras that encircle the central shrine. This study situates the 108-karana sculptures within the larger iconographic program of the temple and its structures. In doing so, it analyzes and presents the meaning and relevance of the 108 karana to the vimana, the gopura, and to temple vocabulary. It investigates the 108 karana's agency in communicating themes associated with Saivite legend. In doing so, it disputes the prevailing notion that dance sculptures are merely aesthetic additions to the temple (open full item for complete abstract)

Committee: Susan Huntington (Advisor); John Huntington (Other); Howard Crane (Other) Subjects:

Psy. D., Antioch University, 2022, Antioch Santa Barbara: Clinical Psychology

In Montserrat, traditional healing medicines consist of herbal treatments and customary therapeutic methods such as ritual practices and herbal teas also known as “Bush and Weed” (Duberry, 1973, p.1). The purpose of this study is to discuss herbs known as “Bush,” in Montserrat, and how they benefit psychological wellbeing among the communities in Montserrat. A subsequent intention of this study is to address how an understanding of Montserratian Traditional Healing remedies can be beneficial to Western Psychological practice and enhance the efficacy for psychological healing. The gap in the literature indicates that few studies are examining mental health methods in Montserrat, and that further exploration is necessary. This dissertation has contributed to this small but growing body of information, although more research may be needed. In order to analyze this effect, this study uses an ethnographic qualitative methodology. Eight Montserratian participants who were familiar with traditional healing treatments were interviewed and the data was transcribed and coded utilizing MAXQDA. Three major themes emerged from the data, Herbal/Bush Treatments, Jumbie Dance and Mental Illness, which focused on the use of traditional healing remedies. Traditional treatments in Montserrat are indigenous remedies that are utilized mostly by Montserratians for daily use, as well as for the treatment of mental and physical wellbeing. The study concludes with discussions which recommend a need to continue focusing on passing down generational knowledge of Traditional Healing methods and having a more localized understanding of mental health in Montserrat. This includes an analysis of responsibly integrating Montserratian healing methods into Western psychology. This dissertation is available in open access at AURA, https://aura.antioch.edu/ and OhioLINK ETD Center, https://etd.ohiolink.edu

Committee: Brett Kia-Keating EdD (Committee Chair); Fanny Brewster PhD (Committee Member); Stephen Southern EdD (Committee Member) Subjects: Alternative Medicine; Black History; Caribbean Studies; Folklore; Health; Psychology

Doctor of Philosophy, The Ohio State University, 1981, Graduate School

Committee: Not Provided (Other) Subjects: Fine Arts

BM, Kent State University, 2013, College of the Arts / School of Music, Hugh A. Glauser

In the clarinet world, there is a wealth of solo literature available to performers. From Stravinsky to Martino to Penderecki to Bolcom, composers have sought to write solo repertoire that truly showcases the musical capabilities of the clarinet. One such composer is Dr. Frank Wiley, professor of composition at Kent State University. As an undergraduate at KSU, I became acquainted with Dr. Wiley and his work for solo clarinet, Invocation and Spirit Dance, written for and dedicated to my clarinet professor, Dr. Dennis Nygren, in 2000. When I heard it for the first time I was intrigued and wanted to learn more about it. My goal in writing this thesis is to examine all aspects of Invocation and Spirit Dance: rhythmic, melodic and intervallic content, the compositional techniques Wiley utilizes to achieve suspense and growth, and the challenges it presents to performers. I took advantage of the fact that a living and active composer was available to me in the same city. Through regular interviews and e-mails with Frank Wiley I discovered more about Wiley as a composer, the deeper aspects of Invocation and Spirit Dance, and the vision he had of its performance execution. Wiley has written four pieces involving clarinet: Ritual Music (1990), Star-Fall Dances (1993), Invocation and Spirit Dance (2000), and Prizm (2003). I interviewed performers of these works such as Dennis Nygren, Erick Saoud, and Ted Rounds to gain a better understanding of Wiley's compositional style and how performers respond to his writing. Through interviews, recordings, program notes, and score study I found that Frank Wiley's compositional style is quite structured and driven by rhythm, ever evident in Invocation and Spirit Dance. This thesis first gives insight on the composer, Frank Wiley, in Chapter Two. Chapter Three is an analysis of Invocation and Spirit Dance, including performance challenges. For those interested in other works involving clarinet by Wiley, Chapter Four gives a brief desc (open full item for complete abstract)

Committee: Dennis Nygren (Advisor) Subjects: Music